2021 Advertising Awards
Call for entries
Call for Entry Launches: May 30, 2022
Final Deadline: September 2, 2022
Eligibility: September 2021 - September 2022
WINNING IS THE BEST WAY TO KEEP UP YOUR RANKINGS.
Celebrating creative excellence in advertising for 30 years. Winning is the ultimate way to get the recognition you deserve and stay at the top of the highly competitive creative industry.
The Advertising Awards competition is an international program for firms and individuals working on commercial or personal/unpublished advertising and promotional work, including these and many more categories:
- Integrated campaigns – brand activation, corporate responsibility, pro bono/public service/charity, PR/influencer campaigns.
- Offline advertising and promotions – B2B or consumer print/direct mail/media inserts, experiential/events, OOH/transit.
- Digital Advertising – AR & VR, social and viral, online advertising
- Radio and Video – Radio, podcasts, video, branded content.
- Craft – Animation, art direction, cinematography, copywriting, ideation, music, special effects/CGI.
Be sure to review the Call for Entry kit and 2021 Categories kit for important information and tips on entering.
Show us—and the world—all the amazing work your or your teams created over the past year.
2021 Advertising Awards Jury
Founder & Chief Creative Officer
Barrett and Welsh
Before advertising, Gavin worked as a door-to-door market researcher and pharmaceutical sales manager (not a euphemism). In pursuit of big ideas he nibbled on pigs' ears (not on a live pig at the time), rode an elephant in the Thai jungle (no elephants were hurt), and gambled in a Macau casino (was destroyed). His campaigns, which have run in 35 countries, have targeted Scotch-drinking businesswomen, male tailors of the Muslim faith, people trapped in planes, men who smoke Virginia Slims, car mechanics, and wedding planners. Gavin's work has been brought to life on screen and page by Deepa Mehta, David Carson, Bruno Barbey, and Louis Ng. His poems can be found in Understan, his new book and in Penguin's anthology of 14 contemporary Indian poets, Reasons for Belonging.
Marisa Biaggi, Ph.D
SVP, Group Creative Director
New York, NY
Marisa is the Group Creative Director for Connected Experiences at Edelman. Passionate about connecting society and culture through creativity, she leads creative development, storytelling and experience design for a variety of brands across all of Edelman's practices, including Adobe, Unilever, Scholastic, and PayPal, among others. Prior to joining Edelman in 2010, Marisa oversaw creative and production at the Met Opera, for which her team won Emmy and Peabody Awards. She also holds a Ph.D. in musicology from Princeton University.
Co-Chief Creative Officer
Alexis is now Co-Chief Creative Officer at TAXI Canada, but started her career in advertising at 9 years old, when she did voiceover work for a radio commercial. She then took a brief hiatus to become an adult, and over the last 16 years, has been working as a creative director and copywriter across all disciplines, from experiential to broadcast, digital, social, out of home and print. Throughout her career, Alexis' strategic and collaborative approach has helped build and grow brands from the small and local to the big and international. Her work has won numerous international awards, and even landed on the cover of Archive Magazine. She was just named to Adweek's Creative 100 of 2021.
Vice President, Creative Director
Linda has led brands including VISA, Pepsi, Frito-Lay, Starbucks, Canadian Paralympics, Mercedes-Benz, and Kia. Previous agencies have included BBDO, Lowe Roche, Downtown Partners, and JWT. She has won awards in every national and international award show including Cannes, Communication Arts, Clios, D&AD, Effies, and The One Show, and has been a jury member of many shows. She is not only a mentor within the industry but to its future as well. She has taught at Miami Ad School, is currently on the faculty of Centennial College, and has been a visiting instructor at OCAD University, where she was also a graduate. When not helping clients grow their business you will find her with her two sons freezing in hockey arenas across Toronto. For the record, Fenside arena has the worst coffee and Weston arena has the best fries.
Executive Creative Director
Point Blank Creative
As a naive student, Pierre's dream was to become a constitutional lawyer. Bombing the LSAT was the best thing that could've happened to him. Today, he's the Executive Creative Director at Point Blank Creative – Canada's largest progressive agency, fighting for social issues and lasting change. Throughout his career, he's been recognized by D&AD, The One Show, Clios, Cannes, Communication Arts, ADC NY and The Webby Awards. But his most rewarding moment was launching a website that gained worldwide attention for tracking the use of homophobic language online. If you want to share LSAT tips, feel free to contact him.
