You'll Love This Issue If:
- You love inspiring graphic design from across the country
- You want to see how the digital age has impacted the Regional Design Annual
- You just have to have the latest RDA!
Print's Regional Design Annual is the most comprehensive survey of graphic design in the United States, containing more than 150 pages of award-winning work, and the only design annual organized by geography.
The categories in the Regional Design Annual Are:
- Far West—judged by Brigitta Bungard, a graphic designer, art director, and educator based in New York City.
- Southwest—judged by Joshua Darden, who, since establishing his Brooklyn-based studio in 2004, has collaborated with clients in dozens of markets to invent rich, communicative typography.
- Midwest—judged by Michael Freimuth, an art director, designer, and illustrator based in New York City.
- South—judged by Kim Bost, who works at The New York Times as an interactive designer after several years as an art director for the op-ed page.
- East—judged by John Kudos, a designer, strategist, educator, and change catalyst AND by Kiki Katahira who was a designer at 2x4, where she managed projects for art, architecture, fashion, and cultural clients worldwide.
- New York City—judged by Pum Lefebure, who oversees all creative coming through Design Army's doors and establishes the vision behind the firm's high-profile design work AND by Jake Lefebure the president of Design Army and the firm's principal project leader.
Welcome to the 31st Regional Design Annual, our yearly attempt to lasso the strange beast that is American design. Ever since our first Annual, in 1981, we've found it useful to divide the country into six regions—which, naturally, has created all sorts of taxonomic problems. Is there really a stylistic difference between the work being done in Arlington, Virginia (which is in the South), and its neighbor Washington, D.C. (in the East)? Add to that the flattening effect of the web, and you begin to question if regions still matter.
That's precisely what we heard from many of this year's winners when we asked them about regional variations: There aren't any, they said, because the internet killed them. And yet—we wonder. Most everyone cited something in their immediate environment that influences their work—Nuts 4 Nuts carts, old Laundromats, Disneyland, bike-friendly culture, the ghost ads of the South, the Herb Lubalin Center. These things percolate in the mind, and they show up on the page.
Michael Freimuth, our Midwest judge and a regional agnostic himself, puts it best: "Regions still matter in the sense that they comprise creative communities. There's quite a lot more to our business and world than servicing clients—becoming an integrated and active member of your creative community is huge. You can't ignore your immediate surroundings." We couldn't agree more.