2004 alcuin awards catalogue

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L a S o c i t A l c u i n

au Canada confrs par la Socit Alcuin, 2004

Design in Canada

Prix pour lexcellence de la conception graphique du

BookLivre

The Alcuin Society 2004 Awards for Excellence in


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T h e A l c u i n S o c i e t y


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L a S o c i t A l c u i n2005

The Alcuin Society 2004 Awards for Excellencein Book Design in Canada | Prix pour lexcellence

de la conception graphique du Livre au Canada

confrs par la Socit Alcuin, 2004

23rd | 23 ieme


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L a S o c i t A l c u i niii

Preface to the 23rd Competition | Prface la 23 ime Comptition

In 2005, celebrating our 40th anniversary, the Alcuin Society gathered a

panel of judges in Vancouver to consider the work of Canadian designers from the

previous calendar year.

For the first time, the Society is publishing its catalogue, The Alcuin Society2004 Awards for Excellence in Book Design in Canada, in a bilingual edition, better

reflecting the increasingly national character of our competition.

This years entries were submitted to the Society from eight provinces across

the country, with many from Qubec, and from as far away as Newfoundland. Each

book, published in Canada in 2004, represents the work of an individual Canadian

designer or a collaborative effort. As in other years, some of the technical produc-

tion (printing, paper, etc.) was done outside the country.

The Alcuin Society is grateful to the judges for volunteering their time and con-

siderable talent. This years judges, Sue Colberg, Val Speidel, and Andrew Steeves,

from Alberta, British Columbia, and Nova Scotia respectively, met on April 2nd,

2005, at Simon Fraser University, Harbour Centre, in Vancouver. They selected

twenty-six winners, representing outstanding achievements in design. The judges

have summarized some of their observations at the beginning of each category.

The fundamental principle of the judging process is that each book must be

considered as a total entity. The judges examine every aspect of each book, includ-

ing the dust jacket, binding, endpapers, half-title page, copyright page, title page,

page layout, typography, integration of illustrations, chapter openings, runningheads, reproduction of illustrations, clarity of printing, choice of paper, footnotes,

and bibliographical references.

The Alcuin Society is grateful to all publishers and designers who have sub-

mitted books. A copy of each winning book is donated to the Special Collections

Division of the W.A.C. Bennett Library at Simon Fraser University, to support the

Universitys programs at its Canadian Centre for Studies in Publishing. Special

thanks also go to publishers of the winning entries, for providing extra copies of

their books to the Society for use in exhibitions held in various Canadian cities

throughout the coming year.

La Socit Alcuin, clbrant son 40 ime anniversaire, a runi en 2005

Vancouver, une liste de jurs qui a examin les travaux de concepteurs graphiques

canadiens publis en 2004.

Pour la premire fois, la Socit publie son catalogue, The Alcuin Society 2004

Awards for Excellence in Book Design in Canada**en dition bilingue, afin de

mieux reprsenter le caractre national de notre comptition.


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Cette anne, les envois proviennent de huit provinces canadiennes, plusieurs

envois tant soumis du Qubec et certains daussi lointain que la Terre-Neuve.

Chaque livre, publi au Canada en 2004, reprsente le travail dun concepteur

graphique ou dun effort commun. Comme dans les annes prcdentes, certainesproductions techniques (limpression, le papier, etc.) ont t executes hors du

Canada.

La Socit Alcuin est reconnaissante aux juges qui ont offert leur temps et leurs

talents considrables. Les juges pour cette competition, Sue Colberg de lAlberta,

Val Speidel de la Colombie-Britannique et Andrew Steeves de la Nouvelle-cosse

se sont runis Vancouver le 2 avril, 2005 lUniversit Simon Fraser, Harbour

Centre. Ils ont choisi vingt-six gagnants qui reprsentent des russites exception-

nelles en conception graphique. Les juges ont rsum leurs observations au dbut

de chaque catgorie.

Le principe essentiel du procd de jugement est que chaque livre doit tre

considr en entier. Les juges examinent chaque aspect de chaque livre, y inclus

la jaquette, la relieure, les pages de garde, la page de titre abrg, la page de droit

dauteur, la page de titre, la mise en page, la typographie, lintgration des illustra-

tions, le dbut des chapitres, les titres courants, la reproduction des illustrations,

la prcision de limpression, le choix de papier, les notes de bas de page, et les

rfrences bibliographiques.

La Socit Alcuin est reconnaissante tous les diteurs et dessinateurs qui ontsoumis leurs livres notre competition. Le Special Collections Division de la

Bibliothque W.A.C. Bennett de lUniversit Simon Fraser a reu en don un exem-

plaire de chaque livre gagnant afin de soutenir les programmes du Canadian

Centre for Studies in Publishing. Nous tenons remercier en particulier les di-

teurs des livres gagnants qui nous ont fournis des exemplaires supplmentaires

pour le programme dexposition qui aura lieu dans plusieurs villes canadiennes

pendant lanne qui vient.

Leah GordonThe Alcuin Society | La Socit Alcuin

May | Mai, 2005

iv

Preface to the 23rd Competition | Prface la 23 ime Comptition

Prix pour lexcellence de la conception graphique du livre au Canada confr par la Socit

Alcuin, 2004.

**


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The Judges | Les Juges

Andrew Steeves is the co-owner, sen-ior editor & typographer of Gaspereau

Press, printers & publishers, Kentville,Nova Scotia. After completing degrees

in criminology and English literature,he embarked on a career of reading,writing, editing, designing, printing,

binding, promoting and selling books.His design frequently marries modern

and antiquated design and produc-tion techniques in an attempt to bring

a private press sensibility to bear ontrade and commercial design. He livesin Wolfville, Nova Scotia.