Executive Creative Director
Zulu Alpha Kilo
Wain has returned to Toronto after 16 years abroad, most recently as Chief Creative Officer/EVP at CJ Live City in Seoul, Korea. His well-respected career has taken him across the globe to Europe and Asia. He has held leading creative roles in major global agencies including Cossette, Y&R, Dentsu, Ogilvy, and Cheil Worldwide, garnering extensive experience in leading brands such as Nike, Coca-Cola, GM, Ford, Toyota F1, and Samsung. His works have been recognized and awarded at Cannes, D&AD, The One Show, Clios, LIAs, New York Festivals, Spikes, Adfest, and others. His extensive jury duties include Cannes, The One Show, and many others. Wain has also been a keynote speaker internationally, including most recently. Cannes Lions, Dubai Lynx, AdAsia Bali, A Fireside Chat Singapore Advertisers Association, Goafest India, and Brand Magic Summit Mauritius.
Vice-President, Creative Director & Head of Production
Now in his sixth year as CD at Tam-Tam\TBWA, Manuel drove the creative that brought the agency its first Grand Prix CRÉA for La Grande Guignolée des Médias (The Media's Big Food Drive), and proudly headed outstanding campaigns that garnered STRAT awards (Quebec), Strategy Awards, Prix Médias, Cassies and IDÉAs. Previously, Manuel was at TAXI Montreal, acting as creative lead on Telus, and before that spent several years as an AD at Saint-Jacques Vallée Y&R, where he created major campaigns for Ford, Danone, Air Miles, Ontario Tourism and Sico. He began his career at Publicis. Keen to inspire the next generation, Manuel has also lectured on/taught advertising at the Université de Montréal. When not thinking up and perfecting ad campaigns, Manuel occupies his spare time raising his two teenagers and renovating, no… make that rebuilding, the house they live in.
San Francisco, CA
Shane currently co-leads one of the largest accounts in the Bay Area, Cricket Wireless, and previously, helped shepherd accounts like MetLife through its first major/global branding effort in 30 years, and Post Consumer Brands through various campaigns. Previously to ARGONAUT, Shane helped establish Facebook's first-ever brand presence in its new internal advertising division The Factory, and at agency Goodby Silverstein & Partners, helping lead campaigns for Cisco, Adobe, Google, Sprint, HP, and more. His work on GE's 'Plug into the Smart Grid' was one of GS&P's most-awarded digital projects in its history. He's gained recognition from all the major shows including Cannes, The One Show, ADC, Clios, LIAs, Effies, D&AD, and many more. He's judged a few shows, had his work featured in numerous major news and industry publications, and has work in the permanent collection at MOMA. Shane lives in Marin County with his family of four and spends his free time either on two wheels or in the ocean.
VP, Group Creative Director
Los Angeles, CA
Marlon has been fueling his passion for creativity and design for over 20 years, spanning identity and design systems, campaigns, content, and digital platforms. He's a lover of sneakers, thin crust pizza, and slidin' on snow, and is a proud product of the NYC public school system. Currently, he co-manages RPA's digital creative group across all clients. He's led teams on digital experiences and campaigns for Honda, Southwest Airlines, Toyota, Pepsi, Burger King, Volkswagen, Microsoft, Nike, Subaru, and Verizon, among others. Previous roles include creative director at Saatchi & Saatchi and TBWA\Chiat Day in LA, Crispin Porter + Bogusky in Boulder, and R/GA in New York. He cut his teeth early on at global branding agencies Siegel & Gale and Landor Associates. Along the way, Cannes Cyber Lions, Clio Awards, One Show Interactive, Communication Arts Design Annual, Broadcast Design Assoc. Awards, D&AD Annual, and others, have recognized his work.
Associate Creative Director
Broken Heart Love Affair
Elma is an internationally awarded Associate Creative Director, who has created campaigns for brands both in Canada and the UK. She has most recently had the honour of being named one of the top 10 Next Creative Leaders by The One Club after winning 2 ANDYs, 11 Gold One Show Pencils and 2 Best of Discipline for her work on Project Understood for the Canadian Down Syndrome Society. Her passion for behaviour-changing work has also manifested campaigns like 'Consent is Simple' for Project Consent, 'Itty Bitty Ballers' for GoDaddy and 'Jane's Story' for BMO, to name a few. When she's not making ads, she's teaching them at Miami Ad School.
