IRISH
DESIGN
AWARDS
2017
The IDI Irish Design Awards 2017 are well under way! The entry period has closed and the judging is done. From a total of nearly 400 entries the jury has whittled this down to a shortlist of 70 designers. These are our finalists. From this group we will identify outright winners and also commendations at the awards night on the 15th of September 2017. Are you coming to the big event to see who takes home the gongs?
Each year, the IDI Irish Design Awards refines and adapts the competition categories to account for new developments and acknowledge the constant state of flux that our industry is in, this year was no different. We now have six core categories covering everything from Viz Comms to Furniture Design and a seventh that highlights Intrinsic Design principles like Sustainability. These seven categories are in turn comprised of 40 individual awards.
ENTRY OPENS ONLINE
Friday, 9th June 2017
ENTRY CLOSES
Wednesday, 12th July 2017 | 5:00pm
JUDGING TAKES PLACE
Friday, 21st July – Saturday, 22nd July 2017
IDI AWARDS NIGHT
Friday, 15th September
Meeting House Square
Temple Bar, Dublin 2
Judgement day this year occurred on July 21st. We assembled a stellar cast of characters for our judging panel and found the right balance between local and international opinion leaders and taste-makers. And pass judgement they did!
FASHION & TEXTILES
Clothing
This category is for ready-to-wear designs. The jury will be looking for ground-breaking techniques, use of fabrics, quality, functionality and overall craft. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px in JPEG format at 80% quality. In addition to images, we encourage entrants to submit samples; these may be sent to the IDI office.
Accessories
This category is open to all fashion accessories from belts, sunglasses, bags, hats, scarves or jewellery. The jury will be looking for innovation in the design, colour, fabrication, functionality, quality and craft. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px in JPEG format at 80% quality. In addition to images, we encourage entrants to submit samples; these may be sent to the IDI office.
Textiles
This category is for the design of fabrics, yarns and fibres whether for clothing, accessories or other uses. The jury will be looking for ground-breaking techniques, use of fabrics, quality, functionality and overall craft. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px in JPEG format at 80% quality. In addition to images, we encourage entrants to submit samples; these may be sent to the IDI office.
PRODUCT DESIGN
- Consumer Products
- Industrial Products
- Medical Devices
- Furniture Design
- Craft Design: Handmade Product
PRODUCT DESIGN
Consumer Products
This category is for any product that has been designed for the commercial market including electronics, household items, appliances, etc. The jury will be looking for ground-breaking techniques, use of material, quality and overall craft. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px in JPEG format at 80% quality. In addition to images, we encourage entrants to submit samples of the product; these may be sent to the IDI office.
Industrial Products
Candidates can submit any products for the non-consumer market, including industrial, heavy equipment and transport. The jury will be looking for ground-breaking techniques, use of material, quality and overall craft. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px in JPEG format at 80% quality. In addition to images, we encourage entrants to submit samples of the product; these may be sent to the IDI office.
Medical Devices
This category is for any medical device commercially available in any country such as Cardiovascular Devices—devices and equipment; Drug-Delivery and Combination Products; ER and OR Tools, Equipment; Nonsurgical Hospital Supplies and Equipment; Rehabilitation and Assistive-Technology Products; Over-the-Counter and Self-Care Devices; Radiological, Imaging, and Electromechanical Devices; Testing and Diagnostic Products; Implant and Tissue-Replacement Products; Dental Implants, Equipment, and Supplies; Gastrointestinal and Genitourinary Devices. Please note: Digital Health Products and Mobile Medical Apps should be entered in the Digital Design/ Experience/ Services category. All entered products must be approved as a medical device by a relevant notified body. The jury will be looking for ground-breaking techniques, use of material, quality and overall craft. The entry will also be marked against the following criteria; Design and Engineering Innovation, Functionality (User-Related) Innovations, Benefits to Overall Healthcare, Benefits to Patients, and Market Differentiation/Competitive Landscape. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px in JPEG format at 80% quality. In addition to images, we encourage entrants to submit samples of the product; these may be sent to the IDI office.
Furniture Design
This category is for pieces of bespoke or commercially produced furniture. The jury will be looking for ground-breaking techniques, use of material quality and overall craft. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px in JPEG format at 80% quality. In addition to images, we encourage entrants to submit samples of the product; these may be sent to the IDI office.
