Voting on this book was unanimous. To start with, the black cover, with its carefully thought-out typography – at once controlled and exciting – is both intriguing and convincing. Everything here is right: front, back and narrow spine have all been well handled.
This is continued in the interior, with typography that is good and solid without being in any way coarse, and is in harmony with the work on display. The choice of materials likewise carries conviction, with the matt character of the sturdy, just adequately flexible cover, and the vulnerable interior matter that so beautifully dovetails with it.
This book joins in with two trends that we found turning up again and again: shorter and/or narrower pages carrying a new layer of information, and pages folded in the Japanese manner that in this case appear not to require slitting open, even though there is occasionally text on the inside.
Besides, the rationale for using these two current elements is easy to see. This work by Thomas Raat builds on the mainstream-modernist book covers of half a century ago. The designer seems to have really got inside the work, and the result is a book that has been designed with love and care and is also beautifully printed and bound.
Honourable mention, Best Book Design from all over the World, Leipzig 2013