If this is your first time entering this year, review below or download the Applied Arts Awards Entry Kit. Some rules have changed.
The final deadline for Advertising is August 31, 2018.
We can grant short extensions, but we cannot guarantee one. Endeavour to have your entry finalized by the posted deadline date.
The contest is international and open to all forms of commissioned, published, unpublished and personal work from professionals and enthusiasts created between January 2017 and August 2018 (but not entries that have been submitted into last year’s competition). Only digital entries are accepted for this competition.
Can students enter? No. Students may enter the Student competition, which contains a number of advertising categories.
Do I need to get the rights of the subjects in my work? Although you do not need to send us a copy of release forms, we do suggest that you get them. If your work is chosen you will need to grant us the rights to reproduce the image or images for both our online and print publications, so you would most likely need to have these rights in place to protect yourself. Entrants that come back to us requesting we don’t run their winning work because they don’t have the rights will not be refunded for their entry. It is the responsibility of the entrant to ensure copyright is not infringed. Note that student work is often exempt from copyright rules.
Series (up to 3 pieces): $100
Entire Campaign (5 to 9 pieces submitted in the form of a campaign video): $175
Series (up to 3 pieces): $175
Online Campaign: $175
Integrated Campaign: $175
Series (up to 3 pieces): $75
Entire Campaign (5 to 9 pieces submitted in the form of a campaign video): $100
Interactive Advertising Single: $75
Interactive Advertising Series: $80
For the full list of Advertising categories, download our Applied Arts Awards Entry Kit.
Can I enter a piece in multiple categories? Yes. In your account on the My Entries home page, click “Copy” on any entry you have created. Or, after you’ve finished an entry, click “Submit in another category.” A duplicate entry will be created with all the same information. Be sure to change the discipline and entry category to the new one you want to apply to.
Which category does my entry belong in? Often the best way to understand a category is to see previous work that won in that category. Check our Winners Gallery for examples. If you still have questions regarding our categories or require assistance in selecting the appropriate category, contact firstname.lastname@example.org.
Is my entry a single or a series? A single means one piece, and series means you are submitting more than one piece of the same project to a maximum of three. A campaign, unless specified otherwise in the Applied Arts Awards Entry Kit, is five to nine pieces. If an entry contains more than the specified images, we will either contact you to split the submission into multiple entries, or choose which ones will be judged, so it’s best to stick to the indicated numbers for single, series and campaign.
What is the Young Blood category? Young Blood is a series of categories open only to entrants who have been out of school for a certain number of years or less (three for Photography and Illustration, and five for Design and Advertising). As with all categories, they are judged on creative excellence, technical merit and suitability for end use, but the jury takes into account the level of professional experience. You will be required to specify the name of the Young Blood entrant to qualify.
Once you pay for your entries, credits are FINAL.You can work on your entries, save and log out if you are still collecting credit information. Only proceed with payment once your credits and descriptions are complete.
We will reproduce these credits in the magazine and in our online winners gallery alongside your winning image(s). Credits are reproduced in the order that you specify. Review your credits and their sort order carefully! Only the first 6 credits will appear in print, whereas all of your credits will appear online. A sample credit entry is in the entry form on the My Entries page.
After the time of payment, credits will not be changed so please carefully review titles, spellings and contact information.
Judges & Scoring
As of 2018, all Applied Arts Awards programs are judged online. We no longer accept hard copies for any competition.
Applied Arts contests are judged by panels of highly regarded industry professionals and experts in a rigorous process. Every entry is scored independently on creative merit, technical excellence and suitability for end use. Discussion is not permitted and judges must abstain from voting for their own work. Entries that meet our pre-determined cut-off score are published.
Executive Creative Director
Katie started her career over 20 years ago at Cossette in Toronto as a wide-eyed junior writer. Since then, she enjoyed successful stints at BBDO, Y&R, TBWA, Rethink and GREY before returning to her roots. With the ability to bring strategies to life in honest and unexpected ways, Katie has earned industry accolades from The One Show, Cannes, Communication Arts, The ANDY Awards, Marketing, Applied Arts, ADCC Awards and more.