Managing Director, Executive Creative Director
Meredith is an award-winning (former) Creative Director with more than 17 years' agency experience. But – surprise! – Meredith's career began on the 'other' side of advertising, where she first honed her strategic skills as an Account Director before switching over to the wild world of creative. As a multi-hyphenate Art Director, her skill suite expanded across a range of disciplines, including mass advertising, digital, social, experiential, influencer partnerships, and PR. Meredith currently holds the role of Managing Director, Executive Creative Director at Narrative. Beyond work, as a human, she is a Cool Ranch Dorito connoisseur, Stevie Nicks fanatic, interior design devotee, and mum to daughter Bee. Her husband is a former chef who now works in finance. Multi-hyphenates run in the family.
Chief Creative Officer
Marty is responsible for ensuring the highest level of creative excellence across multiple offices. Under his creative leadership, the Tank creative team has seen significant growth. His leadership style emphasizes the importance of collaboration and innovation to get to the big ideas. Over the past 20+ years, his work has been acknowledged with many of the industry's top awards. Marty has steered countless campaigns for both pharmaceutical and consumer brands, and he has held leadership positions at some of the best agencies in the country: Publicis, Sudler & Hennessy and Ogilvy CommonHealth. Marty has sat on multiple juries including the LIA inaugural Pharma jury, The Global Awards, Marketing Awards, the MM&M Awards, The Rx Awards, and The One Show. His passion for advertising, team-building capacity, and creative vision are what drives him and makes him a leader in his field.
Executive Creative Director
Mike is Executive Creative Director at AdFarm, one of North America's leading full-service AgriMarketing agencies with offices in Calgary, Kansas City, Guelph and Fargo. With nearly 30 years under his creative belt, including senior stints at some of Canada's largest agencies, he's had his work regularly recognized by Communication Arts, Applied Arts, Graphis, ADCC, Art Directors Club, and London International AAwards, and has won Pencils at both The One Show and D&AD. He's been a judge for CA, LIA, and Applied Arts, and has spoken at numerous design and advertising conferences. His work has been featured in Lüerzer's Archive, Contagious, LogoLounge and Taschen's 'Advertising Now' coffee-table book series.
Frederick has over a decade of experience creating disruptive work in every medium – from intricate, data-driven web tools to simplistic print campaigns. He's worked on global clients like FedEx, Campbells, and Kia Motors, as well as homegrown clients like Mac's Convenience Stores, Rogers, and Tim Hortons. His work has won at almost every international award show, including Grand Prix at Cannes and a Black Pencil at D&AD. In 2020, he was ranked the #5 Creative Director globally across all disciplines by The One Club For Creativity. Frederick currently serves as a Creative Director at GUT's newest office in Toronto
Co-Chief Creative Officer
Steve is a writer, builder, snacker, sketcher, cleaner. He has been reaching for the stars with Leo since 2005. His passion for creativity in all forms has helped Leo Burnett earn an international reputation as a place for world-changing thinking. As part of Leo's Global Product Committee, Cannes Lions judging panel, and the Miami Ad School Toronto Board, he's been able to share his passion for the work.
VP, Creative Director
After being a sportswriter for her university paper Eva fell in love with writing. For a quick minute she thought about becoming a journalist, but then heard about this thing called advertising. She started her career as a writer with Palmer Jarvis (now DDB). Today, she's the VP Creative Director, DDB Edmonton, and works with a super-talented team focused on creating great work together for their clients. She finds awards are great motivators because, just like some species of birds, she is drawn to shiny things.
DAUGHTER Advertising & Design
After only a few minutes in a room with Keli, you know her well of creativity runs deeper than most. She's got the computer skills but is also a staunch advocate for stepping away from the screen – pottery, photography, and most recently painting, fuel her seemingly endless spring of inspiration. Add to that a formidable work ethic and a personality that rallies a team, and you have a true creative powerhouse. Her resume features a who's who of clients – including WestJet, TELUS, The Calgary Stampede, Shaw, and Bow Valley College, and awards and accolades to fill many a trophy case. These days she focuses on helping up-and-coming creatives earn their brass, and doing a tremendous amount to support Calgary's creative eco-system. During the pandemic, she organized a much-loved outdoor public art show featuring Alberta artists and illustrators.
