NissanD&AD Student Awards 2013 Tutor Pack

D&AD Student Awards 2013 Tutor Pack

D&AD Student Awards 2013 Tutor Pack This Tutor Pack contains all the information you need to set your students the briefs for the D&AD Student Awards 2013. Your students should register at www.dandad.org/studentawards to download the full Brief Packs, containing supporting resources, including logos and brand guidelines.

Contents

• The Briefs:

1. Advertising – Ted Baker 2. Applied Graphics – Batiste 3. Branding – Nissan / Interbrand 4. Copywriting – RAB 5. Digital – BBC 6. Digital Advertising – Yamaha 7. Graphic Design – V&A 8. Make Your Mark – D&AD 9. Moving Image – Channel 4 / MPC 10. Open Brief – Department of Health / Dare 11. Open Brief – Unilever 12. Open Craft – It's Nice That 13. Packaging Design – L'Artisan Parfumeur / jkr 14. Photography – Dazed & Confused 15. Product Design – Oakley 16. Spatial Design – Holiday Inn

• Formatting Guidelines • Terms & Conditions

D&AD Student Awards 2013

Advertising BriefBrief set by: Ted Baker

Introduce Ted Baker to a country of your choice.

BackgroundTed Baker launched 25 years ago in Glasgow as a humble shirting specialist, offering must-have designs full of attention to detail and quality fabrics. These designs have created strong brand awareness amongst loyal customers, keeping them engaged with Ted through inventive word of mouth marketing ever since.

Always inclusive and never a snob, Ted Baker’s products range from simple yet stylish accessories to high quality menswear and womenswear fashions.

Ted Baker always brings a unique hallmark to each season – using distinctive twists, subverting trends, and most of all, never taking itself too seriously.

Creative ChallengeTed Baker is continuing its plan for global growth, with new locations opening in China, Japan, the USA and the Middle East – each time taking a little bit of Britain with them.

When opening a new location in another country, it’s not easy for a brand like Ted to translate its unique cultural flavour. It’s your job to bring its British sense of humour and unique approach to fashion to another country – which country is up to you.

Your campaign will need to activate potential shoppers to visit Ted Baker stores and Ted Baker online; interact with the brand; and most importantly, to shop and share.

Considerations•Ted stands out from the crowd,

however great the crowd may be.•Consider multiple touch points in

reaching the target audience. These could include advertising, social media, online, shop windows, in-store visuals and installations, etc.

•How can you activate word of mouth?

Target AudienceTed’s not one to ‘pigeonhole’ its customers. If pushed however, its core audience is supremely stylish, confident, down-to-earth men and women aged 25-35… but always young at heart.

Mandatories•Ted Baker are looking for an integrated

campaign, working across at least three different media.

•All work must be submitted in English, whichever country you choose to take Ted to.

DeliverablesMain deliverable: Upload a presentation film of your work (max. 2 mins) or up to eight images showing your solution.

Optional supporting material for presentation film: Up to four images; interactive work (websites, widgets, apps, HTML, etc.); physical material (prototypes, mockups, etc.); supporting information (up to 400 characters).

Optional supporting material for images: Interactive work (websites, widgets, apps, HTML, etc.); physical material (prototypes, mockups, etc.); supporting information (up to 400 characters).

Keep any text on images to a minimum; supporting information can be entered online.

For full format specs and guidance, see ‘Formatting Your Entries’ on the next page. Work in formats other than those outlined will not be accepted.

DeadlineEntries for this brief must be submitted by Wednesday 20 March 2013.

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Applied Graphics BriefBrief set by: Batiste

Create a trend-led graphic identity for a limited edition range of Batiste products.

BackgroundBatiste are experts in in-between wash hair care. Dry shampoo was created back in the 70s as a replacement for talcum powder for refreshing hairstyles. Today, they’re the number one dry shampoo brand in the UK. Growing internationally, Batiste want to ensure everyone has great looking, and feeling, hair in an instant.

Creative ChallengeMake Batiste a must-have product for every beauty toolkit, appealing to new customers and engaging with existing ones.

Build the Batiste brand by creating four new graphic identities and fragrances. They should fit in with the current range but have stand out shelf appeal. Demonstrate this across a number of practical applications, including packaging, website and point of sale.

Batiste are fashion-led, utilising trends to ensure that they have significant shelf appeal and strong brand loyalty. How can the graphic identity work harder to sell the varieties of Batiste in an instant, whilst also clearly demonstrating the full potential of the product?

Considerations•Consider every element of the identity:

colour palette, font, fragrance, graphic devices, placement of text and a distinctive style of art direction.

•Look at brand language. This includes short statements or descriptions that are intrinsic to the identity of the product and collection. Do the current messages best educate and inform consumers at point of purchase? How could they work harder?

•Work within the parameters of the existing structural packaging. The design needs to work across the full range of bottle sizes.

Target AudienceOutgoing, active, on the go and fashionable women aged 16-44: women who are short on time, but care about their appearance.

Mandatory RequirementsProduce four graphic identities, including packaging, website, and point of sale designs.

The packaging graphics must work across all three existing bottle sizes:

•50ml (h. 120mm, dia. 35mm)•200ml (h. 216mm, dia. 45mm)•400ml (h. 270mm, dia. 52mm)

You’ll find the print area for each bottle size in the templates included in the online brief pack.

DeliverablesMain deliverable: Upload up to eight images showing your work.These should include artworked bottle designs (i.e. flat versions) for each of your four identities (for measurements, see the templates supplied).

Optional supporting material: Interactive work (websites, widgets, apps, HTML, etc.); physical material (prototypes, mockups, etc.); supporting information (up to 400 characters).



DeadlineEntries for this brief must be submitted by Wednesday 20 March 2013. Supporting objects must be received at D&AD offices by Wednesday 27 March 2013.

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Branding BriefBrief set by: NissanIn collaboration with: Interbrand

Build a new brand for Nissan’s sustainability range.