Executive Creative Director
New York, NY
Justine Armour came to 72andSunny New York in 2016, joining the team to win the General Mills pitch and subsequently leading the Cheerios, Nature Valley and Yoplait accounts. Now, as executive creative director, she leads the creative department and works across General Mills, Smirnoff, Axe, Seventh Generation, Trojan and new business. Prior to moving to NYC, Justine was the creative director at Wieden+Kennedy in Portland, Oregon. For over 20 years, she has worked in the USA and across Australia, including at Publicis Mojo Sydney where she made celebrated work on Boag’s and Hahn beers. Justine attended Queensland University of Technology but grew up in Adelaide, South Australia, and has lectured at Queensland University, Bond University and Award School NSW. She has been a judge (and winner) at Cannes, Clio and various other shows.
Partner & Chief Creative Officer
Etienne’s campaigns have won numerous prizes, both at a local and international level, including a prestigious Bronze Lion at Cannes in 2010 for Volkswagen in the film/car category. Combining creative strategy and strategic creativity like few can, Etienne is a natural leader who preaches by example and knows how to surround himself with the best. He loves complex projects and his quick wit allows him to quickly understand a brand’s context and needs.
Managing Director + Executive Creative Director
Martin has been working in the advertising industry for over 23 years. As a copywriter and creative director for agencies such as Cossette, BBDO, Ogilvy Montreal and Bos (DentsuBos), and as a freelancer, he created notable and rewarded campaigns for local and national brands, such as Nissan, IKEA, Boston Pizza, Scotts, Kraft, Egg Farmers of Canada, Pepsi, Labatt, Réno-Dépôt, VIARail and Winners, among others. In 2015, he joined UNION to open and lead its new Montreal operation as managing director and executive creative director.
Marie-Eve has been working in marketing, design and publishing for 15 years. In 2008, while at digital agency CloudRaker, she launched LakeJane.com, a lifestyle blog that earned an international fan base and established her as a leading Canadian stylist and design expert. In 2014, Marie-Eve became the creative director for digital marketing consultancy U92, where she spearheaded creative digital strategies for brands such as Pabst Blue Ribbon and Reitmans Canada. She joined Bleublancrouge in 2016, and oversees creative for national accounts, including beauty retail giant Sephora Canada and Sico Paints.
Executive Creative Director
Trent oversees the creative output for McCann offices in both Calgary and Vancouver. Prior to McCann, Trent was at WAX, where he was founding partner and creative director. With more than 20 years of experience at Canadian agencies including TAXI and Ogilvy, Trent has produced award-winning campaigns for clients including WestJet, Bayer CropScience, TELUS and Honda. Trent has garnered both creative and effectiveness awards both at home and abroad including The One Show, Clios, London International Awards, ADCC, Marketing, Applied Arts, The Crystals and Communication Arts. Trent’s work has also earned him a coveted black pencil from D&AD.
Group Creative Director
As group creative director and as an art director at Leo Burnett Toronto, Anthony has a made a name for himself as one of the most prolific creatives in Canada. His work has been recognized in just about every international show including D&AD, Cannes, The One Show, ADC, Communication Arts, LIA and Clios. In 2009, The Gunn Report ranked Anthony sixth in the world and his Cannes Gold Lion–winning campaign for James Ready Beer as the top out-of-home campaign. In 2015, his follow-up video to the #LikeAGirl campaign got more than 90 million views from around the globe while his TSN outdoor campaign promoting the Rogers Cup was among the most awarded billboard campaigns in the world. In 2017, Anthony's IKEA “parchment paper” execution racked up multiple golds in Cannes, adding to his tally of more than 100 international awards, including a Grand Clio.
Emma de la Fosse
Executive Partner, Chief Creative Officer
Emma de la Fosse is the chief creative officer for Ogilvy UK. She is also the global creative director on Kimberly Clark and EY. Prior to her time at Ogilvy, Emma worked in advertising for 11 years, creating brand campaigns in TV, print and radio for a wide range of clients including London Transport, Michelob beer, Thomas Cook, Del Monte, and Hertz and the Department of Health. Upon coming to Ogilvy, Emma spearheaded the charge to improve creative standards in direct & digital campaigns across the industry and in particular at Ogilvy. This effort saw the agency win more major awards than any other UK direct or digital agency, picking up accolades from D&AD, Cannes, One Show, Campaign BIG Awards and the DMAs. However, Emma’s efforts don’t exist solely within Ogilvy’s walls. She is a passionate supporter of Creative Equals, helping to shape a diverse and inclusive creative community.
