“Memorable designs, the ones that just look complete, were notable and few at the CADC awards this year. The One Beacon campaign stayed in my mind from the moment I saw it. The execution of the design across the variety of materials used in the campaign was understated, elegant and well thought out. When you review a design we tend to say to ourselves ‘I would have moved that there…’ or ‘I would have done it this way…,’ and I had none of those thoughts for the OneBeacon campaign. Everything is where it wanted to be. It is not showy, flashy or in your face. Just simple elegant design letting the concept and the content shine through.”

— Judge Brett Collins

“In my deliberations, I was debating on a few entries while I also wanted to see what other judges were choosing before making my final decision. There were several very interesting and dynamic entries including campaigns, information design on the web and uses of ink or paper that were catching my eye. Jeff and I thoroughly discussed the ‘Joe’ the trucker campaign and I supported/seconded his choice. After I knew the range in entries that were selected by other jurors, I was able to make my selection. My final decision came from a desire that developed through the process to recognize a printed piece that handled text (preferably copious amounts), imagery, and production in a clean and sophisticated manner that was appropriate for the client and purpose. During the judging process, I kept going back to this particular piece on several occasions when it was on the table for our review. I kept wanting to pick up the piece and felt engaged to read it with clean typographic choices and layouts that managed the content well. The type was not cliché nor expected, but simple and aesthetically pleasing without being decorative. I was also interested in the paper and binding choices. Another main objective in selecting this piece was the desire to recognize this artifact for bringing good design to the public sphere and practical application for a non-profit client.”

— Judge Valerie Sloan

“‘The letters don’t get their true delight, when done in haste & discomfort, nor merely done with diligence & pain, but first when they are created with love and passion.’ — Giambattista Bodoni

I chose the hand stitched book of the alphabet because it was a bespoke piece of art. A one off that can not be repeated through digital or mass produced through mechanics. With the sound of the sewing machine pushing through the paper, the turn of the hand to guide the sheet through the cursive type, the steady thump thump and whirl accompanies the pensive breathing of the creator.

‘Books are funny little portable pieces of thought.’ — Susan Sontag

We live in a culture that is surrounded by mass production, we don’t know if the pair of jeans we are wearing is one of a thousand or a hundred thousand, we don’t value rarity. The piece I chose is a rarity, it is where I know we are headed in design, where we design for a few, for a niche, because the world has moved towards keywording and tagging, we are digital assets that can now be sold an item that speaks to our small group. We will each be given a bespoke piece that is handcrafted to our tastes, and this book is the harbinger of that new wave.”

—Judge Ophelia Chong

“I think is was the ‘Joe Umstead is No Idiot’ postcard that first caught my eye. Not because it was ‘beautiful.’ Or great ‘design.’ It was just so bold, so direct and yet, somehow, so mysterious. Was it for a political campaign? Maybe a call-in radio show? Who the heck is that guy? Should I know? Whoever he was, and whatever it for was for, the piece spoke an entirely different aesthetic language than everything else on the table.

The more pieces we saw, the more intriguing the campaign became. Joe might not be an idiot, but he was Rosebud. By the time we got to see the video piece, I think we were all eager to know what he was all about. And he was all about… engine lubricant. But he was also about being sensible, practical. Doing what you gotta do. Seems like swell guy. A real guy. Knows what he’s talking about. Who wouldn’t want to know and be like Joe? I was sold.

Now, there are plenty of pieces in this show with more elegant typography, more en trend colors, more innovative use of materials. Plenty of sophisticated, creative work. But this campaign’s sophistication and creativity can be seen in the way it understands its audience, piques their curiosity, and then speaks to them without irony or condescension. It never sinks to that phony country-fried-gitterdun-goodoleboy-BBQ-lettered stuff you see all the time. It looks beyond those obvious ‘aesthetic’ (bah!) choices for a more authentic style; one that actually respects the no-nonsense ‘Joe’s’ who should want this product. It’s simple, direct, practical, real.

I could see ‘Joe Umstead is No Idiot’ bumper stickers, hats, etc., becoming a sort of badge of the trucking insider, an expression of practicality, of that no-nonsense identity. It might be the only campaign in the show that goes for that kind of genuine, ‘gut,’ product-independent connection.

Joe’s a memorable character who provides both a believable endorsement and an embodiment of the product. But he’s also the personification of the distinctive value system of the target consumer. People are going to identify with Joe, and will want to be part of the club that knows what he’s all about. That sounds like a brand to me.”

— Judge Jeff Mellin

“The 2010 Antiques Roadshow, Season 14, poster; I think I just want to hang it on my living room wall.

There are several reasons I chose this piece. It stood out from all the other entries in a way that I didn’t even have to think twice about. I have always been drawn to more of the vintage aesthetic, turn of the century filigree, ornate display type, all knowing it was done by hand by a master craftsman or artist. That kind of attention to detail has always fascinated me, and has influenced my own work too.

The Antiques Roadshow, in particular, is a perfectly fitting client for that twist of what is old and new. This poster achieves a modern approach to the event through the use of hand drawn lettering, embellishments, color gradients and just the right amount of imperfection. The whimsical yet mysterious nature of the illustration style is contrary to the often static quality of early 20th century renderings and condensed typography. The framing layout and expressive details around the letterforms really layer it well. I love the man on the bicycle of course. That’s how I would ride to an antique show!

As an overall impact, it resonates with the typical collector as something fresh and fun, as well as engaging a new or younger audience at the same time. It has a focused message, it’s legible and light hearted, without being too frivolous with extra fluff. Let’s go to the Roadshow!”

— Judge Monica Hargrove