Andrew Steeves est le copropritaire,rdacteur principal et typographede Gaspereau Press, imprimeurs &

diteurs de Kentville, Nouvelle-cosse.Aprs avoir complt ses tudes encriminologie et en littrature anglaise,

il sengagea dans une carrire delecture, rdaction, travail ditorial, con-

ception graphique, imprimerie, reliure,promotion et vente de livres. Frquem-

ment, ses conceptions graphiquesmarient les conceptions modernes etanciennes ainsi que les techniques de

production afin de rendre la sensibilitd une presse prive aux conceptions

commerciales et publicitaires. Il de-meure Wolfville en Nouvelle-cosse.

Susan Colberg is Assistant Professorof Visual Communication Design at

the University of Alberta, in Edmon-ton, where she teaches beginning and

advanced typography, informationdesign and the practice of graphicdesign to graduate and undergraduate

students. Her practice focuses on bookand publication design and her clients

include a variety of institutional andscholarly publishing houses in Canada

and the U.S. She has won numerousnational and international awards forher work and is Past-president of the

of Alberta Chapter of the Society ofGraphic Designers of Canada.

Susan Colberg est professeur decommunication visuelle l Universitde lAlberta Edmonton, o elle en-seigne la typographie, la prsentation

graphique dinformation et la concep-tion graphique. Comme conceptrice

graphique de livres elle a travaill pourplusieurs maisons ddition (commer-

ciales aussi bien que pdagogiques)au Canada et aux tats-Unis. Susana gagn plusieurs prix nationaux et

internationaux pour son travail. Elleest l ancienne prsidente de la socit

Graphic Designers of Canada, AlbertaChapter.

Val Speidel is a freelance bookdesigner who lives and works in

Vancouver.

Val Speidel, qui vit et travaille Vancouver, est conceptrice graphiqueindpendante.



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T h e A l c u i n S o c i e t y02

Children | Livres pour Enfants


The jurors agree this is one of themost difficult categories to judge. The

sheer variety and number of subjectsexplored in these books for children

is quite amazing. The content of thebooks is so varied, and the age rangeof the children for which the books are

intended so broad, it makes compar-ing the works a definite challenge.

The numerous entries submit-ted in this category are charming

and generally of very high quality interms of both form and content. Overthe past several years, it appears that

attention to detail in the designs andproduction quality have increased

dramatically. Production budgetsvary, but designers have made

excellent use of both full and limitedcolour printing, according to the pos-

sibilities open to them.In reviewing the books for chil-

dren, jurors consider carefully how

each book appeals to the primaryaudience (the children), as well as to

the secondary audience (the adults).Award-winning books are charac-

terized by well-integrated textsand images, inventive illustrationsappropriate to the content, and clear,

expressive typography, which is attimes lively and at others restrained.

Changing points-of-view in the illus-trations engage the reader and create

visual dynamism which entices thereader to turn the page in order to see

what will happen next. Typographicelements are carefully selected, sensi-

tively placed and white space is usedto advantage. Covers are invariablydelightfully simple and powerful.

These books are fun. There arealways so many excellent books in

this category and too few prizes.The winning books share a degree

of sophistication and innovation intheir approach to the design, whichbelies their visual simplicity.

Cette catgorie est une des plusdifficiles juger selon les juges. Laprofusion et la diversit de sujets

abords dans ces livres pour enfantssont tonnantes. On est prsent avec

un grand dfi en comparant ces livresen raison du contenu si vari et de laplage dge vise si large.

Les nombreux envois soumis cette catgorie sont charmants et

dans lensemble, dune trs hautequalit en forme et en contenu.

Depuis un certain nombre dannes,on dirait que lattention prte auxdessins et la qualit de production

a augment normment. Mme siles budgets de production varient,

les dessinateurs concepteurs ont faitexcellent usage de limpression en

couleur totale ou minime, selonles possibilits qui leur taient

disponibles.En faisant la critique des livres

pour enfants, les juges prennent enconsidration la faon de laquellechaque livre plit son public

principal, les enfants, ainsi qu sonpublic secondaire, les adultes. On

caractrise les livres gagnants par destextes et images qui sont intgrs

efficacement, par des illustrationsinventives appropries au contenu, etpar une typographie claire et expres-

sive qui est parfois anime et parfoisrestreinte. Les lecteurs sont absorbs

par des illustrations qui changent depoint de vue. Ceci cre un dynamisme

visuel qui motive les jeunes lecteursainsi que les plus gs. Les lments

typographiques sont choisis avecsoin; insrs dune manire sensible,et le blanc est utilis bon gain. Les

couvertures sont invariablement sim-ples de faon charmante et puissante.

Ces livres sont amusants. Il y a tou-jours amplement de livres excellents

dans cette catgorie et il ny a jamaisassez de prix. Les livres gagnantspartagent un degr de sophistica-

tion et innovation dans leur faon devoir le dessin, ce qui dmentit leur

simplicit visuelle.


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Limited Editio ns | ditions Tirage Limit

The limited edition category isunique in this competition. The

designer is to some degree freed fromthe usual commercial constraints of

designing for a trade publisher, wheredecisions regarding format, coverillustrations, paper quality and print-

ing are either not theirs to make orare shared by many hands. A limited

edition book is a more intimate affair,one which holds the opportunity for

a designer to demonstrate unfet-tered creativity. Such freedom can bedisastrous when vision and purpose

are uncertain; the fine press traditionhas no shortage of pretty indulgences.