Partner, Executive Creative Director
Dave and his longtime creative collaborator Pete Breton helped launch Anomaly’s Toronto office six years ago. Since launching with Budweiser and MINI, they have expanded the client roster to include Bud Light, Nike, Hershey’s, Sport Chek and dosist. Most notably, Anomaly’s Budweiser Red Light campaign was called “the best marketing idea ever” by Apple innovator Guy Kawasaki. In his role as both a creative and creative director, Dave has worked with many clients, including McDonald’s and Molson. His breadth of integrated, innovative work has won awards from Cannes, The One Show, Clios, Communication Arts, Media Innovation Awards and a D&AD pencil. In 2005, his work for the Canadian Film Centre was the second most-awarded campaign in the world. His short film for Johnnie Walker, The Gentleman's Wager, received a D&AD pencil for creative excellence in branded film content.
Founder & National Creative Director
Ian was born and raised in Western Canada. He studied Economics at the University of British Columbia then advertising and design at the Art Center College of Design in Pasadena, prior to founding Rethink in 1999. At Rethink, Ian creates and directs a wide range of projects encompassing design, interactive, installation and advertising. Ian has served on the jury of the industry’s top award shows, including the ANDYs, Cannes, Clios, Communication Arts, D&AD and The One Show. Ian has been ranked by strategy magazine as the number one art director and the number one creative director in Canada numerous times. Currently, Ian serves on the professional advisory board for the photography program at Sheridan College in Ontario and is an advisor to The Vancouver Urbanarium Society.
Vice-President, Creative Director
New York, NY
Bianca is a VP creative director at BBDO NY. She has been named as one of Business Insider’s “30 Most Creative People in Advertising Under 30” in 2012, 2014, 2015 and 2016. She’s been featured on Adweek's Creative 100, on Drum’s “50 Under 30s,” named among the “Next Creative Leaders” by The One Show and the 3% Conference, and as one of the Shots Rising Stars.
Partner, Vice-President, Executive Creative Director
Nellie is a partner and co-ECD at lg2 in Toronto. Her work has been recognized at both domestic and international award shows including Cannes, The One Show, London International Awards, SXSW and Communication Arts, to name a few. Nellie has served as a juror on a number of industry-related shows including the Cannes Lions, The One Show and the Webbys. She also sits on the board of directors for the Advertising and Design Club of Canada.
Executive Creative Director
Dean is the executive creative director of DDB Vancouver, where he helps guide the creative product of cross-disciplined teams. He has helped with marketing solutions for a wide range of clients including Netflix, McDonald’s, Pepsi Co, Sun-Rype, TELUS, Pacific Blue Cross, Canadian Tourism Commission and BC Dairy, to name a few. His work has been recognized by many national and international advertising shows including Cannes, The One Show, Communication Arts, the Clios, D&AD and Applied Arts. Beyond his day job, Dean co-chairs The James Lee Foundation to help aspiring creative talent break into the business and one day steal his job.
Executive Creative Director
Ian has spent most of his 13 years in the business working at intersections of digital and brand advertising. Along the way, he’s learned from some of the best creatives in the world, including Randy Stein, Louis-Philippe Tremblay, Keith Reinhard, Lisa Bennett and Susan Credle. He’s also earned more than 100 national and international awards for creativity and effectiveness, including Lions, Pencils, Clios, Webbys and Applied Arts. In 2014, he was ranked #1 copywriter in Canada in strategy magazine’s Creative Report Card.
Global Executive Creative Director & Partner
Kristian is the global executive creative director and a partner at Sid Lee, a creative agency based in Montreal, Toronto, Paris, New York and Los Angeles. Kristian is a major creative strength behind numerous global campaigns crafted by Sid Lee with many successful Cirque du Soleil worldwide initiatives under his belt. A multidisciplinary soul at heart, Kris always puts his creativity to good use, seamlessly merging graphic design and new media. A seasoned visual artist, he has his personal projects too, his latest being an art exhibit at Art Basel and the co-direction of the movie Takedown: The DNA of GSP. His work in advertising has won major internationals awards including The One Show Pencils, Cannes Lions and Marketing Awards.