St. John's, NL
Terri has spent nearly two decades in advertising, selling everything from airlines to wieners. She's helped to create successful campaigns for brands like Newfoundland and Labrador Tourism, McCain, Maple Leaf, Irving Oil, Air Canada, Lamb's Rum, Air Labrador, Opera on the Avalon, Quidi Vidi Beer, Cape Breton University, and Dairy Farmers of Newfoundland and Labrador. Over the years, Terri has won a host of metal bits and pieces for her work in shows like LlA, Applied Arts, ADCC, Marketing, Extras, Crystals, Atomic, CASSIES, CMA, MIA, HSMAI, Promo, and ICE.
Chief Creative Officer, Partner
Roehl's belief in great design, the power of data, and 'work that works', has led to countless award-winning campaigns and successful partnerships with some of Canada's biggest brands such as Leon's, Audi, Shoppers Drug Mart, Loblaws, Shaw, Telus, and Cogeco. Roehl's work has garnered awards nationally and internationally, including CMA awards, PROMO!, ADCC, Atomic Awards, Shopper Innovation, Applied Arts, DMA ECHOs, The One Show, Webby, Epica, and Cannes Lions. Together with his team, he has led BIMM to Silver Digital Agency of the Year in 2018. He has also judged numerous shows, including Cannes Lions Direct festival (twice), the DMA ECHOs, New York Festivals, John Caples, Applied Arts, Cassies, and Marketing Awards, as well as Chaired the Canadian Marketing Association Direct division, The National Advertising Awards and the Atomic Awards.
Vice-President, Chief Creative Officer
Sann oversees all creative at Publicis Montreal. Her role is to advise, support, and motivate her team and deliver superior quality projects. She has worked at the world's largest agencies in Canada and Europe and contributed to the success of major clients including Volkswagen, Pepsi, Adidas, L'Oréal, Bombardier, and Nestlé, and has amassed over 70 national and international awards. With a degree in math and physics, training in the visual arts, and a master's in advertising, she is particularly adept at producing innovative campaigns balancing logic and creativity. A go-getter, at 12 she landed her first job at a bakery, and has not stopped since, pursuing goals with exceptional drive. With a passion for team sports and as a mother of young children, Sann has put her foot to the pedal for charity over the past nine years at the 48-Hour-Ride, an annual cycling event organized by the Make-A-Wish® Quebec Foundation.
National Chief Creative Officer
Aaron leads Rethink – the back-to-back Canadian agency of the year. He is currently ranked as the #1 creative director in Canada, with his recent work including Heinz puzzle and tilted label campaign, the Cannes Lions winning Molson passport fridge, the Cannes Lions winning UBER Breathalyzer, and WestJet's Guinness world record breaking Desert Roulette, receiving praise beyond the advertising world and penetrating the mainstream with the likes of Jimmy Kimmel and Ellen Degeneres. In 2019, Aaron was listed as one of the 100 most creative people in the world by Adweek Creative, a list that included luminaries such as Ryan Reynolds, Lebron James and Lizzo. Buzzfeed named one of his ads the # 1 commercial in the history of Cannes. He actively tries to inspire the next generation of industry professionals with his podcast, IOFA with Aaron Starkman, Adweek's 2019 advertising podcast of the year.
Global Executive Creative Director
In November 2020, Johan joined Sid Lee as Global ECD, based in Montreal – his city of birth and upbringing. Johan comes with international experience, having worked on some of the most influential global brands, such as Nike, Mercedes-Benz, Heineken, adidas, Coca-Cola, and many more. He is known for fostering diverse creative teams at scale and for coming up with fresh thinking that creates innovative solutions and experiences for clients. He is a passionate storyteller, works/thinks strategically, tends to put a CX / journey spin on everything, and loves a good culture clash. Johan spent the last 20 years of his career in Asia, predominately based in Shanghai, China. Thus far, his career saw him in creative leadership roles at Ogilvy, AKQA, R/GA, The Walt Disney Company, and most recently, as CCO for Publicis Groupe Greater China.