BackgroundThe automotive industry is growing, thanks largely to increased demand in emerging markets. But it still faces big challenges if it is to continue thriving in the future. Growing cities, shrinking living environments and increasing pressure on our time and resources are changing the way we think about transport. There are fundamental questions about the future role of vehicles in society.

Nissan aims to lead the market by appealing to a new generation. They aim to promote not just the benefits of individual products, but also the connected and technologically integrated products of today and the future. These will become positive lifestyle statements, which demonstrate sustainability and conscientiousness.

Creative ChallengeNissan want to launch a new lifestyle sub-brand that will hold its complete sustainable range of products. This could be a new line of Nissan vehicles, but is certainly not limited to that. In fact, the world that sits around the products and the way people use them will be just as important. We want you to create this brand and bring it to life in a range of connected new touch points that appeal to younger audiences.

In creating this brand, we want you to think about the following principles:•What’s your big insight? What need is

the brand addressing for its audience? How is it anticipating the needs of tomorrow? How is it (re)awakening the audience’s desire for Nissan’s products and services?

•How does the brand involve its audiences and encourage participation? How are you using social and digital channels to engage people in a dialogue? How will you keep people as active advocates who help create the future of the brand?

•How does the brand expression live and flex in different situations? What’s the personality?

Target AudienceYoung (18-34 years old) consumers in employment, either pre-family or with very young children. Let’s say from someone taking their first job, to the young couple with a baby.

Considerations•Consider how you could create a

series of touch points that are both online and offline experiences, which engage audiences and bring the idea to life in a connected manner.

•Decide if the touch points are products, services, or both, if they are channels or environments, behavioural hallmarks or comms (please include digital social concepts).

Mandatories•A new name that is a step beyond

the expected ‘green’ and ‘blue’ environmentally focused product worlds we see today. The name should work as an umbrella for the whole of Nissan’s sustainable product range, as well as pulling all the products together.

•A visual identity system that is both consistent and flexible.

•A tone of voice that brings the personality to life.

•A communication concept that introduces the idea to the audience in a compelling and distinctive way.

• It should be a sub-brand of Nissan, so use the existing Nissan logo and Shift_ tagline.







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Copywriting BriefBrief set by: RAB

Write a radio campaign that sells the power of radio as an attractive advertising medium. Show how well radio adverts can provoke an emotional reaction in their audience, whilst having significant impact as part of a campaign.

BackgroundThe Radio Advertising Bureau (RAB) is the marketing arm of the Radio Centre (the trade body for radio). It’s their role to get advertisers and marketers to see the unique and positive potential of this much-loved medium – making it a must-have for any successful campaign.

Creative ChallengeRadio has been proven to provide a significant emotional reaction to listeners, and research has shown that listening to the radio increases your levels of happiness more than any other medium. Current research on advertising effectiveness proves that adverts that provoke an emotional reaction are the most effective.

Utilising the personal relationship with radio that many Brand and Marketing Managers also have, convince them of the potential and success for their brand by putting more creativity into radio advertising. It’s often seen as fast and cheap, and many don’t see the unique and emotional connection formed with the platform.

Considerations•How can radio advertising be listened

to in a new way? Get advertisers excited about the potential of the medium. Don’t just consider classic radio advertising spots. How else can you engage the listener?

•Britain Loves Radio is the RAB’s strapline for this campaign.

Target AudienceBrand and Marketing Managers – people who look after brands, plan media spend and decide how, and where, a brand will be seen and heard. They’ll be creatively engaged and regular radio listeners.

MandatoriesWrite a script, or scripts, that work as part of a campaign. They can be of any length. You are not bound by 10’, 30’, or 60’ time lengths as radio is an exceptionally flexible medium. Include as much detail as you like about how you would execute / make these scripts.

DeliverablesUpload each script as a PDF.



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Digital BriefBrief set by: BBC

What does it mean to be ‘alive’ online?

BackgroundThe BBC is the world’s leading public service broadcaster. Its mission is to enrich people’s lives with programmes that inform, educate and entertain.

BBC Online is unparalleled in delivering content and services beyond the expectations of its audience across ten products (BBC Homepage, Search, News, Sport, Weather, Knowledge & Learning, CBeebies, CBBC, iPlayer and Radio & Music) and four screens (Connected TV, Desktop, Mobile, and Tablet).

Traditional broadcasting uses ‘live’ as an output to connect the audience to events as they happen. Digital technology allows a ‘live’ output to become much more dynamic, multi-faceted and responsive, ie ‘alive’.

BBC Online also presents the broadcaster’s output through continuous access, with live updates, catch-up services and archive information all in one place. BBC Online want their service to be ‘alive’ to new information and for the context of their audience – mixing curation and participation.

Creative ChallengeHow might we turn otherwise static websites into pages that feel updated, dynamic and relevant? How should live updates sit alongside our archive and connect to the rest of the BBC’s content? The London 2012 Summer Olympics, the UK riots in 2011, Glastonbury Festival and the recent US election are all great examples of specific events that have been enriched by a multi-faceted live element – coming alive across all platforms, for all audiences.

Considerations• Consider the different audiences of

the BBC. What are the specific user needs and desires? Think about their key products and screens. Are there any common needs across multiple products?

• Will your idea be tailored to a particular audience or will you create a more ubiquitous solution that encompasses everyone’s experience?

• What are the different levels of audience participation and interactivity? E.g. social media, apps or second screen experiences.

• Think about current and future trends. Who will the BBC’s competitors be in five years’ time? What technologies will be available? How might audience behaviour have changed?

• Consider creating a service blueprint that brings to life how your proposal will work across different user journeys, screens, BBC products, and with editorial teams etc.

Target AudienceThe target audience for the BBC is very broad – you will need to consider how a large variety of people will engage with your idea.

MandatoriesThere is no need for code, just compelling communication of your vision. Include a convincing rationale that explains your focus and design decisions.


Optional supporting material for presentation film: Up to four images; interactive work (websites, widgets, apps, HTML, etc.); supporting information (up to 400 characters).