The winning books in this category,therefore, were those in which the

judges felt this freedom was best em-ployed, books which demonstrated an

understanding and artful combi-nation of materials, typography,illustration and binding, designs that

honoured the text.This category attracts both the

competitions most conservative andits most innovative designs, designs

which remind us of the books rootsin handcrafts while at the same timeexpanding its technological and

imaginative boundaries. The winningentries demonstrate the range of

technologies currently employedby fine press practitioners, from the

handset type and wood engravings ofIn Smoke (The Church Street Press) to

the digital typesetting and inkjetoutput ofTengo Sed (Greenboathouse

Books). The first place winner,Dave Heath : Korea (Lumiere Press),

combined both old and new technolo-gies to great effect, with text cast inlead slugs on a Linotype and hand

printed, and tipped-in photographsproduced using a high-end digital

proofing device.

La catgorie ditions tiragelimit est unique ce concours. Ledessinateur concepteur est, dans

une certaine mesure, libr descontraintes habituelles de dess-

iner pour un diteur de publicationscommerciales o les dcisions qui

concernent le format, les illustrationsde couverture, la qualit du papier et

limpression ne sont pas eux pren-dre ou sont partages parmi plusieurspersonnes. Crer une dition tirage

limit est une activit plus person-nelle, une qui prsente loccasion au

dessinateur concepteur de dmontrersans entrave sa crativit. De telle

libert peut tre catastrophique lor-sque la vision et le but sont douteux;la tradition de limpression de luxe

ne manque pas de petites gteries.Pour cette raison, les livres gagnants

dans cette catgorie, sont ceux oules juges ont senti que cette libert a

t le mieux utilis, des livres qui ontdmontr une comprhension et une

combinaison artistique de matriaux,typographie, illustration et reliure,

des conceptions qui ont fait honneurau texte.

Cette catgorie attire les dessinsles plus conservateurs ainsi que lesplus innovateurs de ce concours, des

dessins qui nous rappellent les origi-nes artisanales du livre, mais qui, en

mme temps, augmentent ses limitestechnologiques et ingnieuses. Les en-

vois gagnants dmontrent la gammede technologies qui sont utilisesen ce moment par les praticiens

dimprimerie spcialise, de la com-position manuelle et les gravures sur

bois deIn Smoke (The Church StreetPress) la composition numrique

et la production jet dencre deTengo Sed (Greenboathouse Books). Le

gagnant du premier prix,Dave Heath : Korea (Lumiere Press) acombin des technologies anciennes

et nouvelles bon effet, se servant detexte fondu en lignes-blocs de plomb

sur une Linotype et des photogra-phies imprimes la main et insres

dans le livre, mais, produites avecune presse preuves numriquehaut de gamme.



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Pictorial | Livres Illustrs

The books selected for outstandingdesign in this category consistently

show qualities of appropriate format(size, type of paper and binding),

articulate and skillful typography,and high standards of production.Each designer has created an integra-

tion of design elements to allow for asmooth navigation through the book

by the reader. There is well-consid-ered placement, scale and sequencing

of images, as well as balance betweentext and image. Overall, the judgesappreciated the designers graceful

and sensitive handling of designelements, and respectfulness towards

subject matter.

Les livres qui ont t choisis danscette catgorie pour leur dessin

exceptionnel dmontrent sansexception des qualits de prsenta-

tion graphique (dimension, papier etreliure), une typographie distincte etadroite, et une norme de production

leve. Chaque dessinateur concep-teur a cre une intgration dlments

de communication graphique quipermet au lecteur de feuilleter le

livre sans accroc. Le placement desimages, lchelle de leurs proportionset leur squence dans le texte sont

bien considrs, et lquilibre entre letexte et limage est bien conu. Dans

lensemble les juges ont apprcie letraitement lgant et sensible des l-

ments de communication graphique,et le respect port envers le sujet.



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title | titreFolk furniture of Canadas Doukhobors,Hutterites, Mennonites, and Ukrainians

author | auteur

John Fleming and Michael Rowanpublisher | maison dditionThe University of Alberta Press

designer | dessinateur concepteurAlan Brownoff

photographer | photographeJames A. Chambers

printer | imprimeurFriesens


pictorial |l ivres illustrs


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title | titreArchitecture Canada 2004:the Governor Generals medals inarchitecture = Les mdailles duGouverneur gnral en architecture

author | auteurn/a

publisher | maison dditionTuns Press

designer | dessinateur concepteurBhandari & Plater Inc.






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title | titreLooking for snails on a Sundayafternoon: thirty-six etchingsand three stories

author | auteurRudolf Kurz

publisher | maison dditionThe Porcupines Quill

designers | dessinateurs concepteursTim Inkster + Paul Hodgson

illustrator | illustrateurRudolf Kurz

printer | imprimeurPorcupines Quill Inc.





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Poetry | Posie

Poetry offers some unique chal-lenges for the book designer. Unlike

most prose, a poetry text comes withits own shape, and in predetermining

the length of the lines, stanza breaks,indentations and tabs, the authorbecomes in many ways a collabora-

tor in the design. A designer ignoresthese contours at his or her peril. The

sometimes typographically sparsepages of a poetry book require careful

consideration of formal elements likefolios. Compromises must sometimesbe made, as few pages in a poetry

collection will wholly share the samebalance or colour. It is sometimes

necessary to handle each poem indi-vidually within the greater scheme of

the design; as in the blues, beats aredropped and notes are bent in honour

of the greater music. When a poetrybook is well designed, its presentationmust be in harmony with the text,

and pliable enough to accommodateits eccentricities.