Craft Design: Handmade Product
This category is for anything made by hand. The jury will be looking for ground-breaking techniques, use of materials, quality and overall craft. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px. In addition to images, we encourage entrants to submit samples of the product; these may be sent to the IDI office.
DIGITAL DESIGN
Digital Design
(Focus on visuals/layout/animation) UI/visual designers. What is it? Best in class digital design including - visual design, layout, UI patterns and animation. This category is for online campaigns, UI elements and patterns, interface layout, UI animations such as transitions and states. In this category the jury will be looking for beautiful, clear and clean digital visuals, UI elements and patterns, animations and best practice compliance.
Digital Services
(Focus on product design and end to end journey of a service) IA (information architecture)/UX/IxD/product design. What is it? Best complex services, end-to-end seamless experiences such as booking a flight, paying a bill etc. This category is for any online or digital service. The jury will be looking for how the project connects, engages, empowers, encourages the user experience; Digital service designs that disrupt, reimagines, or optimises daily or traditionally inefficient activities.
A minimum of 3, maximum of 10 screens should be used in each prototype to showcase how your design works. The shared link to the prototype should be included in the IDI submission form. (Tip: you can use any prototyping tool you wish, if you are not familiar with one, we recommend using www.invisionapp.com where you can build and share prototypes for free)
Each of these three categories will be judged against the following criteria and attributes also;
- Connecting: Facilitating communication between people and communities
- Engaging: Capturing attention, creating delight and delivering meaning
- Empowering: Enabling people to go beyond their limits
- Expressing: Encouraging self expression and/or creativity
- Disrupting: Re-imagining completely an existing product or service by creating new behaviors, usages or markets
- Optimizing: Making daily activities more efficient
- Impact: Quantifying the impact of the above
Digital Experience
(Focus on overall user experience of a product, website, app)UX/UI/IxD (interaction design)/UCD (user centred design). What is it? Best experience across online, digital out of home, retail experience, social, API, etc. This category is for the overall user experience of a digital product. Games have their own category. The jury will be looking for clear and clever content, structure (IA), User experience (UX), interactivity (IxD), navigation and functionality. True innovation both in the design and the techniques used.
Game Design
This category is for any games designed for mobiles or other devices. The jury will be looking for innovative playability, interaction, technical expertise, music, story and the art and craft in the aesthetics. Input a direct URL to download the full version of the game. If the game is to be paid for, please supply a gift card/code that is valid until after the judging weekend. A minimum of 3 images to a maximum of 10 should also be included. Images should be saved “long edge” of 2500px, in JPEG format at 80% quality.
VISUAL COMMUNICATIONS
- Logo Design
- Brand Identity
- Design for Print
- Printed Book Design
- Data Visualisation
- Packaging: Food & Drink
- Packaging: Other
- Illustration: Publishing
- Illustration: Commercial
- Illustration: Personal
- Photography in Design
- Use of Typography in Design
- Video in Design
VISUAL COMMUNICATIONS
Logo Design
This category is about the design of an excellent identity mark. Entrants can submit an individual logo, a family of logos, static or motion. The jury will be looking for overall craft and how it met the brief. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px in JPEG format at 80% quality.
Brand Identity
In this category entrants can submit a variety of applications for a visual brand, including stationery suites, brand guidelines, print, digital, environmental, signage etc. (any items that you feel show the identity in practice). The jury will be looking for an identity that shows a unified vision and tools that help the client build the brand. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px in JPEG format at 80% quality. In addition to images, we encourage entrants to submit printed samples; these may be sent to the IDI office.
Design for Print
In this category entrants can submit work that ended up as a printed piece, e.g.; stationery suites, posters, brochures, invites etc. Note: books, Annual Reports and packaging have their own categories. The jury will look for creativity, innovation and craft in both the design and the print choices. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px in JPEG format at 80% quality. In addition to images, we encourage entrants to submit printed samples; these may be sent to the IDI office.
Printed Book Design
This category is for any books - educational, text, children’s, art, coffee table etc. The jury will be looking for creativity, innovation, sensory experience and craft in the concept, layout design and print choices. A minimum of 3, maximum of 10 high-res jpegs should be uploaded with a “long edge” of 2500px in JPEG format at 80% quality. In addition to images, we encourage entrants to submit printed samples; these may be sent to the IDI office.