Optional supporting material for images: Interactive work (websites, widgets, apps, HTML, etc.); supporting information (up to 400 characters).




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Digital Advertising BriefBrief set by: Yamaha

Digitally bring the Yamaha story to life.

BackgroundYamaha is celebrating 125 years of passion and performance. They produce a variety of musical instruments and audio equipment, whilst brother company, Yamaha Motors, produce motorcycles and boats.

Creative ChallengeCreate a campaign using digital media that generates global brand awareness for Yamaha’s full range of products. They want you to develop a digital platform, product, service, or idea that engages people through new methods of online advertising.

Yamaha believe that through the collaboration of musician and instrument, or rider and bike, passion and performance is harnessed – although their products are different, the audience attitude remains the same.

Yamaha believe in the power of play, choosing to call its audience ‘players’ rather than consumers or customers. You should develop this interactive approach to tell their story. They would like you to create a digital idea that immerses new players – those who are young at heart – in the Yamaha world.

Considerations•Yamaha’s company philosophy is

‘Kando’ (can-doh); a Japanese word that signifies an inspired state of mind.

•Make it digital, but the idea should ultimately be able to live across all channels.

•Consider the role of sound in your idea.

•Yamaha is a global brand; ensure your idea can travel.

•Yahama’s tone is energetic, passionate, active and celebratory.

•Where will your idea live? How will you reach your audience?

•Consider how your idea could also be featured on the Yamaha website – space on the homepage will be available.

•This is a brand awareness challenge. Your response needs to activate Yamaha’s Kando spirit and notion of passion and performance. The long-term player objective is to place the Yahama product in their hands.

Target AudienceAmateur musicians or riders with a passion to find their own way to play.

Mandatories•Research and immerse yourself in

the Yamaha brand in order to tell its story through the digital opportunities currently available.

•Your solution should not add to the pollution and noise of digital advertising. Create something useful, meaningful and enjoyable.

• Include a banner to feature on the Yamaha homepage (h. 250 pixels, w. 938 pixels).


Optional supporting material for presentation film: Up to four images; interactive work (websites, widgets, apps, HTML, etc.); supporting information (up to 400 characters).

Optional supporting material for images: Interactive work (websites, widgets, apps, HTML, etc.); supporting information (up to 400 characters).




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Graphic Design BriefBrief set by: V&A

Explore the ‘Albertopolis’ and design a hoarding for the V&A’s Exhibition Road redevelopment.

BackgroundThe V&A is the world’s greatest museum of art and design. Housing a permanent collection of over 4.5million objects, the V&A spans 5,000 years of art from around the world. It delivers an unrivalled experience and provides access to its collections, both physically and digitally, to a diverse audience. The V&A promotes and contributes to the UK creative economy by leading the field in debate, commissioning excellent design and stimulating enjoyment and appreciation of art, design and performance.

Located in an area dubbed the ‘Albertopolis’, the V&A’s Exhibition Road redevelopment is creating a purpose-built underground gallery designed by Amanda Levete Architects (AL_A). The redevelopment will provide amazing new spaces for the V&A’s internationally renowned programme of temporary exhibitions; reveal a magnificent courtyard space; which has never been seen by the public, and create a new entrance from Exhibition Road on the west side of the museum.

Creative ChallengeWork will begin on the redevelopment in 2013 and will open to the public in 2016. While the work is being undertaken, a hoarding will be erected around the site to shield the building works and inspire the public.

Your brief which to imagine a design for the hoarding, inform the public about the redevelopment and also reflect the local community and history of the cultural quarter. This is a large scale piece of visual communication for the museum. It needs to work hard to build anticipation around the project and increase audiences by encouraging people to visit the museum. How could your idea help to achieve this?

Considerations•Work within the technical parameters

outlined below. The idea should work within the graphic design / illustration and should not include designs for the structure of the hoarding.

•The V&A has a treasure trove of visual artefacts. Think about how material from this collection could be used to support your idea.

•Consider the local communities within the area. Exhibition Road, located in the Royal Borough of Kensington and Chelsea, is home to other cultural institutions as well as a diverse residential population.

•The hoarding will be displayed for three years, so consider the aspect of time and how this may impact on your idea.

•This project aims to combine the V&A’s Grade 1 listed building with contemporary design, so you could consider how digital and social media could be used to support the hoarding.

Target AudienceCreative industry professionals, students, families, schools, adult learners and community groups.

Mandatories•The design must include the V&A logo.•Technical parameters for the hoarding:

Surface: Di-bond aluminium panels. Hoarding size: 70m wide x 2.5m high.

DeliverablesMain deliverable: Upload up to eight images showing your solution.

Optional supporting material: Interactive work (websites, widgets, apps, HTML, etc.); physical material (prototypes, mockups, etc.); supporting information (up to 400 characters).




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Make Your Mark BriefBrief set by: D&AD

Make your dream job a reality.

BackgroundWith hundreds of thousands of advertising and design students graduating into the worldwide job market, it’s important, now more than ever, that you harness your creativity and learn how to market yourself.

Creative challengeSo, picture your dream employer. If you were given a ‘once in a lifetime’ chance to impress them, how would you do it?

Your idea may challenge the very foundations of creativity as we know it, or simply be a vehicle to demonstrate exceptional craft, skill and passion.

Develop your very own creative pitch that opens doors, makes you stand out and engages your chosen client in such a captivating way that they want to see and know more.

Considerations•Think about why you are different and

what makes you special.•Consider which agency / brand/

studio / individual you’d love to work with. Whose work do you most admire?

•Research the culture of the company or personality that you are trying to be noticed by and tailor your response accordingly (impassioned targeting).

•How do you connect with both heart and mind? People like working with people they know. How do you portray a sense of self? E.g. the founders of innocent run the van test – only hiring those they could happily spend an entire day with, driving around selling drinks, as they did in the early days.

•Have an opinion: agitate, inform, inspire.

•Avoid clichés.

MandatoriesYour idea must be reflective of your skills and portfolio.Include a link to your portfolio and contact details.