This year, while there were manycompetent books, the judges felt that

only two merited citations. Said likereeds or things (Coach House Books)had a compellingly understated grace

and a design structure that was openenough to accommodate the broad

scheme of arrangements that the textrequired. Straight razor(Biblioasis)

was also typeset thoughtfully, and thejudges were particularly taken with

the papers and with the treatmentof the jacket illustration. Both books

were distinguished from the otherentries by clarity of design, skillful use

of paper and type, and the resultingintimacy they effected.

La posie prsente des dfis par-ticuliers pour le dessinateur concep-

teur. Contrairement la majoritde la prose, un texte de posie se

prsente avec sa propre forme. Enprdterminant la longueur deslignes, la division des strophes, les

alinas et les tabulations, lauteurdevient dune certaine manire un

collaborateur dans le dessin. Undessinateur concepteur qui ne tient

compte de ces formes le fait sespropres risques. Les pages parfois

clairsemes typographiquementdun livre de posie ncessitent laconsidration dlments formels tels

que les folios. Parfois on aboutit uncompromis, car peu de pages dans

une collection de posie partagerontentirement le mme accord ou la

mme nuance. Parfois, il est nces-saire de traiter chaque pome titreindividuel lintrieur du grand plan

de la conception graphique; commedans le blues, le temps est supprim

et les notes sont tires en honneurde la musique. Lorsquun livre de

posie est bien conu, sa prsenta-tion doit tre en accord avec le texte,

et assez flexible pour sadapter sesexcentricits.

Cette anne, les juges ont estimquil ny avait que deux livres qui

mritaient une citation. Said likereeds or things (Coach House Books)possdait un charme irrsistible-

ment sous-estim et une structurede conception qui tait assez flexible

pour permettre le grand plan demesures requis par le texte. Straight

razor(Bilioasis) a aussi t composavec considration et, en particulier,les juges ont t trs impressionns

par les papiers et par la manire delaquelle lillustration a t traite sur

la jaquette. On a distingu ces deuxlivres des autres envois par la prci-

sion du dessin, lemploi habile dupapier et des caractres, et en rsultat

lintimit effectu.

17 L a S o c i t A l c u i n


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Prose Fiction | Romans et Nouvelles


The winning entries in this groupfeature well-balanced pages in appro-

priate format, and interior page textexcellence: inventive, clear, attrac-

tive type with good page colour andharmonious front pages. Outstandingdust jackets and covers contribute

to create a unified whole. The judgesfelt that submissions to this category

(winning titles excluded) generallyshowed a need for more attention to

the front matter, especially to copy-right pages.

Les envois gagnants de cettecatgorie mettent en vedette des

pages bien agences dans des formatsbien choisis, une qualit suprieure

de textes sur les pages intrieures,ainsi que des caractres ingnieux,clairs, et attrayants, des pages de

bonne couleur et des rectos bienproportionns. Des jaquettes et des

couvertures exceptionnelles crentun ensemble unifi. Les juges avaient

limpression que les soumissions cette catgorie (sans compter les titresgagnants) dmontraient en gnral

un besoin de prter plus dattentionaux pages prliminaires, surtout les

pages de droit dauteur.


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title | titreThe cripple and his talismans

author | auteurAnosh Irani

publisher | maison dditionRaincoast Books

designer | dessinateur concepteurIngrid Paulson






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Prose Non-Fiction | Ouvrages Gnraux

Refined typography, attentionto detail and pleasing proportions

defined the winning books of thiscategory. Their covers are memorable,

clearly aimed at a sophisticated book-buying audience, and effectivelyintegrated with the interior pages.

Une typographie raffine, uneattention prcise prte au dtail et

des proportions agrables sont lescaractristiques qui ont dfini les

livres gagnants de cette catgorie.Leurs couvertures sont remarquableset celles-i sont nettement vises aux

amateurs recherchs de livres tout entant intgres dune manire effec-

tive dans les pages intrieures.

25 L a S o c i t A l c u i n


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title | titreThe return of the state : protestors,power-brokers, & the new globalcompromise

author | auteurAdam Harmes


designers | dessinateurs concepteursPeter Cocking + Ingrid Paulson



prosenon-fiction |ouvragesgnraux


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title | titreMy turquoise years : a memoir

author | auteurM.A.C. Farrant


designer | dessinateur concepteurJessica Sullivan

photographer | photographeCynthia Diane Pringle (Corbis/Magma)





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Prose Non-Fict ion Illustrated | Ouvrages Gnraux Illustrs

In this category, jurors look forsubmissions that demonstrate skill

and intelligence in the handling ofthe subject matter, in the handling of

problems particular to that subject,and in the creation of a design thatis sensitive to the interests of the

reader a design that engages themand draws them into the book. The

majority of the submissions this yearare competently done, but are fairly

conventional in terms of pacing andintegration of text and image ele-ments in the layouts.

Books in this category should treatthe illustrations as an integral part of

the book, enriching and enhancingthe text, not merely acting in a sup-

porting role. Ideally, images do notintrude on the text and the text does

not detract from the images. Thereshould be a balance and harmony be-tween the typographic and the illus-

trative and diagrammatic elements.Rhythm and pacing are particularly

well handled in the winning books, asare issues of image scale, format and

placement.Variety and consistency in the

layout structure of both of the win-

ning designs make them interestingto look at and to browse through.

Elegant and subtle yet distinct typo-graphic hierarchies and well-set text

type contribute to a pleasant read-

ing experience. Reproductions aregenerally strong, even when printed

on uncoated paper. These two booksare beautifully printed and bound.