Data Visualisation
This category is for data and information visualizations used in any medium. The jury will look for 4 key elements to be incorporated into such infographics; information (data), story (concept), goal (function), visual form (metaphor). Information should be accurate, consistency, and honesty. The story aspect should display relevance, meaningfulness, and novelty. The function of the visualisation should be clear i.e. it should be useful, fitting, and efficient. Finally, the visual form created should be beautiful, structured and harmonious.
Packaging: Food & Drink
In this category entrants are asked to submit packaging for consumable products including drinks. The jury will be looking for creativity, innovation, functionality and craft in both the design and the print choices. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px at 80% quality. In addition to images, we encourage entrants to submit printed samples; these may be sent to the IDI office.
Packaging: Other
In this category entrants are asked to submit packaging for anything non-edible - jewellery, accessories, luxury goods, perfume, personal care, seasonal, promotional etc. The jury will be looking for creativity, innovation, functionality and craft in both the design and the print choices. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px in JPEG format at 80% quality. In addition to images, we encourage entrants to submit printed samples; these may be sent to the IDI office.
Illustration: Publishing
In this category entrants are asked to submit illustrations published within the last year. Original artwork used for children’s books, book covers, graphic novels, and editorial is requested. The jury will be looking for creativity, concept and craft in the illustration. A single image up to a maximum of 5 high res jpegs should be uploaded with a “long edge” of 2500px, in JPEG format at 80% quality. In addition to images, we encourage entrants to submit printed samples; these may be sent to the IDI office.
Illustration: Commercial
In this category entrants are asked to submit illustrations published within the last year. Original artwork used in design, advertising, animation, institutional or packaging contexts is requested. The jury will be looking for creativity, concept and craft in both the illustration and how it fits with the design. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px, in JPEG format at 80% quality. In addition to images, we encourage entrants to submit printed samples; these may be sent to the IDI office.
Illustration: Personal
In this category entrants are asked to submit original illustrations created within the last year. The jury will be looking for creativity, concept and craft in both the illustration and how, where appropriate, it fits with the design. A single image up to a maximum of 5 high res jpegs should be uploaded with a “long edge” of 2500px, in JPEG format at 80% quality. In addition to images, we encourage entrants to submit printed samples; these may be sent to the IDI office.
Photography in Design
In this category entrants are asked to submit photographic works that have creatively contributed to a successful design. The jury will be looking for creativity and craft in both the photography and in its response to a specific brief. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px, in JPEG format at 80% quality. In addition to images, we encourage entrants to submit printed samples; these may be sent to the IDI office. You must include both the original photograph itself, as well as its use within a design context (i.e. brochure, website, billboard, poster, etc).
Use of Typography in Design
In this category, the entrant will demonstrate a high standard of typography, the criteria being that excellent typography is an intrinsic element of each overall design solution. The jury will look for creativity, subtlety, nuance or differentiating impact of the typography, craft, detail, consistency, originality, maintenance of superlative standards and clarity in visual communication of emotional or commercial message. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px, in JPEG format at 80% quality. In addition to images, we encourage entrants to submit printed samples; these may be sent to the IDI office.
Video in Design
In this category entrants are asked to submit video works that have creatively contributed to a successful design project. The jury will be looking for creativity and craft in both the video and in its response to a specific brief. We require a direct, non expiring link to the video work itself, and link to its appearance within an overall project (i.e. link to website where video is embedded, photograph as part of exhibition, etc). Additionally we require a minimum of 3, maximum of 10 high res screenshots from the video work, in JPEG format at 80% quality.
TV & FILM
- TV/Film visual effects/animations
- Commercial visual effects/animations
- CG animation/animated short film
TV & FILM
TV/Film visual effects/animations
In this category entrants are asked to submit visual effects or animations (2D/3D) for titles, openers or idents for TV or Film. In this category the jury will be looking for technical skill, artistry and overall quality. Please upload the motion graphic directly. Files should be 1280 x 720 H264 codec video with an MP4/MOV extension.
Commercial visual effects/animations
In this category entrants are asked to submit visual effects, animations (2D/3D), infographics or idents used in advertising commercials. In this category the jury will be looking for technical skill, artistry and overall quality. Please upload the motion graphic directly. Files should be 1280 x 720 H264 codec video with an MP4/MOV extension.