Kansas City, MO
Sarah is the Creative Director at VMLY&R's Kansas City office. Before Sarah joined VMLY&R, she worked at TM Advertising, Sanders\Wingo, Secret Weapon, and McGarrah Jessee. She obtained her BA in Creative Writing from Southern Methodist University and MBA from University of Texas at Dallas, an off-the-beaten-path academic combo for an advertising creative, but one that reflects the off-kilter, effortlessly funny writing she has produced for brands such as Jack in the Box, Southern California Honda Dealers, YETI, GameStop, and Wendy's. She may or may not have spent an entire shoot and edit for SkinnyPop eating her weight in popcorn.
Executive Creative Director
Jaimes was born in Toronto in 1977. He owes an early pop culture addiction to his dad, who owned and operated a string of indie VHS rental stores and video game arcades back when cool shit like that still existed. Jaimes has been in the industry a long time and so he's basically won all the same awards as everybody else. Over the past five years, Jaimes has been working with partner Craig McIntosh at a place called Cossette. He says he loves 'most' of the awesome people that work there. Jaimes has a full back piece tattoo of a birthmark.
All work is entered digitally and judged digitally. There are no hard copies. Therefore, please read our RECOMMENDED BEST PRACTICES to see how you can help our judges.
The judges are divided into groups, with each viewing a different and random group of entries. Each judge reviews and scores entries separately. Judges do not confer or discuss their work, and there is only one round of judging.
- Each entry is judged independently on its own merit. Judges are asked not to rank or compare entries.
- We have no pre-determined quota of winners. If a category has no winners, it is eliminated. Similarly, a category may have multiple winners. All entries above the cut-off score are declared winners.
- We do not rank winners (i.e. no gold, silver, etc.). Every entry above the cut-off score is given equal exposure as a winner.
Entries are given one total score, based on three criteria only:
- Creative merit
- Technical excellence
- Suitability for end use in the category into which it is submitted.
NOTE: Young Blood, Community and COVID-19 Response entries are judged with the level of experience and/or available resources taken into consideration.
Open internationally to all forms of commissioned, published, unpublished and personal work from professionals and enthusiasts created between August 2020 and September 2021 (but not entries that have been submitted into last year's competition). Only digital entries are accepted for this competition.
For professionals that have graduated within the last 5 years.
Exclusively for Canadian artists and firms working in smaller communities or with smaller businesses or budgets, to help them get the recognition they deserve.
To be eligible to enter Community categories, you must be Canadian and meet one of the following criteria:
- Small community - The entrant and client must be in a community of less than 250,000
- Small Business - The client must be a single-establishment/small business, such as a restaurant, local retailer or service.
- Shoe-String budget - The budget for the assignment must have been extremely limited.
There is a stand-alone awards competition for students studying in a creative arts program at the post-secondary or high school level. Work from any year of study is eligible and may be entered up to one year after graduation. Students are only eligible to enter the Student Awards competition.
Categories & Entry Fees
Entry fees vary per sub-grouping and category. Please be sure to download the 2021 Advertising Awards Categories Kit for detailed pricing.
INTEGRATED CAMPAIGNS - $150
Entire Advertising Campaign
Entire Online Advertising Campaign
Pro Bono/Public Service/Charity
PR/Influencer - NEW
ADVERTISING - SINGLE: $65/SERIES: $85
Branded/Sponsored/Native Offline Content
B2B Direct Mail/Media Insert
Consumer Direct Mail/Media Insert
Pro Bono/Public Service/Charity Offline Advertising
DIGITAL ADVERTISING – SINGLE: $100/SERIES: $125*
Augmented & Virtual Reality
Branded/Sponsored Digital Content
Online Banner Ad
Pro Bono/Public Service/Charity Digital Advertising
RADIO/TV – SINGLE: $100/SERIES: $125*
Branded or Sponsored Content
Pro Bono Radio/Video
Low Budget Video - NEW
ADVERTISING CRAFT – SINGLE: $100 /SERIES: $125*/CAMPAIGN: $150
Special Effects - NEW
TYPOGRAPHY – SINGLE: $85/SERIES: $125*
YOUNG BLOOD, COMMUNITY AND COVID-19 RESPONSE – SINGLE: $50/ SERIES: $65/CAMPAIGN: $85
Entries can be from any application from the groupings of categories above.
*Rates vary by category. Refer to the Advertising Category Kit for details.