In both books it was evident that thetone and quality of the stock werecarefully chosen to add warmth to the

appearance of the pages and to makethe books exceedingly comfortable to

read.

Dans cette catgorie, les juges sont la recherche des envois qui mani-festent de lhabilet et de lintelligence

envers le traitement du sujet, larsolution des problmes relis

tel sujet et la ralisation dun dessinsensible aux intrts du lecteur un

dessin qui lengage et lattire au livre.Cette anne, la plupart des envois sont

accomplis avec comptence, mais ilssont plutt conventionnels en ce quiconcerne le rythme et lintgration du

texte et les lments dans les misesen pages.

Les illustrations dans les livres decette catgorie devraient tre con-

sidres comme partie intgrale dutexte, en tant quenrichissant et met-tant en valeur le texte et non seule-

ment en rle dappui. Thoriquement,les images et le texte se compltent.

Les lments typographiques,illustratifs et schmatiques devrai-

ent saccorder. Les envois gagnantes

dmontrent trs bien le rythme et lemouvement ainsi que lchelle des

images, le format et les mises en place.Ce qui rend les livres gagnants

intressants feuilleter est la varitet la continuit de la structure de lamise en page. Une lecture agrable est

grce aux hirarchies typographiques la fois lgantes et subtiles et de

caractre principal bien compos.Mme imprimes sur du papier

non-enduit, les reproductions sontvives. Ces deux livres sont bien reliset imprims. On a choisi un papier de

qualit et de ton qui donne aux pagesun aspect accueillant.



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Referenc e | Livres Consulter


In this category, issues of utility,navigation, weight and size are par-

ticularly important to consider. Thethree winning submissions, although

quite different in terms of subjectmatter and information structure, allshow that great care has been taken by

the designers to make decisions thatsuit the audience, the function of the

book and the context of use. For ex-ample, a dictionary or cookbook must

be easy to open and lie flat on the deskor counter and a field guide shouldbe small enough to be practical and

convenient to pack and take alongon a trip. Stock selected for the pages

should be of a weight that will stay inplace, when the book is open, and not

take on a life of its own. Strong coverdesigns should quickly and clearly

reveal content through simple andclean type/image combinations.

In the case of the winning book

designs, all of the above-mentionedattributes are evident. In addition,

illustrative and textual elements arewell-balanced against white space;

and clear, understated typographymakes the books easy to searchthrough and to use. When looking for

specific information, indices, colourcoding and well-placed running heads

or feet make navigation pleasant andefficient. Detailed diagrams, maps,

lists and recipes are functional due tological and well-defined typographic

hierarchies and the formal simplic-ity of the layouts. Reproduction and

printing quality are superb overall.These books are models of accessibil-

ity, aesthetic appeal and function.

Dans cette catgorie, les questionsdutilit, de navigation, de poids, etde format sont particulirement im-

portants considrer. Bien diffrentsen sujet et en structure informatique,

les trois envois dmontrent nan-moins lattention porte au besoindu lecteur, la fonction, et le contexte.

Par exemple, un dictionnaire ou unlivre de cuisine devrait souvrir facile-

ment et se poser plat sur le bureauou le comptoir. Un guide de nature

devrait tre dun tel format pratiquequi peut se porter lors dune randon-

ne. Le papier utilis devrait tre dunpoids qui les gardera en place lorsquele livre est ouvert. Les dessins de

couverture devraient reprsenter lecontenu par de simples combinaisons

dimages et de typographie.En ce qui concerne les dessins

gagnants des livres, tous les critresmentionns i haut sont vidents. Deplus, les lments dillustration et de

texte se joignent bien avec le blanc;et la typographie simple et claire

facilite la recherche et lutilisationdes livres. En cherchant des rensei-

gnements spcifiques, les indices,le codage en couleurs, et les titres

courants ou en bas de page rendent larecherche agrable et efficace. Grce

aux hirarchies typographiqueslogiques et bien prcises et la

simplicit formelle des montages, lesdiagrammes, les cartes, les listes et lesrecettes sont fonctionnels. La qualit

de la reproduction photographiqueet de limpression est carrment

superbe. Ces livres sont illustrativesdaccessibilit, desthtique et de

fonction incomparable.


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title | titreKayak routes of the Pacific Northwest