CG animation/animated short film
This category is open to anyone working in computer graphics (CG) animation. Entrants can submit any CG animated sequences which have appeared on TV, online, or a CG animated film of 4 mins or less. In this category the jury will be looking for technical skill, artistry and overall quality. Please upload the animated files directly. Files should be 1280 x 720 H264 codec video with an MP4/MOV extension.
STRUCTURES AND SPACES
- Domestic Interiors
- Commercial Interiors
- Visual Merchandising
- Exhibition Design
- Set Design (TV/Film/Theatre)
- Build Structures
- Architectural Design
STRUCTURES AND SPACES
Domestic Interiors
Projects in this category will be interiors designed for residential use. This category covers renovations, extensions and alterations to existing residences. The jury will consider use of space, sensitive adaptation, relative complexity, purpose, innovation, impact, accessibility, clarity, sustainability, materiality, transition and user experience. A minimum of 3 images, maximum of 10 images can be submitted showing different viewpoints including a floorplan. Walk-through videos are also welcome (5 mins or less). Images should be saved “long edge” of 2500px, in JPEG format at 80% quality. Video files should be 1280 x 720 H264 codec video with an MP4 extension.
Commercial Interiors
Projects in this category will be interiors designed for commercial use. This includes Retail, Office, Hospitality, Healthcare, Industrial, Education, Conservation, Leisure, Marine, Public, Performance, Pop-up, Experimental, Institutional and Cultural (excluding exhibition which is a separate category). Entries can be new-build, retro-fit or fit-out. The judges will consider the program, adaptation, complexity, purpose, innovation, impact, clarity, accessibility, sustainability, materiality, transition and user engagement and experience. A minimum of 3 images, maximum of 10 images can be submitted showing different viewpoints including a floorplan. Walkthrough videos are also welcome (5 mins or less). Images should be saved “long edge” of 2500px, in JPEG format at 80% quality. Video files should be 1280 x 720 H264 codec video with an MP4 extension.
Visual Merchandising
Entrants to this category can enter shop, store, pop-up shop designs or any other visual merchandising displays which motivate customers towards a purchase. The jury will consider the use of technical skill, inventive use of media, complexity, commercial purpose and/or message, creativity, innovation, visual impact, clarity, materiality, choice of merchandise, and proportional transitions. A minimum of 3 images, maximum of 10 images can be submitted showing different viewpoints including a floorplan. Walk-through videos are also welcome (5 mins or less). Images should be saved “long edge” of 2500px, in JPEG format at 80% quality. Video files should be 1280 x 720 H264 codec video with an MP4 extension.
Exhibition Design
This category is for designs of commercial and non-commercial exhibitions e.g.: expos, arts and leisure, historical, museum exhibitions, visitor attractions, fairs, festivals and trade shows. Permanent or temporary exhibitions will be accepted. In this category the jury will evaluate in terms of engagement, narrative, conversation, story, triggers, structure, impact, materiality, interactivity, display, purpose, market, demographics, innovation, mobility, category guide programme, access, aesthetic, innovation and functionality. The judges seek entries that encourage curiosity and exploration across ages, cultures and technological literacy whilst delivering a meaningful or playful, emotionally engaging message. A minimum of 3 images, maximum of 10 images can be submitted showing different viewpoints and a floorplan. Walk-through videos are also welcome (5 mins or less). Images should be saved “long edge” of 2500px, in JPEG format at 80% quality. Video files should be 1280 x 720 H264 codec video with an MP4 extension.
Set Design (TV/Film/Theatre)
This category is open to stage sets or production design. In this category the jury will be assessing how the set suggests a style, tone and mood of the overall production. It will particularly examine curation, lighting, architecture, visual, experiential and spatial composition of performance for theatre, film, TV and online mediums. A minimum of 3 images, maximum of 10 images can be submitted showing different viewpoints or original sketches. Walk-through videos are also welcome (5 mins or less). Images should be saved “long edge” of 2500px, in JPEG format at 80% quality. Video files should be 1280 x 720 H264 codec video with an MP4 extension.