Entry Material Guidelines
All entries are submitted digitally only. Hi-res, final files are to be submitted for judging. These files will be used for publication, if selected as a winner.
Main Entry Files
Your Main Entry File(s) must clearly show the creative to be judged (ideally with no additional graphics) in hi-res format.
IMPORTANT NOTE RE MULTI-PAGE PDFS: Use a multi-page PDF to incorporate any additional images into the maximum number of files allowed (e.g. the image in context).
~ Case-studies are not permitted as your Main Entry File. See below for more info.
Support Files are for clarity to assist the judges. They are not for publication (except where noted) and do not count towards the file limitations noted above. Upload these to the "Entry Supporting Materials" sub-section of ENTRY MATERIALS on the entry form.
Please note these important required vs. optional Support Files for certain entries:
~ English translations for French (other language) entries: Include any important text (i.e. headlines, entry title), either as Support File or within a multi-page PDF as your Main Entry File.
~ Scripts for Radio entries. Include an English script.
~ Case-studies: While not recommended (as outcomes are not a criteria for judges in scoring), case-studies can be added ONLY as a Support File and should be limited to max 45 seconds. REMINDER: You must include the actual creative to be judged as the Main Entry File.
~ Explanatory notes for the judges: Although not recommended (except where noted in a category), brief descriptions/explanations of up to 50 words may be added for clarity for the judges (or up to 10 seconds in the case of audio/video files).
~ Entering URLs of the same creative as a Support File: (i.e. don't also submit a URL to a video, if you've already submitted the MP4 as your Main Entry File). However, available links to non-static creative are requested in the Winners Information section for publishing in the online Winners Gallery.
Acceptable File formats
- File Format: PDF (recommended), JPG, PNG, GIF
- File Size: 8-inches (or 2400 pixels) on the longest dimension
- Resolution: 300 dpi
- Colour Mode: RGB
- File Limit: Max. 5 MB for images/PDF files.
RADIO & VIDEO
- Please upload MP3 or MP4 files directly to your entry. Files should not exceed 80 MB for audio/video files.
- IMPORTANT re MP4: Video files will be resized by our system to 800px wide keeping aspect ratio.
- Counts as 1 'file' upload.
- File sharing sites OK.
- Password-protected URLs are not allowed.
- Ensure the URL is accessible until December 2021
RECOMMENDED BEST PRACTICES
Entries are judged online. Here's how to help the judges:
- A multiple–page PDF is preferred over multiple, individual JPG files.
- More is not better. Curate your images to the maximum indicated for each category, except where noted below.
- Use a multi-page PDF to give judges the full picture at a glance. Show multiple views of 3D pieces, zoom in on small print or details and show complex/novel work in the context of how it was seen by the audience.
- Where supporting information is requested, it is preferrable to include it within a multi-page PDF as your Main Entry File.
- Look at your entry on a smaller–screen desktop and ensure all important details are legible at that size, as that's how a judge may be viewing it.
How To Enter
The entry form consists of five steps. You will have the option to save your progress during each step of the process.
Create your 'MY ENTRIES' Account.
This is your Applied Arts Awards account for all Awards competitions. Once logged in personal account information can be updated, a new entry can be started, copied from an existing one, or edited, and you can pay for all or some entries.
Bookmark https://www.appliedartsmag.com/myentries/ for easy access to your account later.
NOTE: If you've entered the Applied Arts Awards previously, please use the email address associated with your account.
All entrants must complete an online entry form in My Entries, regardless of payment method, to be eligible for entry.
Step 1: entry information
Select from one of the Awards competitions, choose a sub-group, category and add your entry title.
Step 2: Entry Materials
Entry format: All entries are to be submitted digitally only. See ENTRY MATERIAL GUIDELINES section above for detailed specifications and helpful tips.
Step 3: Winners' Information
Everything entered in this section is for publication only and is not visible to the judges. Please review the information carefully. There will only be 48 hours to edit this information after the Winners have been notified.
The 'Winner' field is the primary company or individual you want to be credited on the piece (i.e. company name, photographer, illustrator, Young Blood, etc.).
NOTE: In the instance that a team (e.g. AD & writer) worked together (typically for the Young Blood or Student categories), enter only the first individual of the team as in the "Winner" field. The other team member(s) should be added in the CREATIVE CREDITS section. (See Step 4: CREATIVE CREDITS for further explanation on how to enter additional names so that they are properly credited as "Winners").