Chief Creative Officer & CEO
Zulu Alpha Kilo
In 2007, after helping build TAXI Toronto into one of the world's top ranked agencies on the Gunn Report, Zak quit to start his own shop. Today, Zulu Alpha Kilo (a.k.a. ZAK) is a 100-person independent. In 2016, Zulu received Ad Age’s Small Agency of the Year top honours, the first time a non-U.S. shop had ever won. Zulu won Ad Age’s International Small Agency of the Year again in 2017. Most recently, Zak was featured in Forbes after Zulu was recognized as one of the magazine’s best small companies of 2018. During his career, Zak has had multiple campaigns amongst the Gunn Report’s top five most awarded internationally. He’s both judged and been recognized at The One Show, Cannes, D&AD and Communication Arts.
Julie is a creative director at Camp Jefferson leading the Koodo account. She has worked as an award-winning and internationally recognized art director for over 15 years, at some of Toronto’s top agencies including BBDO and TAXI. She’s created smart, strategic campaigns for brands such as Starbucks, Chrysler, Frito-Lay, Campbell’s, Diet Pepsi and the Canadian Paralympic Committee.
New York, NY
Erik is a creative director at Mother NYC. Before joining Mother, Erik was a creative director at Wieden+Kennedy, R/GA and 72andSunny, all in New York, and Farfar in Sweden. Erik has managed accounts like Heineken, Nike Canada, Delta Airlines, Southern Comfort, T-Mobile, Virgin Voyages, Xfinity and more. Over a 15-year career, Erik’s work has been recognized globally. His biggest achievement, though, may have been reaching the semi-finals of the Swedish foosball championships.
CCO GREY Canada & President GREY Toronto
A 20-year industry veteran, Helen has worked at agencies including Saatchi, TAXI, JWT, Ogilvy, Havas and Strawberryfrog in Amsterdam. At Ogilvy, Helen was on the original global team for the highly recognized Dove Campaign for Real Beauty and helped launch the initiative in North America and Europe. Helen has also worked as a creative strategist at Facebook and Instagram, and led Facebook’s Creative Shop in Canada. Helen’s client roster includes Toyota, P&G, Telus and Kraft. Helen sits on the board of directors for the Advertising and Design Club of Canada and has been on award show juries including The One Show, Clios, Communication Arts, Art Directors Club of Canada, Marketing Awards and D&AD. Prior to her career in advertising, Helen was a Governor General’s Award–winning architect and graduated with honours from the University of Toronto.
Seven weeks after graduating from Buckinghamshire University with a degree in creative advertising, Laurence landed a job at Leo Burnett where he helped them become the number one TV agency in the world at Cannes. He was then head hunted by AMVBBDO, where he created memorable work for Pepsi, The Economist, Sainsbury’s and BT. His next move was to JWT as creative director, where he created the world’s first talking press ad. He was then poached by Saatchi & Saatchi, where he helped them win a big part of the global HSBC account he had previously worked on at JWT. At Adam&EveDDB, he worked with John Lewis, Volkswagen and The Telegraph. In need of a change of pace, Laurence began working at Quiet Storm, an independent agency, in January 2018. Laurence’s work has been recognized at every major awards show including Cannes, D&AD, Clios and Creative Circle.
Founder & Chief Creative Officer
San Francisco, CA
Rafael is a Brazilian creative with over 18 years of experience. He has worked everywhere from Brazil to the Middle East to the US, making stops at Ogilvy & Mather in Brazil and Dubai, Leo Burnett in Dubai, Pereira & O’Dell in San Francisco and 180LA. Currently, Rizuto is founder and CCO of San Francisco–based agency TBD. He's behind projects such as Boost Mobile’s “Boost Your Voice” and UNICEF’s “UNfairy Tales.” Rafael has won over 250 awards including Cannes Lions, D&AD, The One Show, Clios, London Awards and Effies. He also served on the jury in most of those festivals. He turned 180LA into the most awarded shop in all of TBWA’s Network Worldwide in 2016 and 2017. He was also was recognized as one of Ad Age’s "40 under 40" in 2017, and ranked #13 in Business Insider’s "30 Most Creative People in Advertising" in 2016.
Hannah is a creative director at Wieden+Kennedy, Amsterdam. Over the past nine years she’s worked for advertising agencies in Canada, Australia and Europe on clients ranging from global fashion brands, to national grocery chains, to toilet paper. Her work has been awarded at shows including Cannes, The One Show, D&AD, Eurobest and the Webbys. It’s also been covered by media outlets such as Fast Company, Mashable, Buzzfeed, Time magazine, MTV and ESPN.