Build Structures
This freestyle structures category is open to experimental, electronic, mechanical, electrical, technological, environmental, transitory, industrial or infrastructural projects that rely on engineering design skills. Structures should be completed between 23 August 2016 and 22 August 2017. The award can range from a bridge, to kinetic energy recovery systems, or even deployable space rockets. The jury will look for strength of form, breakthrough technology, creative methodology, design simplicity and flow, soul, performance efficiency, function, aesthetic impact, emotional engagement, ergonomics, human interaction, usefulness, unique, and quality. A minimum of 3 images, maximum of 10 images can be submitted showing different viewpoints including a mandatory floorplan. Walk-through videos are also welcome (5 mins or less). Images should be saved “long edge” of 2500px, in JPEG format at 80% quality. Video files should be 1280 x 720 H264 codec video with an MP4 extension.
Architectural Design
This category is open to completed buildings, projects, landscapes or urban design projects completed between 23 August 2016 and 22 August 2017. The jury will consider each submission in the context of its specific innovation in relation to solving the problem it addresses, aesthetics, originality, social impact, environmental integration, conventional disruption, creative efficiency, fitness to purpose, user experience and accessibility, flow of spatial movement, appropriate materiality, space, proportion and order, statutory compliance, human friendliness, energy conservation, contextual awareness in cultural and ecological expression. A minimum of 3 images, maximum of 10 images can be submitted showing different viewpoints including a floorplan. Walk-through videos are also welcome (5 mins or less). Images should be saved “long edge” of 2500px, in JPEG format at 80% quality. Video files should be 1280 x 720 H264 codec video with an MP4 extension.
INTRINSIC DESIGN
- Design Education & Research
- Collaborative Design
- Universal Design
- Sustainable Design
INTRINSIC DESIGN
Design Education & Research
This category recognises innovative work done by IDI Design Education members. Entries could include design projects, artefacts, curricula innovation and teaching methods, research or collaborations run in conjunction with the public, industry, or other organisations outside the educational institution e.g. charities, design exhibitions, charrettes, design advocacy events, that raise the awareness of design or design research. Entries should step beyond the boundaries of day-to-day Design Education activities within a single organisation. The award will be given for pedagogical efficacy and impact, and or, the design project as a whole. The judges are looking for entries that encourage engagement with design, demonstrating collaboration and outreach from education, raising awareness of the value of design.
Entries must include educational institutions with IDI members and individual student work should not form part of the entry. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px. In addition to images, we encourage entrants to submit printed samples and physical artefacts; these may be sent to the IDI office. Images should be saved “long edge” of 2500px, in JPEG format at 80% quality. The online application system allows for detailed written descriptions also.
Collaborative Design
This award will recognise an extended team of designers working together from different disciplines. Approaching a design problem with different perspectives can provide for remarkable successful and interesting results. It could be for example a graphic designer and an exhibition designer, a fashion designer and an interiors designer or even a larger team of cross-discipline practitioners. It only requires one member of the team to be a member of the IDI. The jury will be looking for innovation, quality and craft. A minimum of 3, maximum of 10 high res jpegs should be uploaded with a “long edge” of 2500px. In addition to images, we encourage entrants to submit samples; these may be sent to the IDI office. Images should be saved “long edge” of 2500px, in JPEG format at 80% quality.
Universal Design
Universal Design is the concept of designing products, services and environments that can be accessed, understood and used to the greatest extent possible by all people regardless of their age or ability. It is based on 7 Principles for prioritising people in design, along with 29 Guidelines to complement the design evaluation criteria. If your design fits 4 of the 7 principles your design will be considered for the Universal Design Award. For more information please refer to the CEUD website.
- All entries, in all categories, in the Irish Design Awards will be reviewed to identify unique features and elements that represent Universal Design excellence.
- Selected entries will be showcased and awarded.
- entrants can opt-out if they prefer that their entry is not considered for UD
Sustainable Design
Does your design demonstrate a conscious effort to reduce its use of non-renewable resources in its application? If so, briefly tell us why and how and your design will be considered for the Sustainable Design Award.
ADDITIONAL AWARDS
Entries in any of the six main categories are entitled to
free submission for the following Awards:
Collaborative Design
Sustainable Design
Universal Design
Awards in the following categories will be given at the discretion of the judges:
Grand Prix
Emerging Talent Award
Overseas Award
The IDI President will nominate, with approval of Council, an extraordinary contributor
from the Irish design community to be recipient of the following Award:
Outstanding Achievement in Design Award
The Irish Design Awards will also include a
Public Choice Award
voted by the public in an online poll.
