The Regional Design Annual has awarded and published the best the design world has to offer. For 32 years the RDA has been the most comprehensive survey of graphic design in the United States, and the only design competition organized by geography, so it’s a prestigious opportunity for you to showcase your best work.
Each and every year we are inspired by the submissions we receive from the best and most talented designers across the country. We’re so flattered by the stories and experiences they’ve shared with us and hope you’ll enter today to join the ranks of the winners!
Kristen Caston is the Creative Director for Alchemy Ltd, Chicago.
We enter the RDA b/c it’s good practice to track what others are doing in our field and to compare/contrast our work with theirs so that it continues to set us apart. We’re based in Chicago, so to represent our region and to be considered among the best in the US means a lot. PRINT continues to be a widely popular source of inspiration for our industry, and having our work published is great exposure. Also, bragging rights are a bonus! Winning the RDA has definitely had an impact on our business. While the work speaks for itself, adding a win solidifies our confidence and publicly confirms how our talent ranks among the best.
Jennifer Morla is President and Creative Director of Morla Design, San Francisco. With over 300 awards of excellence, she has been recognized by virtually every organization in the field of visual communication.
I have entered the Regional Design Annual for years. It was instrumental in giving me exposure when I was just starting out and has continued to be a benchmark for excellent design nationwide. It is referenced by both the design community and agencies alike. Whether you work as an in-house creative, have a boutique studio, or are part of a large agency, the RDA is a resource like no other in that it is still entered by design luminaries and those just out of school. It is and honor to be awarded and included in the Regional Design Annual.
Rachel Gogel is the Art Director of GQ Magazine’s in-house advertising creative agency–the GQ Design Group.
This competition has always been something I only dreamed of entering. I started buying the RDA in college because I found that looking at the “best work in the nation” not only inspired me, but also helped me start my job research by reading the captions below the work. I found that the agencies and designers featured were always on the pulse and I liked noticing different trends. Now that I’ve been working almost four years, I still find myself buying the annual because it’s a great way to stay fresh and know what other people in the industry are doing. I entered my work this year because I was curious about the process and wanted to start building my credibility in the art world. On some level, being published is important to me in order to gain exposure, and if people are buying the issue for similar reasons as me, then I like knowing that other designers or curious people might be looking at my work and also getting inspired. I also want to see more of the magazine world’s promotional work and event collateral incorporated in the design annuals. This was actually my first time entering a competition of this caliber and since I know how rich New York is in design talent, it’s great to now be part of this community.
Scott Laserow is President/Creative Director/Illustrator of Scott Laserow Posters
I was just a year out of school when my work first appeared in PRINT’s Regional Design Annual. I remember feeling so excited and proud to have my work in such a prestigious publication. Well, almost thirty years later I feel just as excited and proud each time my work appears in PRINT’s Regional Design Annual. I submit my work to many design annuals both national and international and PRINT still remains one of the most important annuals I support. Many thanks to PRINT for allowing me to be apart of their long traditional of excellence.
Early in my communication design career, I entered award competitions because I was hungry for the recognition of my peers and to attract better clients. And when my first PRINT award came in 2007, I found that it delivers on both counts – it felt good to see our agency in the magazine, and helped open doors for me to work with better clients.
But what I found even more delightful, five years later, is that PRINT chose to honor a labor of love, that wasn’t client work. A grant-funded book of short stories that inspired 8 designers to create visual interpretations, chapter by chapter, received the same editorial attention as B2B and B2C projects. So submit your best work – the project you work on late nights and wake up thinking about – whether you created it for clients or for yourself. You might be lucky enough to see it in PRINT.
I always look forward to
Print’s Regional Design Annual. The inclusion of work in this prestigious competition is something that I take great pride in sharing with my clients and colleagues. I find meaning in the process of collaborating with Art and Cultural Institutions, and we maximize our resources by working closely together. In the end, the relationships you form have as much value as the work you create. Print’s RDA is a way of saying thanks.
Entering PRINT Magazines Design Annual is always an effort to make a mark in the world. Sure, it’s a chance to be recognized for something you’ve created, but for me, it’s more about leaving something behind and contributing to a bigger force…knowing that my designs are being viewed by the world and in some small way inspiring others and adding to the influence of current trends. It’s a pretty rewarding experience to receive an email from someone far away who was moved by something you created so much that they had to tell you.
The best thing about Print’s Regional Design Annual (RDA) is that it is printed, and of course all of the wonderful limitations that come along with that. Even if online exhibits are curated and limited, the very fact that they are online suggests the opposite, or at least the potential of the opposite. One is exclusive, the other, not so much. The long history of the RDA and Print’s respected authority in the industry only add to that exclusivity. So yes, having work recognized in the RDA is monumental, and humbling, and a pretty great marketing opportunity.
We were pleased to see our work for Jack Daniel’s Tennessee Whiskey featured in the 2012 PRINT Regional Design Annual. Being published in PRINT provides greater visibility for our work, both in print and online. It also creates community among Midwest designers and gives us a larger look at what other designers in our region are working on. We appreciate receiving recognition that we can share with clients and in our own PR. Thanks to PRINT for running a great competition and producing a beautiful book!
In my mind, there are three major competitions for graphic designers to showcase their work. The Type Director’s Club and AIGA both have long running and prestigious annuals that make a valuable holistic statement on graphic design. But with it’s regional categories, Print Magazine’s annual allows for a clear view of what is being produced here in the United States and helps pinpoint financial, social, and cultural differences across the country – that shape our visual output.
I enter Print’s Regional Design Annual every year and have been lucky enough to have been selected several times. I have come to appreciate how this annual survey allows me to see how my work fits within the field, both regionally and nationally – something that I believe is unique.
Cody Rasmussen, Design Director, Phinney Bischoff
The Regional Design Annual has always been a fun competition to enter–competing against our neighbors. Phinney Bischoff is celebrating our 30th year as a successful agency located in Seattle, and we still enjoy being recognized for our continued high-caliber design. Like Print’s competition categories, our work has evolved over time from primarily print work, to brand strategy, creative, and digital design for our clients. Being on stage with the great designers of the West is an annual reminder that what we love to do is appreciated by our peers. —Cody Rasmussen, Design Director, Phinney Bischoff
Gene Vosough spent the majority of his professional career in children’s book publishing.
After completing a very unique wedding invitation, colleagues of mine suggested I enter my piece in a design competition. PRINT magazine has always been a wonderful resource for me since college and I was happy to find so many categories within one competition.
The majority of my professional career has been in children’s book publishing working as an art director, designer and paper engineer. In 2007 I branched out on my own concentrating on paper engineering for a broader market. I feel this art form has so much to offer other than just entertaining children.
These competitions and annuals are fantastic for exposure. It is an honor to be included in the regional design annual. I hope my work helps others to think in new directions.
For even more stories, check out our post featuring a few winners on our Imprint blog.