THE DEBATE
If this were a show honoring, say, the most exceptional eggplant of 2005, issues about any problematic category therein would likely be resolved with its elimination. But this is design, an industry whose practitioners value the process of examining the state of their art perhaps even more than journalists, who produce more journalism about journalism than all the world’s presses can print. So the dialogue about the self-expression category—which began when several judges suggested that ADAA kick the clearinghouse category to the curb— moved well beyond the parameters of the show. It launched a vigorous conversation about the role of design education and the blurring of lines, for better and for worse, between “design as a commercial practice,” says jury member Kathy Frederickson, principal, Studio Blue, Chicago, “and design as a form of art-making.”

Anderson took the position that entries in a student design show should be “as ‘real world’ as possible.” As a judge and potential employer, she needs to know the way students think, she says, not the way they feel—and how far they can push an idea within the context of realworld problem-solving. The counterargument? Schools give students the freedom to experiment artistically—beyond commercial limitations —so that they’ll push the envelope later, when they join the ranks as card-carrying professionals. Judge Tim Mason, art director, WXIA-TV, Atlanta, isn’t having it. “My whole argument,” he says, “is that commercial work can push the artistic envelope if it’s done well. It seems that in a lot of instances, calling something ‘artistic’ gives you license to ignore quality and craftsmanship.”

Frederickson isn’t so sure that students ought to be working according to the same commercial constraints she faces as a professional. Much more intrigued by the connections between contemporary art and design than those between design and commerce, she says school is a time to endlessly iterate “and maybe get a little crazy and out there to get to your best solution. And if you get good at that, it makes you a valuable employee.” Richmond would have to agree. When he looks at student portfolios at The Chopping Block, “It’s more important for us to see that a student makes things for themselves, not for their professors—in hopes of getting hired. We look for personal projects, little experiments, and a level of over-the-top interest in design that is not always present in assignments with a commercial bent.” In the end, the jury didn’t come to a verdict on the matter as it relates to design education, but jury member Frank Gladstone, vice president, Artistic Development, IDT Entertainment Animation, Los Angeles, helped round the corners of the square. “A school that only concentrates on one area—whether that’s selfexpression or ‘let’s get a job’—shortchanges its students. A good school does both.” For resolution at least with regard to the show, we can turn to Adobe: Self-expression—which since the ADAA’s inception has gotten judges at least warm, if not hot, under the collar—had its last hurrah in 2005. If ever a category went out in style, it did this year, when Chean Wei Law’s entry—shown on pages 64 and 65, followed by the eight other winning entries—seduced judges with its humor and originality.

YIBI HU—ANIMATION
Graduate, Kingston University (London)
Master’s in Screen Design

Judges awarded Yibi Hu’s animated film for its rich storytelling, elegant typography, and visual and conceptual depth. In his film, Hu explores the politically explosive history of names from various cultures that have been at odds for centuries, and he doesn’t equivocate about its message: “No matter what kind of reasons are given,” he says, “launching a war is always an ugly action. People are the bullets in the guns. Meanwhile, politicians pull the triggers.” Just as his narrative presents a series of overlapping storylines, Hu seamlessly weaves together diverse stylistic references, including the formal vocabularies of woodcuts, Chinese paintings, and stained glass. The recent master’s graduate of Kingston University is currently a designer at BBC broadcasting, and hopes one day to open his own studio.

HILDEGARD BRINKEL with CLAUDIA BRENDLER— ENVIRONMENTAL GRAPHICS
University of Applied Sciences (Dessau, Germany)

The product of a three-month research, development, and design process, Hildegard Brinkel’s wayfinding system for the city of Magdeburg divides the municipality into three boroughs, each made distinct from the other through iconic representations of a key landmark in its area: The Cathedral of Magdeburg, the Elbe River, and the 13th-century equestrian statue, the Magdeburg Rider. Working with fellow student Claudia Brendler, not to mention municipal authorities, Brinkel created modular, expandable kiosk designs that include maps and detailed information about nearby points of interest. When presented, the guidance system struck the city as so compelling they’ve announced plans to make it a reality. As that gets under way, Brinkel will work toward her degree, which she’ll earn this year.