DeliverablesMain deliverables: Upload a presentation film of your work (max. 2 mins) or up to eight images showing your work. Also submit a link to your portfolio and contact details (you can provide a URL online).






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Moving Image BriefBrief set by: Channel 4In collaboration with: MPC

Create a motion graphic ident for 4seven, Channel 4’s new to air channel.

Background Launched in July 2012, 4seven is the destination for Channel 4’s most popular and talked about shows from the last seven days. Channel4 will schedule 4seven with the content that’s creating the most noise amongst social media, bloggers and commentators.

The new 4seven channel will give viewers who missed the first live broadcast of Channel 4’s most popular shows the opportunity to catch-up with them over the next seven nights.

With so much choice out there, Channel 4 wanted to make sure that there are as many opportunities to watch their shows as possible. Viewers are increasingly saying that they sometimes miss the best stuff, despite their personal video recorders (PVR) and video on demand (VOD).

4seven is a catch up service that automatically selects shows from the last seven days and has the added convenience of being on television. So no more logging in, buffering, or searching for another remote.

Creative ChallengeChannel 4 and MPC want you to create a motion graphics ident that represents this innovative new way of programming.

Considerations •The buzz created online that drives the

channels programming needs to be incorporated into the look and feel of the channel / ident.

•Logo: You can either follow the existing 4/7 brand representation or create a new style for the logo. You can also go as far as stylising the logo as “4/7”, “4seven”, or similar.

•A fresh, innovative approach to the overall creative idea, design and animation is required.

•You should avoid photo real CGI and stock footage.

Target Audience 16 - 34 year olds.

MandatoriesThe ident must be no more than 15 seconds in length.•Responses must be in the form of a

final film along with reference imagery.

•Responses should consider that the final ident will be produced with Mac-based software such as After Effects, Cinema 4D and Photoshop.

•You should not base your work on the existing creative idea of the current idents.

DeliverablesUpload your ident as a film (only one ident per entry).Upload your reference imagery either in the form of a presentation film (max. 1 min) or up to four images.

Keep any text on images to a minimum; supporting information (up to 400 characters) can be entered online.



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Open BriefBrief set by: Department of HealthIn collaboration with: Dare

Burning calories should be as fun as eating them.

BackgroundThe issue of weight gain is a global problem. For example, almost half of the people in the UK are either overweight or obese. This is because our lifestyles have changed: we used to hunt and farm, work in tough manual jobs and play outside. Now we sit at desks, or in front of the TV, increasingly craving fats and sugars but not necessarily burning them off.

Creative Challenge Your task is to create a campaign that is less about preaching the nutritional value of particular foods, but instead focuses on motivating children and adults to take part in regular physical activity. The target is to get kids exercising for 60 minutes a day and adults for 150 minutes a week. Your idea will need to change behaviour. It will need to get people excited about exercising. Considerations•Consider building your campaign

around an idea for an initiative, a programme or even a social movement.

•Make it interactive. How will you maintain a dialogue with your audience so they continue their exercise plan?

•Think carefully about feeling and tone. When they aren’t working, people want to spend time doing things they enjoy. Your idea must be enjoyable and positive.

Target AudienceEveryone. Although specific consideration should be given to low-income families who are under pressure to buy low cost, quick and easy to cook, convenience foods. This target group could be potentially consuming the most calories, whilst being unaware of the impact that a lack of physical activity can have on them.


Optional supporting material for presentation film: Up to four images; interactive work (websites, widgets, apps, HTML, etc.); physical material

(prototypes, mockups, etc.); supporting information (up to 400 characters).





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Open BriefBrief set by: Unilever

Exploit a brand’s power to make the world a better place.

BackgroundThe Unilever Sustainable Living Plan was set out in November 2010, in which they committed to a ten-year journey towards sustainable growth. Within the Plan, Unilever takes responsibility not only for direct operations, but for how their suppliers, distributors and, most crucially, their customers, use their brands. Go to www.unilever.com/sustainable-living/ to read the Plan in full.

Creative Challenge Create a positive social or environmental impact utilising the power of a Unilever brand. Choose from one of the following:

•Lipton•Marmite•Persil•Simple

Develop your idea with a focus on one of three objectives:

•Improving health and wellbeing•Reducing environmental impact •Enhancing livelihoods

You can take any approach to this brief; whether it be in the form of a product, service, experience, event, community group, communication campaign… Unilever are looking for any vehicle or channel that can be used to make a positive difference.

Considerations•Unilever are looking for something that

could feasibly be developed. You need to show how the potential would be realised, ie how it would be taken to market through materials, production, branding, advertising, marketing, etc.

•Consider forming an interdisciplinary collaboration to create a rounded entry, incorporating design, marketing, graphics, advertising, craft and business studies.

•Your idea needs to relate directly to your chosen brand’s values and audiences.

Target Audience Research your chosen brand’s target audience by visiting their website and other brand touch points.







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Open Craft BriefBrief set by: It’s Nice That

Promote It’s Nice That to students.

BackgroundIt’s Nice That is a publishing platform founded in 2007 by a student at Brighton University. Devised to champion creativity across the art and design world, It’s Nice That places emerging practitioners and famous names side-by-side.

It is eclectic and meritocratic in its choices – showcasing exciting and original work across graphic design, illustration, art, photography and more.

It’s Nice That exists in three platforms:•Online – The website is updated nine

times a day, and attracts 300,000 unique users a month.

•Print – The biannual magazine presents in-depth interviews and features, with a circulation figure of 10,000 copies per year.

•Events – The events programme includes conferences, workshops, talks and exhibitions, attended by anywhere from 15 to 500 guests.

Creative ChallengeIt’s Nice That’s audience has developed dramatically over the past few years – reaching everyone from freshers to creative directors. However, students have always been an integral part of the organisation’s DNA, and It’s Nice That now want new and exciting ways to stay engaged with their original audience.

