BRITISH BOOK DESIGN AND PRODUCTION AWARDS 2008

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FOREWORD We are delighted to present the shortlisted entrants for the British Book Design and Production Awards <strong>2008</strong>. We received a record number of entries this year, reflecting the increasing status of these Awards. A total of 380 entries were received, exceeding the numbers achieved last year, and the year before by over 100 entries. More importantly, with the quality of entries remaining as high as ever, the standards expected of our finalists rose accordingly. They can rightly be proud of their achievement and their appearance in this publication. For the winners of course, their success should be celebrated all the more. All categories secured a healthy number of entries, including the new Environmental category. Brand / Series Identity received the highest number of entries closely followed by Best Jacket, which attracted the highest number last year. The Trade Illustrated, the Children’s Trade, the Exhibition Catalogues, and the Photographic Books, Art and Architecture Monographs categories also drew large numbers of entries. Whilst this is not unusual, the last two categories were combined last year and so the numbers for those this year were particularly encouraging. This also vindicated the judges’ decision to split the previous combined category. There would of course be no Awards without the sterling efforts of those who have worked so hard to make them a success. First and foremost, we need to thank our judging panel: Aaron Archer, David Hyde, Paul Martin, Marion Morrow and Peter Saxton. We are indebted to the judges for giving their time and expertise in choosing the shortlist and of course selecting the final winners. Three of the judges were new this year but ably proved their worth in undertaking a tough selection process. We were very fortunate to be served by five people with a genuine love of books and a real flair for assessing the quality of design and print. We hope you will agree that this is reflected in the high standard of our shortlisted books and the judges’ comments about the winners. We would also like to thank our sponsors for their support, without which it would not be possible to hold the Awards. Thanks are due to Paul Martin and Laurence Davis respectively for designing and providing the photographs for this superb record of the <strong>2008</strong> Awards. We are also grateful to Caroline Hamilton at Oxford Brookes University for processing the entries, and to Heena Bulsara at the BPIF for organising the Awards night itself. Finally, we would like to thank you all for supporting these Awards. Without your entries and attendance on the night we would be unable to celebrate the best of British Book Design and Production. The Organising Committee BPIF Oxford Brookes University The Publishers Association 5
Once again, the panel made its way to Oxford Brookes University for two days of judging frenzy. Our thanks, as ever, are extended to Adrian Bullock and his team for all their hard work in administering the Awards. Thanks should also be extended to Heena Bulsara and her colleagues at the BPIF who have orchestrated the Awards event. As far as the judging process is concerned, a few changes were made over previous years. It was felt that the category including both Photographic Books and Exhibition Catalogues attracted an extremely high number of entries, so this year they were separated into two. This did not make the judging any easier, however, as the standard of entries in both categories was incredibly high. The judging panel included specialists from print, production and design companies as well as from the retail sector, ensuring input from widely differing ends of the industry. It should be noted that a judge who had active participation in the production of an entry was obliged not to comment on that book. Any subsequent shortlisting of a title connected to any member of the panel was as 6 INTRODUCTION the result of the judging process by the remaining panel members only. As in previous years competition was fierce and challenging with a record number of entries, especially in the Best Jacket / Cover Design section. Publishers are very aware that their covers need to work extremely hard in a challenging retail environment and they are committing ever-increasing resources to ensure that cover designs are distinctive and eye-catching. It is pleasing to see that in many cases spines are also receiving the attention they deserve – for the vast majority of books the spine is the only portion visible to the browsing public. The panel was excited to see that finally strides are being made in the field of digital print enabled book production. Here digital print technology is being used to great effect to offer new, old, niche and even personalised titles to the consumer. Overall this enriches and in some instances revolutionises the supply and production of books. The digital revolution can only increase as the years pass. A new category added this year was the Environmental Award. Here judges were looking for publications that
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BRITISH BOOK DESIGN AND PRODUCTION AWARDS 2008

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