Associate Creative Director
Arrivals & Departures
Spanning 15 years of advertising experience, Angela's ability to collaborate effectively across multiple sectors has resulted in numerous national and international accolades, including Cannes, D&AD, Communication Arts, The One Show, LIA and ADC, among others. She has worked at some of the top ad agencies in Vancouver, Dubai and Toronto before coming to Arrivals & Departures as associate creative director. She brings forward her expertise in creating visionary insights for world-class brands across the globe. Her passion for producing impactful, strategic, evocative business solutions coupled with eloquent design standards pushes her to transform brands like Fallsview Casino, McDonald’s, VW, Pacific Blue Cross and many more.
Preparing & Submitting Entry Material
WE NO LONGER ACCEPT HARD COPIES FOR ANY COMPETITION. DO NOT SEND ANY ENTRY MATERIAL TO THE APPLIED ARTS OFFICE OR IT WILL NOT BE JUDGED.
- File Format: JPG, PDF, GIF
- File Size: 5 MB maximum, with a maximum width of 1,024 pixels and height of 768 pixels
- Resolution: 72 dpi
- Colour Mode: RGB
Broadcast (TV, Radio, Digital Video, etc.)
Upload your piece to a video-hosting site such as YouTube or Vimeo, or a non-branded website, and provide the URL. Link must remain active throughout the judging period.
Interactive Web-Based Entries or Apps
Provide the URL in the File Upload section on your entry form. Link must remain active throughout the judging period.
NOTE: Entry material requirements specific to each category can be found in the Applied Arts Awards Entry Kit.
Entering is easy with the following four steps.
Step 1: Create an Account
Visit the My Entries page. Your account with My Entries will be used to manage, create, edit and pay for entries. Ensure you provide a telephone number and e-mail address that you access regularly should there be a question about your entry.
Step 2: The Entry Form
ALL entrants must complete an online entry form in My Entries, regardless of payment method, to be eligible for entry.
In My Entries, click “Submit a new entry in one of the awards.” Select the award program you want to enter, which will then allow you to review the information included in this entry kit. Then click "Enter Now." Move through the form and include all required fields. Use this entry kit to review categories and their individual material requirements before you choose from the category drop-down menu.
For series entries, only ONE form needs to be submitted per series. Write all the titles in the “Title” field, separated by a slash between each (ex. Title 1/Title 2/Title 3). If you are entering an image as both a Single and as part of a Series, a separate entry form must be created for the single and then for the series, with each entry each containing only the image(s) you want judged.
If your entry is hosted on a site and you choose "URL" as your Entry Format, a separate URL field will appear where you can add your entry website, YouTube or Vimeo video, etc. You may also specify technical requirements, such as recommended browsers, usernames or passwords, although this is not mandatory.
Step 3: File Upload
Once you have saved your entry, you will arrive at a "Thank You" page where you can upload files if you have chosen Digital Upload as your entry format—although you can return to do this later so long as the entry is not paid.
Review the material requirements in the Applied Arts Awards Entry Kit before you upload your files (.jpg, .gif or .pdf only). Any additional material requirements pertinent to the category you’re entering can be found in the category descriptions in the entry kit.
If you arrive at the "Thank You" page and have chosen URL as your entry format, or if you don’t want to upload files right away, you have the option to submit another entry into the same award or another award, or proceed to payment.
You also have the option to re-submit your previous entry to another category within the same award. This option will retain the information that you submitted, including credits and description, but you may still change any fields. You will be required to re-select the Entry Category. You will also be required to re-upload any files.
If you are selected as a winner, you will be notified by e-mail. Only then will we require high-resolution files of print work, stills, radio or video. We only accept low-res files on entry to the Applied Arts Awards.
Step 4: Review Your Credits & Entries
Review your credits before making final payment to be sure all information is accurate, or save and come back at a later date to add more entries, or to edit any existing unpaid entries.
All entries must be submitted with final credits andpaid before the posted deadline, or your entries may not be judged in the competition.
NOTE: We now require complete credits at the entry stage. This information will be used in both the magazine and in our Winners’ Gallery online if your entry is chosen as a winner. Credits will be reproduced in the order that you specify, so please be sure to review this information carefully. Only the first 6 credits will appear in print, with all credits appearing online, so the order matters. See the “Credits” section above for more information.