It could be a poster campaign, a publication, an event, an app, or something so brilliant that no one has thought of it yet. How can they spread their commitment to showcasing great work in an information overloaded university world?

Considerations•Be ambitious, but mindful that It’s Nice

That is a small to medium business (SME). Make sure your response is reflective of the kind of budgets a business of this size can access.

•Consider their tone of voice. Any idea that you have should fit in seamlessly with their existing identity.

•Consider how you can connect It’s Nice That with a huge student population – both those who are aware of It’s Nice That, and those that are yet to discover it.

Target AudienceStudents studying on creative courses, or those studying other course disciplines but who are also culturally engaged.

MandatoriesWhatever your idea, your response should showcase your craft – whether that’s illustration, typography, photography, animation or film-making.






DeadlineEntries for this brief must be submitted by Wednesday 20 March 2013.Supporting objects must be received at D&AD offices by Wednesday 27 March 2013.

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Packaging Design BriefBrief set by: L’Artisan ParfumeurIn collaboration with: jkr

Re-envisage the L’Artisan Parfumeur brand for the 21st Century by creating a design solution for a new unisex range of scents.

BackgroundL’Artisan Parfumeur is a boutique fragrance house, founded in Paris in 1976 by perfumer-chemist, Jean Laporte. As the first niche perfumer, the brand broke the rules in the 70s by taking inspiration from unexpected places to create some of the most intriguing, singular and deeply personal scents in the world.

Creative ChallengeTraditional French fragrance houses are steeped in a rich history of style and imagery. L’Artisan Parfumeur wants to break with this convention. Their latest collection is uniquely based around bottled emotions. Your challenge is to showcase this range by breaking the rules of conventional perfume packaging.

There are four scents, each capturing a different human feeling:•Scent a: Passion and desire. Sex and

lust. Raw and physical.•Scent b: Perfect, sublime love. An

interior emotion.•Scent c: Excitement and fear.

Adrenaline, exhilaration and thrill.•Scent d: Elegant and dignified. Stormy

yet still.

Modernising the brand and taking on a more innovative approach to packaging are important next steps for L’Artisan Parfumeur.

ConsiderationsYou need to ensure that your design retains the quality, craftsmanship and authenticity that L’Artisan Parfumeur is known for.

•Consider how to balance the look and feel of the range with a variety of emotions.

•How can the packaging evolve L’Artisan Parfumeur’s brand?

•Consider if a range name is needed.•How is the perfume dispensed?

Step away from traditional perfume packaging or material conventions if you wish.

Target AudienceDiscerning shoppers looking for a unique perfume experience. It’s not about age, but about a mindset (unique, exuberant, evocative).

MandatoriesThe jury is interested in the creative process that led to your final idea. This can be hand sketches or alternative design directions you explored before selecting your final route.•Show designs for both graphics and

structure across the four scents. •Show pack elements / supporting

materials to bring your idea to life.•Create a name for each fragrance.•Bottle and pack designs for each

of the four scents should be shown as a range and rendered on a white background.

•Show mood boards / inspiration materials for your concept.

DeliverablesMain deliverable: Upload up to eight images showing your solution. Optional supporting material: Physical material (prototypes, mockups, etc.); supporting information (up to 400 characters).



DeadlineEntries for this brief must be submitted by Wednesday 20 March 2013.Supporting objects must be received at D&AD offices by Wednesday 27 March 2013.

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Photography BriefBrief set by: Dazed & Confused

Create a portrait of contemporary youth.

BackgroundFor 20 years Dazed & Confused magazine has been at the forefront of youth culture. Defining the times, each issue showcases agenda-setting editorial and pioneering fashion photography. Based in London, but created by an international collective of writers, image-makers and stylists, it is quite simply the most influential and successful independent magazine title on the planet.

Founded in 2006, Dazed Digital celebrates innovative and creative ideas through films, mixtapes, previews, fashion shoots and interviews that are exclusive to the website. Working closely with the monthly print edition and its worldwide network of contributors, Dazed Digital publishes a daily cultural snapshot from around the globe.

Creative ChallengeIs culture drowning in a sea of visual mediocrity? Are truly iconic images devoured and disregarded in a relentless and unstoppable stream of click-consumption? In 10 years, which images from today will stand the test of time? Which will define our generation?

Dazed & Confused magazine want you to create your own portrait of contemporary youth. A single image that will be just as relevant in a decade. An image that captures this period of time, with determination and attitude.

Shoot your friends, your peers. Capture reality, fantasy, people with interesting stories, people with great ideas. Something real. Avoid the clichés. Seize the chance to define the visual language of your world in 2012 / 13.

ConsiderationsAs with any photographic commission, you should consider the context your work will appear in. The same brief might be interpreted very differently for another publication. You should familiarise yourself with Dazed & Confused and dazeddigital.com to ensure the tone of your submission is relevant to the audience.

Target AudienceDazed & Confused and its website, dazeddigital.com, are read in print, online and on mobile by over 500,000 style leaders.

DeliverablesUpload one image. Entries with more than one image will not be considered. Do not include explanatory text on your image; supporting information can be entered online.



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Product Design BriefBrief set by: Oakley

Take Oakley to the leadership position in everyday cycling performance by designing a range of products for cyclists and urban commuters.

BackgroundCycling is undergoing a renaissance. On one hand, raised health awareness, more expensive public transport, and decreasing disposable incomes, mean that more people are taking to their bikes for everyday trips. On the other, the popularity of road and track cycling – exemplified by the 2012 Olympics – means that performance bikes, accessories and apparel have become aspirational ‘must-haves’ for a new generation of cycling aficionados.

As these two trends collide, a demand for increased performance has trickled down to the everyday cyclist, or urban commuter, wishing to embed cycling more seamlessly into their work-life-leisure routine. With a history of developing high performance eyewear for cyclists, including many Tour de France winners, Oakley now wishes to expand its cycling offering.

Creative ChallengeOakley has identified an opportunity to take a leadership position in ‘everyday cycling performance’. They want to bridge the gap between style and function with a range of cycling apparel / accessory products.

