TDC Annual Awards 2011: Selection Method
English translation of jury comments recorded after selection
RGB Award: Members of the RGB Award Steering Committee gathered the works together, reviewed them, and narrowed down the nominees. The award-winning and nominated/accepted works were then selected after discussion.
Type Design Award: This award was selected on a day separate from other categories. The juries marked the work they chose, and the award-winning work was selected from among the works selected by five juries after discussion. The final selection was made by secret ballot.
Other categories: The primary selection was made by category. This year, numbers were assigned to all the works, and one from a total of five works was selected first. The juries wrote the numbers of the works they voted on a sheet. The votes were then counted, and the works that won 10 points (i.e., selected by 10 jury members) advanced to the secondary selection. In the secondary selection, works of all categories, not by category, were placed on equal footing, and juries placed a marker on the work they selected to narrow down the nominees.
* Remarkably, only the Book Design Award and nominated works were selected through the primary and secondary selections before the final selection made by secret ballot. When the number of works was narrowed down to 60, the works that won in each category were added for discussion, and the selection of the Grand Prix Award was made by secret ballot.
* The work taking second place advanced to the winner of its category automatically when the first-place work was selected for the Grand Prix Award.
* Jury members can submit their own works to the TDC Awards; however, they cannot vote for them. Furthermore, works submitted by a member of the TDC Awards Steering Committee are eligible only for the Special Award and the Grand Prix Award, and are ineligible for other awards, even if they are nominated.
* Work recognized by a jury as outstanding during the primary selection process can advance to the secondary selection process automatically as a jury-recommended work. However, juries must have no stake in such work. Furthermore, each jury can only select one or two works at most from all the submitted works. (Recommended works are not eligible for awards unless other juries reconfirm and recognize their value during the secondary selection process.)
Looking at these works, I felt both moved and a sense of happiness – they appear to me like the petals of cherry blossoms sparkling as they float on the surface of a lake. Let’s toast to these outstanding works!
Separately from examining the uniqueness of each work and the distinct character of the book designs for encouraging readers to read the book, we review functionality, reader-friendliness, and the beauty of the composition. However, it is difficult to determine which to place more weight on and how to measure them. The book design that I found particularly interesting showed certain uniqueness, an interesting composition, and was reader friendly—all in a good balance. However, “outstanding” composition was not the only feature reviewed during the selection process – others were as well. This was an interesting experience for me.
The works nominated for the final selection were all excellent, but I felt a little sorry when the works I selected missed the awards. This time, for example, I chose the Levi’s billboard, which consists of a large-scale, rotating, movie billboard. As it was nominated, I hope you will check it out at the exhibition.
It was a great pleasure for me that a book design won the Grand Prix Award. I wish that I could do something to encourage more Japanese font makers to participate in the Type Design category.
Overall, the variation between all the works has increased. There were a lot of good works on display, and I felt that they embodied a sense of maturity as a whole. Advancing to the final selection were excellent works by talented designers. Of course, there were also some works that attracted my attention but were not included in the final selection. I am looking forward to the TDC Annual Awards next year.
Every year, I feel a certain amount of satisfaction when I see works nominated for the final selection, although I think about all the works in one way or another during the screening process, feeling much uncertainty. As a jury member, I was excited when I saw foreign types that I had never seen before, in addition to Japanese types. I sometimes got excited, lost my confidence, or felt happy by comparing them with my usual works. The happy feeling was generated by looking at novel designs and seeing something that I had not yet known about. Only a few genres, namely types and typography, attract a new variety of works to the TDC. These works were brought to the TDC only because of the focus on typography, which reflects the depth of the typography world. In this sense, I enjoyed the stimulating works again this year.
We reviewed over 3,000 works in two days, excluding two categories. There were a variety of works and values represented, and the award-winning designers came from various countries and have different values and expressions. For several years, I have reviewed works as a jury member, and I feel surprised, bewildered, or moved when I look at works embodying a sense of value that is different from mine. It provides me with good experience. This year, the works that I felt most interesting won the awards. This may mean that, in the end, good works were selected after all. I would like to say congratulations to all the winners.