author | auteurPeter McGee


designers | dessinateurs concepteursPeter Cocking + Jessica Sullivan

photographer | photographePeter McGee





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Index

Authors |

Auteurs

Ala, Salvatore, 19

Albahari, David, 23

Archambault, Ariane, 33

Carroll, Lewis, 03

Choy, Wayson, 21

Corbeil, Jean-Claude, 33

Cross, Joan, 34

Dault, Gary Michael, 10

Diederichs, Rebecca, 14

Farrant, M.A.C., 28

Fleming, John, 12

Grady, Wayne, 27

Granatstein, J.L., 30

Hacking, Norm, 6Harmes, Adam, 26

Irani, Anosh, 22

Johnson, Gillian, 04

Kurz, Rudolf, 15

Lino, 16

Maw, Jamie, 34

McGee, Peter, 35

Rhodes, Shane, 09

Rowan, Michael, 12

Storck, Peter L., 31

Suzuki, David, 27

Toews, Miriam, 24

Torosian, Michael, 08

Truscott, Mark, 18

Van Turennout, Paola, 05

Publishers |

Editeurs

400 Coups, 16

Biblioasis, 19

Church Street Press, 10

Coach House Books, 18

Doubleday Canada, 21

Douglas & McIntyre, 23, 26, 30, 34

Douglas & McIntyre (Greystone

Books), 27, 28, 35

Greenboathouse Books, 09

Greystone Books, 27, 28, 35

Kids Can Press, 03

Knopf Canada, 24

Lumiere Press, 08

Museum | London, 14Porcupines Quill, 15

Qubec Amrique, 33

Raincoast Books, 06, 22

Royal Ontario Museum, 31

Simply Read Books, 05

Tundra Books, 04

Tuns Press, 13

UBC Press, 31

University of Alberta Press, 12

YYZ Books, 14


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Designers |

Dessinateurs

Illustrators |

Illustrateurs

Bhandari & Plater Inc., 13

Brownoff, Alan, 12

Cocking, Peter, 23, 26, 30, 34, 35

Dewinetz, Jason, 09

Gee, Bryan, 14

Gutirrez, Elisa, 06

Hill, Kelly, 24

Hodgson, Paul, 15

Inkster, Tim, 15

Njo, Kong, 04

Paulson, Ingrid, 22, 26

Powers, Karen, 03

Priebe, Dennis, 19

Richardson, CS, 21Stein, Alan, 10

Sullivan, Jessica, 27, 28, 35


Tremblay, Anne, 33

Vaitkunas, George, 31


Walenta, Tomasz, 16

Wells, Dan, 19

Wershler-Henry, Darren, 18

Bateman, Robert, 27

Johnson, Gillian, 04

Jorisch, Stphane, 03

Kurz, Rudolf, 15

Leinberger, Eric, 31

Lino, 16

Nugent, Cynthia, 06

Stein, Alan, 10


Photographers |

Photographes

Ala, Brigitte, 19

Chambers, James A., 12

Corbis/Magma, 28

Getty Images, 23

Hall, Fraser, 23

Heath, Dave, 08

MacCallum, Peter, 14

McGee, Peter, 35

McLaughlin, Patrick, 21

Mendes, Shannon, 34

Pringle, Cynthia Diane, 28

Sherlock, John, 34


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Index

Binders |

Relieurs

Taylor & Murdoch, 10

Printers |

Imprimeurs

Barnett , Oliver, 18

Berryville Graphics, 21, 24

Book Art Inc., 03

C & C Offset (Canada), 30

Church Street Press, 10

Coach House Printing, 18

Friesens, 12, 13, 14, 22, 23, 26, 27,

28, 31, 34, 35

Gaspereau Press, 19

Glenesk, Tony, 18

Greenboathouse Books, 09

Kings Time Asia-Pacific, 06

Litho Milles-les, 16

Lumiere Press, 08Phoenix Color, 05

Porcupines Quill Inc., 15

SCPC, 04

Stein, Alan, 10



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Judges |

Juges

Colberg, Sue, 01

Speidel, Val, 01

Steeves, Andrew, 01


The Alcuin Society was formed in Vancouver in 1965. It was the idea of itsfounder, Geoffrey Spencer, and other founding members were Basil Stuart-Stubbs, Bill Duthie, Sam Black, Bill McConnell, Dale Smith and Sam Fogel. Theinitial aim of the Society was to promote a wider appreciation of finely wrought

books among book lovers around the world. It is the only non-profit organiza-tion in Canada dedicated to the entire range of interests related to books and

reading. ThroughAmphora, the Societys quarterly journal, topics coveredinclude authorship, publishing, book design and production, the history of the

book, libraries, ephemera, bookselling, book buying and collecting and the bookarts of typography, type design, printing, binding, paper-making, marbling, cal-ligraphy and illustration.

The name Alcuin was chosen to honour the memory of Alcuin of York (c. 735to 804 A.D.). Alcuin was a man who cared deeply about books and literacy. As

Charlemagnes Minister of Culture and a respected teacher, Alcuin encouragedthe study and preservation of ancient texts and helped establish numerous

schools and libraries. He also selected the most legible script of his day and gave

it official blessing. Known as Caroline Miniscule, it ultimately led to our modernlower case alphabet.

To further its aims, the Alcuin Society engages in a wide range of educationalactivities lectures, workshops, exhibitions, field visits, many in collaboration

with educational institutions such as the Canadian Centre for Studies in Pub-lishing at Simon Fraser University, University of British Columbia, Emily Carr

Institute of Art and Design and the University of Victoria.The Alcuin Society Annual Awards for Excellence in Book Design in Canada

is the only national competition that recognizes and celebrates the art of bookdesign in Canada.

La Socit Alcuin a t forme Vancouver en 1965. Au dpart, lide taitconu par Geoff Spencer, lun des premiers fondateurs. Les autres membres

fondateurs de la Socit furent Basil Stuart-Stubbs, Bill Duthie, Sam Black,Bill McConnell, Dale Smith et Sam Fogel. Le but principal de la Socit est de

favoriser lapprciation du livre de qualit parmi les amateurs de livres partoutdans le monde. Cest la seule organisation but non lucratif au Canada qui estddie aux livres et la lecture dans toutes ses formes et intrts.Amphora, la

revue trimestrielle de la Socit, offre ses lecteurs des articles divers sur tousles arts du livre. La Socit a t nomm pour faire honneur Alcuin de York (735

804 apr. J.-C.), qui fut profondment touch par les livres et par limportancede savoir lire. Comme ministre de la culture de Charlemagne et un professeur

respect, Alcuin a favoris ltude et la prservation de textes anciens, et a rendu

possible ltablissement de plusieurs coles et bibliothques dans le royaume.Cest lui qui a choisi la cursive la plus lisible de son re, et cette cursive, nomme

la Caroline Minuscule, a contribu au dveloppement des lettres minusculesdont nous nous servons aujourdhui. Pour avancer les intrts de la Socit,

cette dernire entreprend un nombre considrable de projets pdagogiques,tels que des confrences, des ateliers, des expositions, des concours, plusieurs

dentre eux en collaboration avec le Canadian Centre for Studies in Publishing Simon Fraser University; lUniversity of British Columbia; Emily Carr Instituteof Art and Design; et lUniversity of Victoria.

