* Identity for De Hallen Haarlem nominated for the Nederlandse Huisstijlprijs 2009
[jury] Het idee om verschillende lettertypen op eenzelfde manier te bewerken en aldus een onderscheidend en herkenbaar beeld te creëren oogstte veel bewondering van de jury. Daarnaast waren er complimenten voor de nauwkeurige en consequente uitwerking. Het resultaat is een volstrekt passend under-groundachtig geheel met nagenoeg onbegrensde toepassingsmogelijkheden.
* Eating the Image, Mary A. Waters Best verzorgd boek 2008
[jury] Lifestyle is the starting point for this commercial gallery catalogue of Waters's work. The individual works are all printed on the first side of the sheet, set carefully in the white space with vertical captions. The other side of the paper is stuffed full of pages from twenty-first-century lifestyle glossies. Real or fake, it makes little difference. Consulting the publishing information at the back reveals that they are genuine, but just looking at the book it is difficult to establish: the printed sheets have been handled in such a way that the verso spreads haven't been cut open at the tail. The effect is that Waters's work confronts us head-on in generous spreads, whereas for what is printed on the back we have to squint through sideways. That prevents this editorial trick from degenerating into a blase juxtaposition of art and advertising.
The rest has been given an appropriate finish, with smoothly glossy paper and a periodical-style format and cover. The explanatory texts have been placed in two sections in a smaller format and coloured paper. The result is an art catalogue that not only presents the art but adds an extra layer to it.
* Identity for De Hallen Haarlem finalist for the Dutch Design Awards 2008
* Cornelius Quabeck – Hood Best verzorgd boek 2007
[jury] 'Hood', by the German painter Cornelius Quabeck, is an unusual book. This is principally because of the highly singular and idiosyncratic way in which it is finished, with each of the six sections packed in its own wrapper of thinner paper which is glued into the spine. The effect is that each section constitutes a separate exhibition. The wrappers are perforated at the fore-edge and are shorter in height than the rest of the book.
The panel were seized with curiosity at picking up this book. Had anyone ever seen anything like it? Are we supposed to slit the wrappers open with a knife? Or do we carefully unstick one end of each one at the spine? We decided on the latter course of action and in this way allowed ourselves to be surprised by the artist's work.