Entrants can choose to opt out if desired.
Judgement day this year will occur on July 21st. We think we have assembled a stellar cast of characters for our judging panel and found the right balance between local and international opinion leaders and taste-makers. Let the judgement begin!
BRUNO MAAG
Dalton Maag
Bruno Maag is a trained typesetter from Zurich, Switzerland. After graduating from Basel School of Design with degrees in Typography and Visual Communications he emigrated to England where he worked for Monotype creating custom typefaces. After a year in Chicago with Monotype he returned to England to start Dalton Maag, focussing on the creation of custom typefaces.
Bruno today is the Chairman of Dalton Maag and in recent years has spearheaded projects for large global companies and small enterprises alike. Some of the clients include Nokia, Intel, HP, Amazon, Lush, Faena, The Stroke Foundation and Rio2016 to name a few. His interests today extend into scientific research into reading physiology and psychology. Bruno serves on both the board of Directors for ATypI and the Board of Trustees for D&AD.
Annie Atkins
Annie Atkins specialises in graphic design for filmmaking. As well as creating contemporary artwork for movie posters, she also designs and makes any graphic pieces outlined by a period film script, like prison escape maps, telegrams, and fake love letters. Annie has designed the graphics for three Oscar-nominated films: the animated feature The Boxtrolls, Spielberg’s Cold War thriller Bridge of Spies, and Wes Anderson’s Grand Budapest Hotel – which went on to win the Academy Award for Best Production Design. Originally from Snowdonia in Wales, Annie has been based in Dublin, Ireland since 2007, which she now considers her home.
Magnus Göransson
Lego
Magnus Göransson is currently creating the play experiences of the future as Design Director at LEGO's Creative Play Lab. He as previously designed products and experiences for many consumer goods companies like Nespresso, Skullcandy, Jabra and Sony Ericsson, professional equipment for Atlas Copco, Telesteps and Honeywell. But if he could pick what field lies closest to his heart he will always choose the medical sector; working for giants like Convatec, Coloplast, and Baxter, and also startups like Vivoline and Neurescue creating everything from implants and robot assistants to lung transplant machines. In the last ten years, he has also been a partner of Swedish Ninja, a furniture design studio and producer.
Angela Brady
Brady Mallalieu
Architects
Angela Brady is a director of Brady Mallalieu Architects in London, an award winning private practice working on great projects. She also happens to be a TV Broadcaster, an OBE, a recipient of a Presidential Distinguished Service Award, and a previous President of the Royal Institute of British Architects.
Gemma A. Williams
Fashion Narratives
Irish fashion writer and curator living in London, passionate about emerging global designers, consults to Shanghai Fashion Week, contributes to BoF, Vogue Italia, Now Fashion and Jing Daily. Curator of Hi! Fashion which looks at Irish and Japanese fashion at the National Craft Gallery this August.
Lorna Ross
Fjord
Lorna’s design career has been an interesting journey spanning more than 25 years, with stops in the world of fashion, wearable technology and, most recently, health care. She is a futurist at heart, recognised for her ability to anticipate shifts in the social, cultural and economic context for design. She was one of the pioneering researchers to focus on wearable technologies and built a reputation for research activity in this arena. She later identified the theme of health as an emerging arena for design to thrive. She founded and led the Human Wellbeing Group at the MIT Media Lab. Her vision was to employ human centred design principles to address the biggest challenges facing the healthcare industry in delivering population health outcomes.
She recently returned to Ireland from the USA to take up the position as the Group Design Director at Fjord in Dublin. As the Fjord studio in Dublin sits within The Dock, Accenture’s multi-disciplinary research and incubation hub, Lorna has a unique role placing design at the heart of the multi-disciplinary teams working on R&D projects addressing some of the biggest challenges facing society today.
Maser
Maser is an artist originally from Ireland, now living in the USA. As early as 1995 under the moniker 'Maser', he began painting graffiti on the streets of Dublin, where he soon earned the respect of other graffiti artists throughout Europe for his unique abstracted style. After studying Visual Communication at Art School in his home city of Dublin, he went on to establish himself as one of Ireland’s leading visual artists working in the urban environment.