Optional fields: Phone, email, web address, social handles, and the URL to the winning entry (typically, for websites and motion entries). If these are entered, they will be published beside your winning work.
NOTE: We recommend including the URL as, due to file sizes, we don't upload the MP4 files directly for viewing in the Winners Gallery. They are only used for judging.
Description of Entry: For the purpose of providing a brief creative summary of the project to be published beside your winning entry. The description is limited to a maximum of 500 characters (includes spaces).
NOTE: "Descriptions of Entry" are for publication use only and are not shown to the judges. If additional clarity is needed for the judges, a description/explanation may be added to either your Main Entry file(s) or as a Support File. Please limit it to 50 words or a max 10-second intro for radio/video.
Step 4: Creative Credits
Credits are a summary of the individuals or companies that have worked on the project.
A credit can be designated with an individual's name or an organization. A credit role is a job function (e.g. Creative Director, or Production House). Multiple names can be assigned to one credit role (i.e. if you have two Creative Directors, they are counted as only one credit role).
A maximum of 6 creative credit roles will be published in the Annual, however, any/all creative credits you entered will appear in the online Winners Gallery.
• In instances of a team entry (e.g. Young Blood or student group project), enter the subsequent names here (Reminder: you entered one name in the "Winner" field). Choose the 'Other' role and enter Young Blood (or Student, or Winner) as a custom role field. They will not be counted towards your 6 credit roles, and will be credited together as the "Winners". These individuals may also be added a second time, identifying their specific roles on the project (e.g. Art Director, Writer).
• Credits only need to be entered once. Credits automatically get saved to your account to be used for any competition. For subsequent entries, select either a saved credit or add a new credit. To change the order of your credits, change the number from the sort column and select 'Update Sort' when finished.
• We strongly recommend credits be completed at the time of submission. If selected as a winner there will be only 48 hours to edit or add the creative credits. Be sure to review your creative credits carefully, particularly the credits to be the printed in the Annual.
Step 5: Certificate information
Winners will receive one certificate for each winning entry. Complete the winning company/individual and/or client you wish to appear on the certificate. The entry title and the category the project won in will automatically be included on the certificate. You will have the opportunity to order additional certificates once winners have been notified.
Next: Finalizing your Entry
After step 5, the entry form is complete. Press the "Save" button to return to "My Entries" dashboard to submit a new entry, copy an existing entry to a new category, or submit payment.
IMPORTANT: A submitted entry is not final and entered in the competition until you pay for it. You may edit an entry at any time until it's been paid. Once payment has been processed, it is final.
Payment & Refunds
Entry fees vary. Check the categories kit for each Awards competition for entry fees. Some or all of the entries can be paid for at any given time - just select which entries to pay. Once an entry is paid it is officially in the competition and cannot be modified.
Payments can be made by Visa, MasterCard or American Express (AmEx is for Canadian payments only at this time), or PayPal. For US and international entry fees are payable in US funds.
We only accept cheque or direct deposit in special circumstances. These cases must be pre-approved. Contact email@example.com 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.
All entrants will be notified by October 2021 via email. At that time, you will have only 48 hours to correct or finalize any creative credits and descriptions that may or may not have completed when entering
To ensure you don't miss the results notifications, add firstname.lastname@example.org to your address book.
What Winners receive
- Their winning work published in print in the Winter 2021 issue
- A complimentary copy of the Winter 2021 issue
- Their winning work published online – Both in our Winners Gallery on appliedartsmag.com as well as our social media channels for all winning entries
- A personalized, awards certificate for every winning entry signed by noted designer Georges Haroutiun, the founder and art director of Applied Arts
ADD-ON OPPORTUNITIES FOR WINNERS*
Frequently Asked Questions
Can students enter? No. Students may enter the Student Competition. Go here for categories, eligibility and deadlines for the Student Awards competition.
Can I enter something I entered last year? Not in the same competition, but if it meets the eligibility period for a different competition, then yes.
Can I enter something in multiple Awards competitions? Yes. Each competition has different eligibility periods, please check each competition for eligibility requirements.
Will the judges see my descriptions during the judging? Judges do not see the creative descriptions you have entered. These are only for publishing beside your entry if chosen as a winner. If you feel judges need an explanatory note, you may include a brief description as a Support File (no more than 50 words or 10 seconds for radio/video).