Your challenge is to envisage how Oakley could target this new space by developing a new product for this range that embodies the brand’s design philosophy, is relevant to the category and that will resonate with cyclists.

Understand the Oakley brand and design philosophy and analyse the cycling apparel and accessories market. Understand real cyclists’ everyday performance needs and prioritise which cycling products Oakley should focus on.

Considerations•Who are everyday cyclists and urban

commuters? Spend time with real cyclists outside of your normal social sphere. What are their cycling routines and bike ‘user journeys’? What does performance mean to them? What unmet needs do they have?

•What will the future of everyday cycling be like? What are the performance and functional benefits of your design?

•Consider innovations in materials and product technology as a key source

of inspiration. Which existing Oakley technologies, materials / techniques from other categories, or potential future technologies could Oakley utilise?

•Safety and visibility is paramount on urban roads. Ensure you have considered this as an inherent aspect of your design.

•All designs must embody ‘Beyond Reason’ and the Oakley design philosophy. They should clearly communicate ‘Oakley’ through the proposed forms, colours, materials and finishes, even without a logo present.

•Consider the Oakley logo style (either for performance or heritage, not both) and its placement.

•Consider how your product could be developed into a range.

•Cross collaboration between fashion and product design students is encouraged.

Target AudienceEveryday cyclists and urban commuters, both male and female.

Mandatories•Create one apparel or accessory item.•Any apparel-based concept should

be born out of a product design innovation.

•Do not design shoes or hardware items such as helmets.

DeliverablesMain deliverable: Upload a presentation film of your work (max. 2 mins) or up to eight images showing your solution.Optional supporting material for presentation film: Up to four images; physical material (prototypes, mockups, etc.); supporting information (up to 400 characters).Optional supporting material for images: Physical material (prototypes, mockups, etc.); supporting information (up to 400 characters).




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Spatial Design BriefBrief set by: Holiday InnIn collaboration with: IHG

Design a check-in experience for a Holiday Inn hotel that is positive, welcoming and distinctive.

BackgroundSince 1952, Holiday Inn Hotels and Resorts have provided the services business travellers need, while also offering leisure travellers a comfortable, casual atmosphere where they can relax and enjoy a range of amenities.

You’ll find them throughout the world – in small towns and major cities, along quiet roadways and near bustling airports – because Holiday Inn hotels are always conveniently located.

Creative ChallengeThe check-in experience can be tedious and lengthy. How can you transform this into a positive experience for guests? Holiday Inn would like an overall design solution that provides a holistic experience to make better use of guests’ time.

Consider how other industries say ‘hello’, and how having to wait could be something that guests actually enjoy and even look forward to.

ConsiderationsAs one of the most recognised hotel brands in the world, Holiday Inn needs no formal introduction – it strives to be welcoming, reliable, innovative and sociable, and these values should be manifested in the check-in experience.

The Holiday Inn brand wants people to enjoy every part of staying at their hotels. The check-in experience should be more than a mandatory requirement; they would like it to become something that could conceivably encourage loyalty to the chain.

Consider different guest types and needs. Currently there are a number of relatively universal steps within the standard check-in process, all of which you may consider transforming as part of this brief. Additional information on the traditional view of check-in is available in the Brief Pack.

As you consider the re- invention of the check-in process, you should take into account how this will impact the spatial design, service design and product design of the environment.

If you design and develop an app, they’d

like to see this as part of a solution, rather than the sole deliverable.

Target AudienceBusiness and leisure travellers.







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D&AD Student Awards 2013 Formatting Your Entries

Region / Format Aspect Ratio Resolution Frame Rate Bitrate File Format Codec

HD 1080p /1080i 16-9 1920 x 1080 25-30 fps 15-25 Mbps MPEG2/MPEG4 or MOV H264 or MPEG2

PAL 4-3 720 x 576 25 fps 8-15 Mbps MPEG2/MPEG4 or MOV H264 or MPEG2

PAL 16-9 1024 x 576 25 fps 8-15 Mbps MPEG2/MPEG4 or MOV H264 or MPEG2

NTSC 4-3 720 x 480 30 fps 8-15 Mbps MPEG2/MPEG4 or MOV H264 or MPEG2

NTSC 16-9 1024 x 480 30 fps 8-15 Mbps MPEG2/MPEG4 or MOV H264 or MPEG2

Accepted Formats

MPEG2 / MPEG4 and MOV

All entries must be submitted digitally via our entry site. The deadline is Wednesday 20 March 2013. The entry site will be open from Monday 18 February. Certain briefs also allow you to send physical supporting material – this needs to reach us by Wednesday 27 March.

Things you must do:

Stick to the formats and specs listed below, or your work won’t be accepted.

Provide a title for your entry. This should be unique to your response, not simply the name of the brief. This can be supplied online.

Make sure that your main deliverable(s) clearly, and effectively, present your idea and execution. Judges will view these first, and then look at any supporting material if they wish.

Things not to do:

Don’t include your name, or the names of your teammates, tutors or college anywhere in your entered work, or in file names. This is to ensure that work is judged anonymously and fairly. If names or credits are visible, or audible, in any deliverables we may ask you to resubmit them, or we may remove them from the work ourselves. The exception is the Make Your Mark brief.

Don’t submit video, image or audio deliverables via email, on data discs, contained in zip files, or hosted on websites. These must be uploaded through the entry site. URL deliverables are only accepted where the website itself is part of the entry. Zip files are only accepted for interactive work, HTML, websites, widgets or apps. PDFs are only accepted for the Copywriting Brief.

Videos

• Presentation films (max. 2 minutes); executions of moving image work, TV ads, etc• Formats accepted: MPEG2 / MPEG4 and MOV• Maximum file size: 500mb

Your media must come from an uncompressed format (eg Beta, MiniDV or DVCam).

Do not add a clock or slate at the start of your film.

Your file must be multiplexed with audio and video in one single file.