Les prix annuels pour lexcellence de la conception graphique du livre cana-dien confr par la Socit Alcuin est le seul concours national qui reconnat et

fait honneur lart de la conception graphique au Canada.



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Exhibition Venues | Lieux dexpositions

Vaughan Memorial LibraryAcadia University

Wolfville, Nova Scotia

May 20 to June 17, 2005 |Du 20 mai au 17 juin, 2005

Emily Carr LibraryEmily Carr Institute of Art & DesignVancouver, British Columbia

May 25 to June 10, 2005 |Du 25 mai au 10 juin, 2005

The University Golf ClubUniversity of British Columbia

Alcuin Society Annual General MeetingVancouver, British Columbia

June 13, 2005 | Le 13 juin, 2005

Special Collections DivisionW.A.C. Bennett LibrarySimon Fraser University

Burnaby, British ColumbiaJuly 1 to August 31, 2005 |

Du 1er juillet au 31 aot, 2005

Redpath Library

McGill UniversityMontral, Qubec

July 1 to August 31, 2005 |Du 1er juillet au 31 aot, 2005

Word on the StreetVancouver Public Library,Central LibraryVancouver, British Columbia

September 25, 2005 |Le 25 septembre, 2005

Vancouver Public Library,Central LibraryVancouver, British Columbia

October 10 to 24, 2005 |Du 10 au 24 octobre, 2005

Royal Roads University LibraryRoyal Roads UniversityVictoria, British Columbia

October 15 to November 5, 2005 |Du 15 octobre au 5 novembre, 2005

Fine Arts Building GalleryDepartment of Art and Design

University of AlbertaEdmonton, Alberta

Spring, 2006 (exact date TBA) |Printemps, 2006 (date prcise

communiquer)

Other venues may be added at a later

date.

Il se peut quon ajoute dautres lieuxdexposition une date ultrieure.


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and Dan Fidler of Unisource Canada Inc.

for sourcing the paper.

The commentary on the specific

categories of books is thanks to our threejudges, who divided the sections amongst

themselves and wrote the introductory

material. Thank you again, Sue Colberg,

Val Speidel, and Andrew Steeves.

We very much appreciate the pho-

tography of Colin Goldie and Angela

Atkins; and without the translation of

Hlne Redding and Gwen Polak, our

first bilingual Catalogue would not have

happened.

Finally, we would especially like tothankkbeCommunication Design Inc.

and Roberto Dosil, for contributing

their considerable time and talents to

the Catalogues design and production.

Le Comit de conception graphique,

Sue Andrews, Nancy Duxbury, Leah

Gordon, Howard Greaves, Wai Ming

Louie, Don Polak, et Jim Rainer, tient

remercier les personnes suivantes pour

leur contribution au cours de lan pass:

Anne Yandle pour ses conseils sagaces;Don Atkins, Jacqueline Kempton et

Andrei Bredin, de Benwell-Atkins, une

compagnie de RR Donnelley, pour la

collection des livres, limprimerie du

catalogue, et des conseils aviss; Hlne

Redding et Gwen Polak pour les traduc-

tions; Janice Beley et Tessa Vanderkop

de Rubie Communications, pour la

publicit; Patrick Willoughby, Hlne

Redding, et les membres du Comit pour

la rdaction et la correction des preuves;et Kirsten Maase du Canadian Centre for

Studies in Publishing de Simon Fraser

University, qui a rserv la salle o on a

jug les livres.

De plus, nous tenons remercier Sylvia

Smallman et Sheila Wallace du Emily CarrInstitute of Art and Design; Tanja Harri-

son, de Acadia University; Lynn Copeland

et Eric Swanick, de Simon Fraser Univer-

sity; Donald Hogan de McGill University;

Naomi Eichenlaub et Dana McFarland de

Royal Roads University; Wendy Godley

et Paul Whitney, de la Vancouver Public

Library; et Blair Brennan et Sue Colberg,

de lUniversity of Alberta qui nous ont

permis dexposer nos livres leurs institu-

tions. La Socit apprcie leurs efforts,et espre que tous ceux qui assisteront

aux expositions les apprcieront aussi.

Nous tenons aussi remercier

Oji Paper Co. Ltd., et Marubeni Pulp

and Paper Co. Ltd. pour leur gnrosit

soutenue en nous fournissant le

papier pour nos catalogues; et Dan

Fidler de Unisource Canada Inc. pour

lapprovisionnement du papier.

Les commentaires au dbut de

chaque catgorie ont t composs par

nos trois juges qui ont divis les sectionsparmi eux. Merci, de nouveau, Sue

Colberg, Val Speidel, et Andrew Steeves.

Nous sommes reconnaissants

Colin Goldie et Angela Atkins pour la

photographie; et sans la traduction

dHlne Redding, nous naurions pas

notre premier catalogue bilingue.

Finalement, nous tenons remercier

spcialementkbeCommunication

Design Inc. et Roberto Dosil qui a con-

tribu en abondance leur temps et leursmultiples talents envers la conception et

la production du catalogue.