I joined the selection process as a jury member for the first time. I found it very hard, both physically and mentally, to select award-winning designs from a huge number of works in a short period of time. However, it was interesting to see the variety of and differences in the values and senses represented by the juries. Some of the works that I gave high marks to were also supported by other juries, while others were not. Personally, I felt happy to be able to look at all these wonderful designs, which were brought in from many different countries. I appreciate the TDC for giving me this opportunity.
This year again, I found many excellent book designs. Three book designs won awards, but I felt that more book designs could have been awarded. They were so impressive, and I completely agree with the tendency to award only very carefully designed and delicate works. On the other hand, I had the slight impression that dynamic designs were not included in the later-stage selections. The selected works are very delicate, soft and light, and there may be the tendency to evaluate such designs relatively high. Regardless, the overall works were impressive and stimulating.
I participated in the selection process as a jury member for the first time in three years, and I feel that the selection panel required physical and intellectual strengths that I have never called upon. I also saw splendid works—all based on professionalism. As far as I remember, one of the good points of the TDC Awards is the trial category that allows works with a special certain something, such as the unsophisticated “power of youth”, to remain among those nominated. This year, however, there were unexpectedly less works of that kind in the final selection, and I felt a little disappointed about that. However, this may be because of the effects of the new selection methods, and I am not sure whether the conventional methods or the new methods are better. At any rate, I was happy to view such excellent works and to participate in the new selection panel, which did a good job. I appreciate the TDC for giving me this opportunity.
I participated in the selection process as a jury member for the first time in two years. As usual, I was often unsure about my assessment, looking at the overwhelming number and variety of high-quality works. This time, I was impressed by good typeface designs and a large number of book designs. However, the work that impressed me most was Mr. Yukimasa Okumura’s poster. It did not win an award, but it was very impressive to me. I appreciate the TDC for giving me this opportunity.
Unlike the conventional selection process, the TDC Awards are unique in reviewing and selecting many forms of communication, ranging from one-piece work to advertisements. This year, I was pleased to find more book designs than in previous years. However, I felt a little disappointed to find a small number of Japanese typographic designs (Type Design category). I hope that more leading designers will participate in this event more actively. It would also be interesting if designers from individual design offices and those from large companies could compete on equal footing. The TDC Awards are always pleasurable year in and year out.
I participated in the selection process of the TDC Awards as a jury member two years ago. This year, I had the impression that, while a huge number of Chinese designers submitted their works, few of them remained in the final selection. Chinese graphic designs are rough but very powerful—I have learned a lot from them. Meanwhile, the Grand Prix Award was selected from among the book designs, and I had the impression that the number of book designs submitted to the TDC Awards has been increasing. I have never submitted my work to the TDC Awards, but I felt like trying next year.
The selection method changed this year. This may be a minor change, but I felt comfortable with the simplicity of the new method. I did feel, however, a little bewildered because, basically, we did not know which works attracted jury votes until the result was revealed, and some of the works selected for the secondary selection were different from those I had expected. This does neither harm nor good. It may just be the result of the new selection method.
However, I do not think that there is one absolutely correct and fair selection method, and I felt that the new method was not incorrect. Other juries may have felt the same about the new method, which is carried out uneventfully, as there was less excitement during the process. In addition, we had less discussion this year, which may pose an issue for the future. However, the new method successfully discovered new talent, which would not have been found using the conventional method. This is the most important and wonderful point regarding this selection process. New talent was found from across the globe, as if it was designed to do so in some mysterious way.
I felt both exhausted and happy during the selection days—these few days are a wonderful annual event for me. Recently, I can feel that the quality of works is getting better and better. On the other hand, I see less bold and wild designs. Japanese designs are behind those created by Chinese designers in this regard. As for this year’s award-winning poster from overseas, I did not give it very high marks. I think it is happy-go-lucky and less intense than most works, and it does not have the intensity found in recent graffiti artwork. I guess that hand-painted work looks fresh to young designers.