Vox Pop

Take a look at the D&AD student annual, then take a look at the full D&AD annual. Where do these graduating designers go for 15 years? Bridging this gap is vital to ensure the prestige of the D&AD Awards, and in maintaining the interest and exuberance of emerging generations of designers of all disciplines.’

Nick Foster, Designer, Seymour Powell

‘Some designers find D&AD inaccessible because they don’t always work in the more traditional ways encouraged by the organisation. They should challenge the copywriter/ art director model – it’s rarely how leading interactive groups actually work. The awards categories could accommodate the many different communication channels available. Good methods of execution and style should be considered along with classic conceptual work.’

Tom Kershaw, Interaction designer, Zentropy

Partners UK

‘The challenge is to build an organisation that puts an end to this distinction between what are essentially two strands of the same creative process and create a culture where the importance and value of communication is paramount.’

Darren Richardson, Director, Gardiner Richardson

‘For most of us, D&AD is all about the awards and as it stands, it’s expensive to make a submission. The ad industry can afford it; for the most part the more interesting end of the design community can’t. Consequently the design submissions are pretty much made by the larger commercial groups, and that doesn’t make for much controversy or indeed excitement. There is probably a way to make the submission fee relate to the size of group.’

Tim Pyne, Designer

‘Why not try to reduce or blur the distinctions between design and advertising by focusing purely on creative thought and collaboration? This also translates when working with clients and serves to adopt a media neutral position. Therefore encouraging better communication choices to express a clients’ brand.’

Bryan Hook, Creative partner, Hookson