The Book Design Committee(Sue Andrews, Roberto Dosil, Nancy

Duxbury, Leah Gordon, Howard Greaves,

Wai Ming Louie, Don Polak, and JimRainer) would like to thank the following

for their contributions over the last

year: Anne Yandle for excellent advice;

Don Atkins, Jacqueline Kempton and

Andrei Bredin of Benwell-Atkins, an RR

Donnelley Company, for book collection,

catalogue printing, and wise counsel;

Hlne Redding and Gwen Polak for

translations; Janice Beley and Tessa

Vanderkop of Rubie Communications,

for publicity; Patrick Willoughby andmembers of the Committee for editing

and proofreading; and Kirsten Maase

of the SFU Canadian Centre for Studies

in Publishing, for arranging to have the

room for the book judging.

For exhibiting the 2004 winning

books, we would like to thank Sylvia

Smallman and Sheila Wallace, of Emily

Carr Institute of Art and Design; Tanja

Harrison, of Acadia University; Lynn

Copeland and Eric Swanick, of Simon

Fraser University; Donald Hogan, ofMcGill University; Naomi Eichenlaub

and Dana McFarland, of Royal Roads

University; Wendy Godley and Paul

Whitney, of Vancouver Public Library;

and Blair Brennan and Sue Colberg, of

the University of Alberta. Your efforts

are appreciated by the Society, and, we

hope, by the public.

For the catalogue itself, we would

like to thank Oji Paper Co. Ltd. and

Marubeni Pulp and Paper Co. Ltd. fortheir continuing generosity in the

supply of paper for these catalogues,

41

Acknowledgements | Remerciements



48/52



Colophon

The catalogue has been publishedby the Alcuin Society in the interest ofbook design and publishing in Canada.

The text of this catalogue was set inThe Antiqua, and The Sans typefaces,both designed by Lucas de Groot.

Printed by Benwell-Atkins, an RRDonnelley Company, on Topkote Dull

Text 80lb and Topkote Dull Cover 95lbmanufactured by Oji Paper Co. Ltd. in

Japan. An affiliate, Howe Sound Pulpand Paper, ships its products world-

wide and has a strong commitment toBritish Columbia.

Additional copies of this catalogue

are available from the Society.


Le catalogue est publi par laSocit Alcuin dans lintrt de la con-

ception graphique et de la publication

au Canada.Le texte est compos en police

de caractre Le Antiqua et Le Sans,dessins par Lucas de Groot.

Imprim par Benwell-Atkins, unecompagnie de RR Donnelley, sur une

machine Topkote Dull Text 80lb etune Topkote Dull Cover 95lb fab-riques par la compagnie Oji Paper

Co. du Japon. Une compagnie filiale,Howe Sound Pulp and Paper, trans-

porte ses produits travers le mondeet la province de la Colombie-Britan-

nique figure parmi ses priorits.Pour des exemplaires supplmen-

taires de ce catalogue, sadresser laSocit.

Credits | Crdits


49/52


editor | diteurLeah Gordon

introductory commentary |remarques prliminairesSusan ColbergVal SpeidelAndrew Steeves

photography of books |photographies des livresColin GoldieColin Goldie PhotographyAngela Atkins

translation | traduction

Hlne ReddingGwen Polak

catalogue design & layout |conception et mise en pageDean Kujala + Carolina BecerraofkbeCommunication Design Inc.

A CIP catalogue record for this peri-

odical is available from the NationalLibrary of Canada.

On peut obtenir une fiche CIP pour cepriodique de la Bibliothque nation-ale du Canada.

issn: 1713-0573

directors | directeursDon AtkinsNancy Duxbury

Leah GordonHoward GreavesRichard HopkinsStuart IstoJohn KingJim RainerRalph StantonEric Swanick

For further information about theSociety, please contact:

Pour renseignements supplmentairesau sujet de la Socit, sadresser :

the alcuin society |la socit alcuinpo Box 3216

Vancouver, bc

Canada v6b 3x8

www.alcuinsociety.com



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T h e A l c u i n S o c i e t y44 T h e A l c u i n S o c i e t y

Once again, Dr. Yosef Wosk and the Wosk family have generously

assisted the Alcuin Society to expand the importance of the Alcuin

awards for book design. With their financial help we have been able toimprove the awards catalogue, bring judges from outside British

Columbia, exhibit the awarded books throughout Canada, and make

other enhancements to the programme. As well as helping us financially

over a period of eight years, Dr. Wosk has, with enthusiasm, wisdom,

and specific clear advice, helped us to increase the awards from the

relatively modest undertaking they once were to the national competi-

tion they are today.

We are grateful to Dr. Wosk and his family for their continued

support.

Une fois de plus, la gnrosit financire du Dr Yosef Wosk et de sa

famille a rendu possible lavancement des Prix Alcuin. Avec leur appui

nous avons pu amliorer la prsentation du catalogue des gagnants,

monter des expositions de livres gagnants lextrieur de la Colom-

bie-Britannique, faire venir des juges dautres provinces canadiennes,

et faire dautres amliorations au concours. De plus, le docteur Wosk

lui-mme, sur une priode de huit ans, nous a aids non seulementfinancirement mais avec enthousiasme et sagesse. Ses conseils

raisonns et prcis ont contribu changer les prix dune tentative

relativement modeste un concours national.

Nous en sommes trs reconnaissants envers la famille Wosk pour

leur soutien.


Special Thanks | Le Spcial Remercie


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52/52

The Alcuin Society | L a Socit Alcuin

poBox 3216Vancouver, bc

Canada v6b 3x8www.alcuinsociety.com

2004 alcuin awards catalogue

Documents