Ian Jacobs
Windmilll Lane
Ian Jacobs is currently head of commercials at Windmill Lane, a world renowned recording and music video production studio based in the Dublin docklands. After studying painting at the Royal College of Art in London Ian would go on to become a key member of group of designers, production companies, and advertising agencies that drove forward the use of motion graphic content and visual effects in TV and film in Ireland and the UK. He was former head of graphics in both Screenscene and The Farm and has produced work and crafted branding, promo and title sequences for RTE, BBC, UTV and Channel Four.
Brian Herron
Each&Other
Brian is a Director and Principal Designer at Each&Other, a strategic design agency. He is part of a team that leads business transformation programmes and customer experience projects with recent clients that include Google, Zurich International, Musgraves/Supervalu, Fleetmatics and SEE Airtricity. Brian has worked for OFFSET, done a stint at Google Ireland, lectured at UCD, DCU and DIT, and consulted for organisations on digital marketing, online community and strategy. Each&Other is an employee owned company that operates internationally from an old converted priory in Dublin and works across multiple sectors, including finance, enterprise, tech and both local and national government.
Bren Byrne
Ways & Means
Bren Byrne is Creative Director of Ways&Means Productions and co-founder of OFFSET. He worked as a professional illustrator, curator, designer and art director for over 10 years before setting up OFFSET. Bren, along with his co-director Lisa Haran, have developed this ever-expanding event into one of the world’s most inspirational, educational and vocational conferences for the design and creative industries. Approaching its 10th year, OFFSET regularly attracts over 2,500 attendees from all over the world to its Dublin home.
Catherine Robertson
red Dog
Catherine is multi-disciplinary designer and art director working in Dublin. Holding a degree in Visual Communications from IADT, Catherine has worked both in-house with large multinational brands and in multiple agencies. Catherine is currently a senior designer in Red Dog where she combines a number of design disciplines such as art direction, experiential design, UX, consumer research and strategy for a wide variety of clients ranging from property, finance, not-for-profits, hospitality and the arts.
Gareth Jones
Originally an architect from London, Gareth has been working as a graphic designer in Dublin since 2000, providing design, illustration, art direction, identity and consultancy. He works predominantly in the creative arts sector, with a range of clients, including theatres and theatre companies, cultural organisations, universities, and architects.
Andreas Heil
[innen]
Andreas is an interior architect with 18 years industry experience as principal of the design studio [innen] interior architecture. He also lectures part time on the honours degree course in Interior Architecture at Griffith College Dublin. Andreas has gained a reputation for achieving excellence in hospitality and workplace design, winning the 2016 Fit-Out Designer of the Year amongst other awards. He describes his mission and work simply as “creating experiences - Designing for people. Not more. Not less.”
Peter Queally
Goosebumpº
Peter Queally is creative director of Goosebumpº; a collective of creative thinking, strategic minded, award winning and often well-dressed individuals who come together to create great ideas, scribble notes, tell stories, drink coffee, give out, high five and play Pacman, from time to time. After unsuccessfully trying to make a living playing in numerous bands, drawing and writing comics, songs and poetry, and exhibiting paintings Peter now, in parallel with his Goosebumpº endeavors, is attempting to subvert pop culture and striving to bring back the cape as a fashion item… Or become Batman.
Tom Meenaghan
Tom Meenhaghan &
Associates
Tom Meenaghan is an award-winning designer of brands, campaigns, and experiences. He has worked with national and international companies such as Failte Ireland, National Museum of Ireland, the RDS, the Central Bank, and Philips. He is also the former co-founder and creative director of DesignWorks, an innovative creative firm known for its high-quality output.
Karen Hesse
256
Karen Hesse is the founder and Managing Director of 256, Ireland’s first content marketing agency. From their Dublin based studio 256’s team of 30 creatives and content natives serves a growing roster of clients with culturally relevant, multi-lingual content marketing across print, social and web. The agency has won five global awards in the last three years. Karen is also the creator and publisher of best-selling consumer brands House and Home and Confetti and is a certified mentor who has worked with the Crafts Council of Ireland and the Irish Management Institute.