Can I enter a piece in multiple categories? Yes. In your account on the My Entries home page, click "Copy" on any entry you've created. Be sure to change the discipline and/or entry category to the new one you want to submit 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 online Winners Gallery for examples. If you still have questions regarding our categories or require assistance in selecting the appropriate category, contact email@example.com.
NOTE: Applied Arts reserves the right to move an entry to another category if we feel it unsuitable or incorrectly categorized.
What is a single, series, and campaign? A single means one piece. Series means you are submitting more than one piece of the same project to a maximum of three. 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 to the indicated number of pieces.
What is the Young Blood category? Young Blood is a series of categories open only to entrants who have been out of school up to a certain number of years (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 also takes into account the level of professional experience. You will be required to specify the name of the Young Blood entrant to qualify.
What is the Community category? The Community Awards was our newest Awards program, launched in 2017, to help Canadian artists and studios working on smaller communities or with smaller budgets local clients get the recognition they deserve. In 2019, Community Awards categories were rolled into each of the four competitions (Design, Illustration, Design and Advertising) for added exposure.
Entry Material FAQ
At what specs do I need to submit my entry? Refer to ENTRY MATERIAL GUIDELINES section for specifications.
Can I submit a hard copy or disk? No. Only digitally-uploaded entries are accepted.
The program crashed. Did I lose everything? No - you are saving your work as you go through each section of the entry form. If the program crashes as you are completing a certain section, it may not have saved that section.
The file I uploaded won't show me a preview. Why? You may not see the image preview if you haven't followed the specs outlined in ENTRY MATERIAL GUIDELINES. Check your file and re-upload. If you continue to experience difficulties, try clearing your browser history or contact firstname.lastname@example.org.
I uploaded the wrong file. Can I change it? Yes. You can resubmit images at any time until payment is made. Click the 'X' beside the appropriate file and re-upload your image.
NOTE: The thumbnail image may not correctly display your new image. If this happens close your browser and log back into My Entries for the changes to show. If you continue to experience difficulties, try clearing your browser history or contact email@example.com.
Do I need to get the rights of the subjects or material used from external sources in my entry? It is the responsibility of the entrant to ensure copyright is not infringed. Upon entry you must 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. Although you do not need to send us a copy of the release forms, we do suggest that you have them. Entrants who request we don't run their winning work because they don't have the rights will not be refunded for their entry. NOTE: Student work is often exempt from copyright rules.
What rights do I retain if my work is chosen? You retain all rights to your images.
My client has revoked the right for me to enter work I've won for. What do I do? We do not issue refunds in these cases, but please contact firstname.lastname@example.org if you need the entry removed from the Winners' pool.
Can I submit more entries after paying? Yes. In My Entries, you will have the opportunity to submit additional entries even if others already entered have been paid. This will simply generate a new confirmation email when you complete your entries with payment.
I want to change something after I've paid. What do I do? Once an entry is paid, you cannot change the category, entry title, entry format, Winners information, description of entry or creative credits. A paid entry is final, so check it carefully before proceeding to the payment fields. If chosen as a winner, you will be given a small window of time add or edit information.
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. What do I do? We do not issue refunds, but contact email@example.com if you need the entry removed from the judging or winners' pooll.
I'm getting error messages when I try to pay. What do I do? If you entered your payment information incorrectly on your first attempt, any subsequent attempts would be declined, even if you change your payment type. Close your browser and log back into My Entries. You should now be able to proceed with payment. If you continue to experience difficulties, contact firstname.lastname@example.org.
If I win, what image will you use for reproduction? We will use the image(s) you submitted on entry. In the case of series, campaign, broadcast digital or motion, we select a sampling at our discretion from the images/files submitted.
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 amend these rules throughout the competition. Applied Arts assumes all entries are original and the property of the entrant, with all rights granted therein. Applied Arts reserves the rights to publish or exhibit entries for our print or electronic formats, or related promotions. Entries are non-refundable. Costs cover administration, processing and the judging of the entry. Entries may be moved to more suitable category, if Applied Arts deems the category chosen unsuitable. All descriptions and credits are subject to be edited for length, clarity and grammar in accordance with the Applied Arts editorial style guide. A submission of entry acknowledges acceptance of these rules.