D&AD Student Awards 2013 Formatting Your Entries

Images

Image format: JPEG (PNG, GIF, and PDF files will not be accepted)• Image resolution: At least 300dpi• Colour mode: RGB• Minimum image size: 15cm on the longest axis• Maximum file size: 4mb• Image orientation: Images will be viewed on screen so landscape is preferred. However, portrait is fine too, if

that’s more appropriate.• Text in images: Keep any explanatory text in images to a minimum – supporting information should be entered

online.• If you are including text, use a clear font (eg Arial) at a decent size (at least 12pt). As a rule of thumb, it should

be easy to read if the image is viewed full-screen on an average laptop.

Interactive work

HTML, websites, widgets, apps, etc.

Interactive work must be Chrome compatible.

If the work is available online, submit as a URL.

If you are not able to host the work online, submit a ZIP folder containing all the necessary files:• When you complete the online entry form, you’ll get an entry number.• Use this as the name for the zip folder itself, and at the start of file names for the root folder, index file, and

Flash or Shockwave files.• Submit websites in their entirety, as Chrome compatible HTML projects.• Submit Flash and Shockwave projects embedded in HTML.

Audio files

Executions of radio ads, etc.• File format: MP3, Sample size: 16-bit, Sample rate: 44100khz, Maximum file size: 10mb• File extension must read .mp3• Do not include audio introductions or presentations

Physical work

Prototypes, mock-ups, 3D models.• Physical work is only accepted as supporting material, and only if specified by the brief.• All entries will initially be judged online to produce a long-list for the main judging event. Judges will only see

physical work if the entry makes the long-list based on its main digital deliverable.• Download labels for physical work from the entry site. Fill them in and attach a completed entry label to the

back or base of each object. Package together and attach a completed postage label to the package.

For more information, visit www.dandad.org/studentawards Or if you have any questions, email us at [email protected]

Scripts (PDF)

For radio ads.• If you have more than one script, upload each one as a separate PDF. Do not combine them all into one

document. • Use a clear font (eg Arial) and 12pt text.

D&AD Student Awards 2013 Terms & Conditions

The contest is organised by D&AD, registered offices Britannia House, 68-80 Hanbury Street, London, E1 5JL. By entering the contest entrants agree to comply with these rules.

Eligibility CriteriaOnly full or part time students enrolled on recognised undergraduate, postgraduate or Higher Education courses, anywhere in the world, are eligible to enter (HND, BTEC, BA, BSc, MA, MSc, MD or equivalent are all recognised).

There is one exception: the ‘Make Your Mark’ brief. As well as students, this brief is also open to recent graduates, and to those under the age of 26. To be eligible for this brief, non-student entrants must have graduated from a recognised course of study after 20 March 2011, or be under 26 on 20 March 2013.

1. Entering the Contest1.1 Entry is open to individuals working alone or groups of up to five persons working as a team.1.1.1 All members of a team must fit the eligibility criteria outlined above. 1.2 Entrants should register on the D&AD Site (www.dandad.org/studentawards) download a brief, generate a response to that brief (“the Response”) and submit their work in accordance with the deliverables as laid out in their chosen brief and in the accompanying ‘Formatting Your Entries’ document. All team members and tutors involved with the entry project must also register on the D&AD site.1.3 Entrants can download and respond to as many briefs as they wish; they may also submit more than one Response per brief. Each Response is considered a separate entry and will need to be accompanied by the relevant fee.1.4 All Responses must be the original work of the entrants. Entrants who incorporate any images, writing, music, or other creative material belonging to someone else must obtain the other party’s permission. Entrants may be asked to evidence their ownership of the Response and should keep dated records of all working materials.1.5 The entry fee must be paid for every submitted Response. In order to qualify for the discounted entry rate for D&AD Members, no membership fees should be outstanding at the time of entry.1.6 All Entries must be submitted via our online entry system. Physical entries may be submitted as supporting material only.1.7 In order to assist D&AD in promoting the winning work after judging, all entrants are asked to provide or con-firm credits for each entry. These must include:(a) Full names of entrant(s)(b) Full names of tutor(s) (as applicable)(c) The name of their college or university (as applicable)1.8 D&AD accepts no responsibility for lost or undelivered entry material. Proof of postage does not guarantee that work has been received by D&AD. 1.9 All entries must be created, uploaded and paid for by the closing deadline, Wednesday 20 March 2013 at 5pm GMT.1.10 D&AD is under no obligation to refund payments made for either individual Entries or groups of Entries. Under the circumstance of technical error it is at the discretion of D&AD to refund payments.

2. Sponsors’ Logos and Names2.1 Sponsors may submit their own branding or that of the sponsors’ clients for the purpose of inviting Responses. All rules relating to the sponsors’ branding apply equally to the sponsors’ clients’ branding.2.2 All sponsors operate strict controls on the use of their names, trademarks and logos. Any misuse of sponsor brands by an entrant will lead to the disqualification of all that entrant’s Responses and may expose the entrant and D&AD to legal claims.2.3 By submitting a Response, entrants agree to use the sponsor branding only in accordance with these terms and conditions.2.4 The sponsors permit entrants to use the submitted branding for the sole purpose of responding to the brief sponsored by that sponsor.2.5 Entrants may:2.5.1 only use sponsor branding on Responses submitted to the D&AD Student Awards 2013;


2.5.2 include a submitted Response in their personal portfolio in exactly the same format as that submitted to the D&AD Student Awards 2013.2.6 Entrants must not:2.6.1 use sponsor branding on any other material or for any other purpose;2.6.2 upload their submitted Response to any online location before the nominations have been announced, whether as part of an open or access-restricted site, unless all sponsor branding is first removed from the uploaded version of the Response;2.6.3 denigrate sponsors or sponsor branding, subject sponsor branding to derogatory treatment or otherwise bring the sponsor and /or its brands into disrepute;2.6.4 do anything to suggest that the entrant is endorsed, associated or otherwise affiliated with the sponsor;2.6.5 provide or make available sponsor branding to any third party for any purpose.2.7 For the avoidance of doubt, the sponsors for the D&AD Student Awards 2013 are as listed on the briefs page of www.dandad.org/awards/student/2013.2.8 For the avoidance of doubt, the sponsor clients for the D&AD Student Awards 2013 are as detailed on the individual briefs.2.9 Entrants who submit a Response that contains any trademark or logo, or other branding other than those specifically submitted by the sponsors, may be asked to re-submit their work without such branding.

