The 2010 Regional Design Annual Table of Contents

 
DECEMBER 2010

Vol. 64, Number 6

Print‘s Regional Design Annual is the most comprehensive survey of graphic design in the United States, containing 200 pages of award-winning work, and the only design annual organized by geography. Representing every region of the country, the issue highlights inspiring work from the Golden Gate to the Empire State.
 
 

 
 
 
FAR WEST

Judged by Lucille Tenazas
Founder and principal of Tenazas Design, based in San Francisco for 20 years until relocating to New York in 2006, Lucille Tenazas is the Henry Wolf Professor in the School of Art, Media, and Technology at Parsons The New School for Design and was the founding chair of the MFA program in design at California College of the Arts. She was the national president of AIGA from 1996 to 1998 and received a National Design Award from the Cooper-Hewitt National Design Museum in 2002.

SOUTHWEST
Judged by Randy J. Hunt
The design director at Etsy and founder of design studio Citizen Scholar, Randy Hunt is also the co-founder of Supermarket, an online design marketplace. His work has been honored by the Type Directors Club, the ONE show, and the American Advertising Association. His writing and interviews appear in various publications.

MIDWEST
Judged by Gary Fogelson and Phil Lubliner
Gary Fogelson and Phil Lubliner are the two halves of the studio Fogelson-Lubliner. Phil, originally from Chicago, was formerly a designer and art director at R/GA, Framfab-Copenhagen, and Honest. Gary, born and raised in New Jersey, was a designer at Open and occasionally fills in as art director of the New York Times Op-Ed page. Both are currently teaching part-time at Pratt Institute.

SOUTH
Judged by Leland Maschmeyer
Raised in Alpharetta, Georgia, Leland Maschmeyer is partner and creative director at the design firm COLLINS: and teaches Designer as Author classes in the School of Visual Arts’ MFA design program. Worked created by him and his team has been awarded for its strategic excellence by the Jay Chiat Awards, Communication Arts, and the Effie Awards.

EAST
Judged by Jennifer Kinon
The current president of AIGA/NY, Jennifer Kinon is founding partner of the branding and design agency The Original Champions of Design and is on the faculty at the School of Visual Arts’ MFA design program. Prior to founding OCD, she worked at Pentagram, where she won awards from the D&AD, AIGA365, and the Type Directors Club.

NEW YORK CITY
Judged by Ken Carbone
Co-founder and chief creative director of the Carbone-Smolan Agency, Ken Carbone has worked with client such as W Hotels, Morgan Stanley, Canon, Carnegie Textiles, The Chicago Symphony Orchestra, Corbis Images, Architectural Record, and the Louvre.

 
DEPARTMENTS

Letter from the Editor
Musings on 30 years of the RDA (and how it put your hometown on the map)
By Aaron Kenedi

Introducing Imprint
In 2010, Print introduced a new online community to expand the design conversation across all forms of visual culture. We recap some of the best—and most controversial—posts to date.

Artist Q&A
Fanette Mellier talks about the visual language of CMYK and her second-place win at the Chaumont Poster Festival.
By James Gaddy

Top Book Art of 2010
A look back at the year’s best cover design in the literary world—in both print and digital form.
By Claire Lui

Top Album Art of 2010
Our intrepid critic’s take on his favorite album cover art of the year.

By Douglas Wolk
 
 
 
 

3 thoughts on “The 2010 Regional Design Annual Table of Contents

  1. claythepirate

    I have to admit, I am always really excited for this issue but the last few years have become more and more disappointing when the annual comes around. The amount of work in the book is reducing and the price to buy it off the shelf keeps getting higher. The obvious monetary, getting less for more, concern was not actually what bothered me the most. In all of the past annuals work has been broken down by which region it’s from, but further than that into sub regions. The far west has, in the past, had smaller sections for CA south, CA north, northwest, and the rest of the west. This helps reinforce the aesthetics of each particular region and in my experience is one of the best ways to get a rough outline of what design in this country looks like. Now, in the most current issue all of the far west is lumped together. Design from Los Angeles is next to design from Seattle, which are about as different as you get in this country. Readers lose the most interesting part of the issue. If anything, there should be more sub regions, providing a really interesting look into different design cultures not only around the nation as a whole but in each individual region as well.

  2. claythepirate

    I have to admit, I am always really excited for this issue but the last few years have become more and more disappointing when the annual comes around. The amount of work in the book is reducing and the price to buy it off the shelf keeps getting higher. The obvious monetary, getting less for more, concern was not actually what bothered me the most. In all of the past annuals work has been broken down by which region it’s from, but further than that into sub regions. The far west has, in the past, had smaller sections for CA south, CA north, northwest, and the rest of the west. This helps reinforce the aesthetics of each particular region and in my experience is one of the best ways to get a rough outline of what design in this country looks like. Now, in the most current issue all of the far west is lumped together. Design from Los Angeles is next to design from Seattle, which are about as different as you get in this country. Readers lose the most interesting part of the issue. If anything, there should be more sub regions, providing a really interesting look into different design cultures not only around the nation as a whole but in each individual region as well.

  3. claythepirate

    I have to admit, I am always really excited for this issue but the last few years have become more and more disappointing when the annual comes around. The amount of work in the book is reducing and the price to buy it off the shelf keeps getting higher. The obvious monetary, getting less for more, concern was not actually what bothered me the most. In all of the past annuals work has been broken down by which region it’s from, but further than that into sub regions. The far west has, in the past, had smaller sections for CA south, CA north, northwest, and the rest of the west. This helps reinforce the aesthetics of each particular region and in my experience is one of the best ways to get a rough outline of what design in this country looks like. Now, in the most current issue all of the far west is lumped together. Design from Los Angeles is next to design from Seattle, which are about as different as you get in this country. Readers lose the most interesting part of the issue. If anything, there should be more sub regions, providing a really interesting look into different design cultures not only around the nation as a whole but in each individual region as well.

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