Entry Material FAQ
Can I submit a hard copy or disk? No. We accept digital entries only for all competitions. Entering is quick and easy, with entry, file upload and payment completed in a few simple steps.
The program crashed. Did I lose everything? No. In My Entries, you will have the opportunity to review your entries saved so far and submit additional entries. This will simply generate a new confirmation email when you complete your entries with payment.
The file I uploaded won’t show me a preview. You may not see the image preview if you haven’t followed the specs outlined above. Check your file and re-upload. If you continue to experience difficulties, contact email@example.com.
I uploaded the wrong file. You can resubmit images at any time. Click REMOVE beside the appropriate file and re-upload your image.
Why do I have to re-upload files if I have copied an entry? Each entry is assigned a unique entry number. In order to get the work judged, it must be separately attached to every entry submitted.
Can I direct the judges through my entry? If you have selected URL as your entry format, you may outline a path for the judges to follow that highlights the best elements of your entry. You may also include any necessary usernames and passwords.
Payment & Refunds
Entry fees vary. Check each awards program in this entry kit for entry fees. Pay for all or only some of your entries at any given time—just select which entries you want to pay for.
The payment option is on the My Entries home page. Payments can be made by Interac, Visa, MasterCard or American Express (Amex on Canadian payments only at this time). For U.S. and foreign entries, submit fees in US funds.
We only accept cheque, money order or direct deposit in special circumstances. These cases must be pre-approved. Contact firstname.lastname@example.org with your request.
If you are entering a piece as both a Single and as part of a Series, ensure there are two separate entries on My Entries—one for the Series and one for the Single. Keep a record of your submissions.
Can I submit more entries after paying? In My Entries, you will have the opportunity to submit additional entries even if yours have been paid. This will simply generate a new confirmation email when you complete your entries with payment.
Can I get a refund? Entries are non-refundable; costs cover administration, processing and the judging of the entry. A submission of entry acknowledges acceptance of these rules.
My client has revoked the right for me to enter work I’ve already paid for. We do not issue refunds, but contact email@example.com if you need the entry removed from the judging or winners’ pool.
I’m getting error messages when I try to pay. If you entered your payment information incorrectly on your first attempt, any subsequent attempts will be declined, even if you change your payment type. Close your browser and log back in to My Entries. You should now be able to proceed with payment. If you continue to experience difficulties, contact firstname.lastname@example.org.
I want to change something after I’ve paid. Once an entry is paid, you cannot change the category, entry format or credits. A paid entry is final, so make sure you submit your entry and come back to it if it’s not final before proceeding to the payment fields.
All entrants will be notified in October 2018 via email. At that time, those selected as winning entrants will be required to submit high-res digital files for reproduction in the Advertising annual. Winners’ certificates will be mailed separately, after the Advertising annual is published.
What do winners receive?
- Their work published in print in the Winter 2019 issue
- A complimentary copy of the Winter 2019 issue
- Their work published online in our Winners’ Gallery and Awards Archive
- Digital tear sheets of their work
- A personalized, embossed awards certificate for every winning entry signed by noted designer Georges Haroutiun, the founder of Applied Arts
- Their work displayed at related Applied Arts events attended by our network of creative professionals.
If I win, what image will you use for reproduction? When you are notified that you are a winner, full details will be provided on how to submit images for reproduction.
What rights do I retain if my work is chosen? You retain all rights of your images. If selected, you will need to grant us the rights to reproduce the image or images for both our online and print publications.
My client has revoked the right for me to enter work I’ve won for. We do not issue refunds in these cases, but please contact the awards coordinator if you need the entry removed from the winners’ pool.
Questions? If you’ve checked all of the above sections and cannot find the answer to your question, or if you are having difficulty entering, contact email@example.com.
Applied Arts reserves the right to publish or exhibit entries in print or electronic formats, for use in the magazine or related promotions. Applied Arts assumes all entries are original and the property of the entrant, with all rights granted therein. Entries are non-refundable; costs cover administration, processing and the judging of the entry. Applied Arts requires entrants to provide full and final credits at the point of entry. A submission of entry acknowledges acceptance of these rules. All descriptions and credits are subject to be edited for length, clarity and grammar in accordance with the Applied Arts editorial style guide.