The entire jury fell as one for this extremely successful celebration of experimental printing. Because – even if it doesn’t look like it now – it is taking quite a risk to approach a production in such a way that each individual copy gives the feeling of having a unique book in your hands, rather than one offset printed and therefore part of an print-run.

Printing the black-and-white photos in full colour and opaque white on the grey side of Starline Greyboard almost transforms them into paintings that enter into a lively harmony with the more traditional print on the other side. The opaque white on the grey side creates a marvellous contrast, making the snow in some of the photos even more intense. The dazzling effect of the reflections of light in a snowy landscape is reinforced by the interaction with the white side of this paper. A graphical device that not only does justice to the photography, but is also a visual tour de force showing just what can be achieved with printing techniques in a photo book. Highly innovative, in all its simplicity.

The title is on the back cover, with a photograph taking up the front. If you hold the book – really more of a quire – in your hand and leaf from back to front, this actually works in the traditional sense.

This is a perfect example of a successful cooperation between all parties. Made all the richer by the fact that a composer has written a piece of music specially for this publication. This composition is given a grey, woolly background in the interior by a full page in black being printed on the reverse of the IBO One paper. This is somewhat reminiscent of the trick of placing a black sheet behind a page to be scanned to stop undesired opacity. In this case, the reverse effect is achieved: the cloudy mix of paper texture and ink that shines through is a glorious addition to the rest of the visual idiom. Again, a book the glories of which cannot be translated into a digital form.