Interawards runs one cycle a year and keeps the entry platform open to independent studios, in-house teams and students. Graphic design, packaging, motion, type design and digital craft all sit in the same program, judged on the same terms.
Every submission clears a technical check first, then goes to a rotating jury of practicing designers. The shortlist, jury notes and credits are published in a searchable archive once the cycle closes.
New here? Read how the program works or go straight to the contact page.
Interawards is open to independent studios, in-house teams and students. The categories are broad on purpose, but the fit is not loose: pick the one that describes what the work actually is, not the one that sounds most impressive. If a project straddles two, the technical check will flag it and ask you to choose.
Self-initiated and client work sit side by side here. What matters is authorship and craft, not the size of the client. A single well-resolved identity carries more weight than a spread of half-finished pieces.
Graphic design, packaging, type design
Work made inside a company is judged on the same rubric as studio output. Include the brief constraints and the collaborators, because the jury reads context before it reads finish.
Motion, digital craft, packaging
Coursework and self-directed projects are welcome. The student category rewards a clear point of view over polish, so a rough idea with a reason behind it can advance further than a tidy one without.
Student category
If the work could sit in more than one place, ask what the piece is primarily doing. A packaging system with a motion launch film belongs in packaging; the film is supporting material. A typeface drawn for a single identity belongs in type design if the drawing is the point. When the answer is genuinely unclear, submit to the category that matches the strongest part of the work, and note the overlap in your entry. The technical check reads those notes and will move an entry only when the mismatch is clear.
Interawards is an annual awards program and an open entry platform. Every submission runs through the same two-stage review, and every cycle leaves behind a record you can read, compare and cite. Here is what that means in practice for a studio, an in-house team or a student.
Curious how the program is run? Read more on the about page or check the programs overview.
Graphic design, packaging, motion, type design and digital craft sit under the same entry system, so a studio can submit across disciplines without juggling separate portals.
File specs, category fit and rights clearance are verified first. If something is off, you hear about it before a juror ever opens the work, not after.
The jury rotates each cycle and is made up of working designers. That keeps the criteria from settling into one house style and forces each cycle to argue its own case.
Shortlisted work is published with jury notes, category rationale and credits. It works as a benchmark: you can read three cycles of a category and see where the bar sits.
Deadlines are published per cycle, so teams can fit a submission into a production schedule instead of guessing when the cutoff lands.
Each cycle closes with a small printed annual. It is a physical record of the shortlist, useful for studios that want the work on a shelf rather than only in a browser.
A few things entrants ask most often, answered plainly. If something here still reads unclear, the categories page carries the current cycle details.
Formal terms live under Terms, and data handling is covered in Privacy.