3. Ownership of Your Work3.1 Entrants retain ownership of their Responses submitted into the contest, but where such work incorporates sponsor branding entrants may only use the work in accordance with the sponsor guidelines. Entrants may remove sponsor branding from their Responses, after which they may use such Responses at their own discretion.3.2 By submitting a Response, entrants grant D&AD and the relevant sponsor a non-exclusive licence for the duration of copyright protection to reproduce or distribute a reproduction of their entry in all media in order to promote, or act as a historical record of, the D&AD Student Awards or D&AD as an organisation or a sponsor’s involvement with the D&AD Student Awards; or as part of any D&AD publication (whether online or offline).3.3 Entrants agree that, should a sponsor wish to develop or use a Response for commercial purposes, the entrant will enter into negotiations with that sponsor to agree terms for such development or usage before negotiating with any other party in relation to the Response. We refer to this as the First Negotiation Agreement. The First Negotiation Agreement will remain in operation from the date of submission of a Response until one week after the Awards Ceremony. Initial contact between entrants and sponsors will be facilitated by D&AD only. Entering into a First Negotiation Agreement does not constitute a guarantee that either party will reach a final agreement.3.4 D&AD advises all entrants to obtain independent legal advice in respect of any agreements being discussed between sponsor and entrant.

4. Judging the Contest4.1 D&AD will appoint a jury that shall be composed of judges who, in D&AD’s sole discretion, have the appropriate qualifications to judge the work. Responses will be considered in accordance with D&AD’s selection criteria. These are:(a) An excellent creative idea; (b) Excellent craft or execution; (c) Answers the brief.4.2 Each jury will award a select number of the Responses whom the jury considers, in its sole discretion, to be the best Responses. The Award levels are as follows:(a) Best of Year: A shortlist of Responses to act as a record of the best of the year.(b) Nomination: Chosen from the Best of Year shortlist. (c) Student Yellow Pencil: Chosen from the Nominated Responses. (d) Student of the Year: Selected from the Student Yellow Pencil winners across all categories. 4.3 The jury is not limited in the number of Responses it can award, and similarly there is no guarantee that a jury will grant an award in a category, if they do not feel that work is of the standard required.


4.4 The jury has the right to edit pieces submitted as part of a Response and to ask for only certain parts of the Response to be displayed or promoted.4.5 General feedback will be gathered from the jury. This will be available to view on the D&AD website when the winners are announced. Individual feedback will not be available.4.6 If D&AD is made aware of any concerns that a Response does not constitute the original work of the entrant, then in the first instance, D&AD will contact the entrant and will ask for copies of any notes or drawings which evidence the entrant’s assertion to be the creator of the work. D&AD will also contact credited tutors for further information. Where possible, D&AD will consider the evidence gathered and decide whether to allow the Response to remain within the contest or to remove it. D&AD’s decision is in its sole discretion and is final.

5. Prizes5.1 The prizes to be awarded are as follows:(a) Best of Year: A certificate, a year’s free membership of D&AD, winning work featured on the D&AD website, work exhibited at D&AD events, the right to use the relevant D&AD Student Awards Pencil Mark.(b) Nomination: As Best of Year, plus eligibility to apply for a place on the Graduate Academy.(c) Student Yellow Pencil: As Nomination, plus Student Yellow Pencil, winning work featured in the D&AD Annual.(d) Student of the Year: As above, plus £2,000 cash prize (to be shared between Student of the Year winners).5.2 Student Yellow Pencil winners will be eligible to apply for a portion of a travel and accommodation fund of £10,000 for the attendance of at least a single representative from each team at the prize giving ceremony. 5.3 Where more than one person has created the Response, the team can divide their share of the travel fund to subsidise costs for each member attending, or select a single member to be funded for travel and accommodation.5.4 Winning tutors will also be recognised within the awards and will receive a certificate. 5.5 Winning Responses will be promoted to the creative industry via D&AD’s website; through press releases; and any other means deemed appropriate by D&AD. In addition, all winners will be eligible to display their portfolio on the Talent section of D&AD’s website.5.6 Placements, and other prizes unique to each brief, may be awarded at the discretion of the sponsor with guidance from D&AD. In the event of a team being chosen, it is at the sponsors’ discretion to amend the offering to cover all, or a single team member.

6. Return of Materials6.1 Physical supporting materials will only be returned if a return request was made before Wednesday 27 March 2013.6.2 Where a return has been requested, entrants will be contacted by D&AD after judging to arrange the date, time and method of return. 6.3 In the event that the return of material is not requested at the time of entry, the work will be stored by D&AD until no longer required for judging, or for the promotion and display of winning work. After this time, it will be destroyed or recycled where appropriate.6.4 In the event that a return is requested, but the entrant does not collect or arrange collection of their work when contacted by D&AD, the work will be stored for 30 days from the date the entrant was contacted. After this time, it will be destroyed or recycled where appropriate.6.5 D&AD is unable to guarantee the safety of work entered and is unable to accept responsibility for the loss or damage of entries received. D&AD advises all entrants to retain a copy of their work for their portfolio.

7. General Points7.1 D&AD reserves the right to make changes to these Terms and Conditions, if necessary, from time to time.7.2 The Terms and Conditions are subject to English law and any dispute that is not resolved by consultation between the parties shall be referred to the courts of England and Wales.

For any enquiries relating to the D&AD Student Awards please go to www.dandad.org/contact-us or telephone: +44 (0)20 7840 1111.

NissanD&AD Student Awards 2013 Tutor Pack

Documents

Transcript of NissanD&AD Student Awards 2013 Tutor Pack