2021 was another epic year for graphic design downunder. GSM takes a look at print-based projects that took out top awards last year.
— with the Australian Graphic Design Association (AGDA), and the Designers Institute of New Zealand (DINZ)
Despite the disruptions caused by COVID lockdowns et cetera, 2021 saw more than 1,850 entries into the annual Australian Graphic Design Association (AGDA) Design Awards and more than 1,450 entries into the Best Awards hosted by the Designers Institute of New Zealand (DINZ). Both events celebrate graphic design within their respective countries, but are also open to entries from the other side of the Tasman. Let’s just say that the competition is fierce, the standard—exceptionally high.
About the Awards
At the AGDA event, the awards levels are (in ascending order of significance) Merit, Distinction & Pinnacle. Only a handful of Pinnacles are awarded each year. In addition, AGDA also bestows an award for Studio of the Year and Emerging Designer of the Year. Plus, AGDA also recognises individuals who have made significant contributions to graphic design through induction into the AGDA Hall Of Fame.
Following a slightly different format but with similar intent, New Zealand’s Best Awards are allocated in the following order: Bronze, Silver, Gold and Purple (Best in Category) ‘Pins’. Like the AGDA Hall of Fame, DINZ recognises outstanding achievement in design by bestowing Black Pins. In addition, a small number of special awards recognise Public Good, Value of Design and Toitanga—an award for work of cultural significance.
This brings us to the winners. We could fill three issues of GSM with these. But from the class of 2021, we have chosen; from the AGDA awards—the sole Distinction winner in the Print category, and from Best—the Purple Pin winner in the Graphics category.
AGDA DISTINCTION WINNER (PRINT CATEGORY):
PROJECT: Te Wheke
STUDIO: Osborne Shiwan (Auckland)
CLIENT: Atamira Dance Company
TEAM: Lloyd Osborne (CD, Design), Shabnam Shiwan (CD, Design), Toaki Okano (Photographer), Petra Leary (Photographer)
OVERVIEW:
In 2000, Atamira Dance Company was founded to bring together young Māori dancers and choreographers.
Te Wheke: The Octopus, marks the 21st anniversary of the company. It explores the human experience, as symbolised by the eight tentacles of Te Wheke. Te Wheke is a mythological octopus guardian encountered during the journey from past to future.
The poster-led campaign focuses on photography of the concept. ‘Mythologies woven in movement’ is a visual hallmark unique to this client. The key image shows the dance troop forming an interwoven figure-eight representing the Octopus.
Osborne Shiwan intentionally shot the images against a dark background while using reflective lighting to mimic the way rays reflect through water to the seabed. They then sliced the photos into vertical strips offsetting them from each other. Thus creating a jarring effect similar to how water distorts perception and movement.
Custom typographic forms float between the dancers like underwater seaweed. When installed in a row, the typography on the posters creates an interlocking, continuous story.
BEST PURPLE PIN WINNER:
PROJECT: Toi Tū Toi Ora: Contemporary Māori Art
STUDIO: Extended Whānau (Auckland)
CLIENT: Auckland Art Gallery Toi o Tāmaki
TEAM: Tyrone Ohia Rob Lewis, Rosabel Tan, Nigel Borell, Taarati Taiaroa, Brook Konia, Kirsten Lacy, Sarah Farrar, Tania Stoyanoff, Sara Laver, Clare McIntosh, Hilary Moloughney, Rachel Salazar, Samantha McKegg, Scott Everson, Hannah Manning-Scott, Emma Pritchard, Emma Jameson, Moira Russell, Charlotte Minards-Black, Lizzie Baikie, Alice Tyler, Emma Elsom, Jennifer French, Paul Chapman, Jeremy Sherlock, Chelsea Winstanley, Maree Sheehan, Auckland Art Gallery Toi o Tāmaki, Haerewa Māori Advisory Group, Britomart Group, Angus Muir Design
OVERVIEW:
The largest exhibition ever held at the Auckland Art Gallery. Toi o Tāmaki—Toi Tū Toi Ora: Contemporary Māori Art, ran from December 2020 through May 2021. The exhibition, celebrating Māori art from the 1950s forwards, showcased more than 300 works.
Auckland based agency, Extended Whānau, designed the brand identity and accompanying communications. The overarching concept was the Māori creation narrative. The visual expression, employing patterns of type repeating the words Toi Tū Toi Ora set against a black & white colour scheme. This colour scheme represents the concepts of Māori celestial origins and the shift from darkness to light. The type forms themselves mimic woven and carved art. Plus, set amongst this typographic matrix, are a diverse range of images of art from the exhibition.
The run out included signage & environmental graphics at the gallery. Plus invites, guide maps, catalogues, posters, print ads, billboards, and merchandising. All communication material was bilingual in Te Reo and English—a first in the gallery’s history.
In addition, Extended Whanau also created a physical experience in the form of a walk-in cube. This walk-in cube (the size of a small room) took a small audience through a ninety-second multi-sensory light and audio experience of the Māori creation narrative.
Used for promotional purpose, the cube travelled the greater Auckland region to raise awareness of the exhibition.
Extended Whanau intentionally repeated Toi Tū Toi Ora throughout the many facets of expression, in order to proudly affirm that Māori art stands strong and is in good health. 
For more information on entry into either awards, keep an eye on the respective websites:
The Australian Graphic Design Association (AGDA) Awards—go to: //agda.com.au
The Designers Institute of New Zealand (DINZ) Best Awards—go to: //bestawards.co.nz