James Hubbard
Centre for Excellence in
Universal Design, NDA
As a Senior Design Advisor for products and services in Ireland, James Hubbard Co-Chaired the world’s first national standards on Universal Design. At the National Disability Authority’s, Centre for Excellence in Universal Design, he manages research projects, develops design guidance, advises design policy and promotes education through, curriculum development and design challenge events. Previously he worked for over 20 years at universities in the USA, teaching, consulting and supervising new product development with a focus on design for Human Factors Engineering and Assistive Technology.
Barry Sheehan
Dublin School of Creative
Arts, DIT
Barry Sheehan is Head of Design at the Dublin School of Creative Arts at the Dublin Institute of Technology in Grangegorman, Dublin, Ireland. A fellow of the Royal Institute of the Architects of Ireland, Barry has been involved in the design of numerous projects from architecture and interior design to graphics, multimedia and product design. His work has appeared in magazines and newspapers as well as on television. He is a regular commentator on design matters in the national media. He writes a running blog dedicated to the works of James Joyce, www.jj21k.com.
The shortlist is finally here! We would like to thank all the designers who went to the effort of submitting nearly 400 entries this year. We need to also convey our gratitude to the jury who scoured a vast amount of material, critically appraised it, argued among themselves, but ultimately made the big decisions needed. Congratulations to the finalists they have selected. Did you make the list? Find out below…
LET'S MAKE IT SOCIAL!
SPONSORS AND PARTNERS
We’d like to thank our partners, supporters, sponsors (and all our volunteers) for helping us deliver so much every year for our members. These partners and supporters include:
CRITERIA
To enter, candidates must be Full or Graduate IDI members. All entries must be made via the IDI online entry system; Awardforce. Work must have been completed - launched, published, manufactured, constructed, certified, developed or printed - between 22nd Aug 2016 and 7th July 2017. Work created for a previous IDI Award events cannot be entered again. Entrants are encouraged to send in physical samples of their entries which must be numbered and identified correctly.
AWARDS RULES
- This is strictly an IDI Members’ competition, it’s for Full and Graduate IDI paid-up members ONLY. (With a few key exceptions)
- If you are NOT listed as member on our IDI Online Directory- please contact IDI before entering.
- Designers graduating in 2017 cannot enter this competition. You MUST have graduated in 2016 or in any previous year.
- All competition entries must be via the IDI online entry system only- Entrants need to register an account on The IDI Awards Website. Once your account is acknowledged you will be able to enter as many entries as you like as long as (i) you pay for them and (ii) they fit the category criteria and rules. These awards are for IDI members only, so make sure the person who registers for the awards is an IDI member.
- All entries must be paid for in advance of judging at the time of entering via Paypal or CC. Unpaid entries will NOT be judged.
- Work must have been completed between 22nd August 2016 and 7th July 2017. This means it must have been launched, published, manufactured, constructed, developed or printed within that timeframe. ( There are two excections to this rule- Architecture and Structures)
- No conceptual work will be accepted. Completed projects only!
- Work created for previous IDI awards cannot be entered again. This includes work where alterations have been made.
- The IDI jury has the right to query if an entry is eligible for these awards.
- The IDI and Judges reserve the right to withdraw a category and refund the entries where judges feel there is not sufficient competition.
- The judges’ decision is final. They reserve the right to not award in any category should they feel the work does not match the judging criteria or meet an exceptional standard.
- No correspondence will be entered into regarding entries.
- Entrants are encouraged to send in physical samples (subject to size) of their entries in some categories (Fashion, Printed Material and Product etc.) - these must be numbered and identified correctly and delivered before judging to IDI at 5 Dame Lane, Dublin 2.
- Whilst every care will be taken in the storage of physical samples, the IDI will not accept responsibility for loss or damage of samples provided. Entries will not be returned but arrangements can be made with the IDI office to arrange a suitable time for collection after the judging weekend.
- A project may be entered once in its appropriate category and also in any or all ‘free to enter categories’ as long as the entry fee is paid.
- The Closing Date for entries is final.
FAQ
If you have any queries about the entries or membership, please do not hesitate to contact IDI
CREDITS
The 2017 identity was designed by Alessandra Ravidà during her residency in Red Dog, with web development by Martyna Lebryk. Thanks go to the Fumbally Exchange for their organisational leadership in sponsoring the IDI Irish Design Awards in 2017. The IDI Irish Design Awards could not take place without the much appreciated collaboration with a diverse group of sponsors and partners.