Welcome to the 2017 PrintWeek Awards, the greatest and most sought after awards in the print industry.
The value of winning or being shortlisted for a PrintWeek Award can’t be overstated, both in terms of raising the profile of your company in the minds of clients, current and potential, and boosting the morale of your staff.
However, winning a PrintWeek Award isn’t easy. It’s the highest accolade in UK print, after all. But there are some simple steps you can take to give yourself the best possible chance.
Firstly, you need to enter. Obvious, I know, but you’d be surprised at the number of printers who like to complain that they “never win”, but at the same time have never entered.
Secondly, you need to ensure that you send us only the very best examples of your work. Start setting aside pristine examples of jobs so that you have the best of the bunch to choose from when you come to submit your entry.
Remember, you’re judged on a body of work, not just one single piece of print, it's one of the strengths of the PrintWeek Awards, and you should aim to demonstrate your prowess in as wide a variety of skills as possible.
Thirdly, read the rules carefully and make sure that you have submitted all the relevant information, because if we don’t have enough information to go on, you might not make it to the shortlist. If you have any questions regarding the criteria or what exactly we need, please contact our events team, who will be more than happy to help. Click here to read our guide on how to enter.
Finally, remember who’s judging the entries: your clients.
The entry deadline is Friday 30 June and if you enter before Friday 9 June you can enter at a discounted rate. Samples need to be submitted by Friday 14 July.
We assemble a line-up of big-name print buyers for our Quality Awards covering all of the major print disciplines and this is your chance to sell to them and their peers. Make sure your supporting citations explain exactly what makes you and the work you do so special.
Once you’ve done all this, you can sit back with confidence and wait for the shortlist in September.
Editor and Publisher
Kindly sponsored by:
For the Performance Awards categories, you are required to write a 500 word summary through the online system. Your summary should include a brief overview of: the company, the challenges involved and goals achieved, plus a set of accounts that cover the period specified. You should also upload a detailed client testimonial that describes aspects such as bottom-line impact, response rates, ROI, sustainability, data collection, and any other metrics that you believe appropriate.
Depending on the category, you may also be required to supply support material separately.
For performance awards you can send samples of printed work, but it is not required.
For the Quality Awards categories, you are required to send in one copy of four different samples of printed materials, and write a 250 word production summary for each sample. Please ensure these four samples represent a variety of the work you do.
Once you have uploaded all your documents, you will receive a confirmation email. When you receive this print it off 4 times and send it in to the PrintWeek Awards with your four samples to:
Sophie Spencer - PrintWeek Awards - The Mark Allen Group - St Jude's Church - Dulwich Road - London - SE24 0PB
Please DO NOT mark up your samples with company logos, sticky labels or anything that could identify you to the judging panel.
For some categories, we will also require PDF proofs for use in graphics at the awards ceremony. This will be detailed in the category criteria.
If your entry is especially large, please call Sophie on 020 3874 9219 or email firstname.lastname@example.org
Please make sure we receive your samples by Friday 14 July.
|Early bird entry rate (available until Friday 9 June)||£140 + VAT per entry|
|Standard entry fee (available until Friday 30 June)||£170 + VAT per entry|
Buxton Press is well into a £20m-plus investment programme, which may explain why last year’s winner has done it again. A major highlight was the installation of four new long-perfecting presses with all the trimmings. A huge “holistic” remodelling of the factory meanwhile helped accommodate the expansion and, no doubt, freed up badly needed space in that trophy cabinet. “I just don’t know how they keep doing it,” said one judge, “they just get stronger and stronger.”
The Delta Group
Opus Trust Marketing
According to Creative Review magazine: “PH Media is the go-to pre-press provider for high-end magazines”, and why not? The Roche, Cornwall, business has an enviably prestigious independent portfolio spanning the arts, fashion and museums sectors. According to the company’s entry, “carving out success in a print sector once considered dying has meant constant diversification and reinvention, investment in staff and equipment.” Rather than customer testimonials, a live client list including the V&A, ArtReview and British Museum almost says it all, but not quite. For one PrintWeek judge concluded: “Small but perfectly formed is probably the best description of PH Media.”
First 4 Print Finishing
Two new programmes sealed the deal to make this year a green dream for the company in Thame, Oxfordshire. The first, a £5m investment in a purpose-built eco-factory, was underscored by a ‘Loop-It’ in-house campaign. While the building is a high-tech nerve centre of light and motion sensors, latest glazing and insulation techniques, rapid-roll doors to keep in the heat and a biomass boiler, the Loop-It initiative includes colour-coded action panels strategically placed throughout the factory to show how simple changes to the working day can have a positive impact on sustainable print and production. “Yes the move to a new factory was impressive,” recalled a judge, “but it was everything around the building that edged it for me - every impact was considered and acted on.”
It’s the small things that count at Pensord, such as amending the way a box label is presented. Such detailed consideration came into sharper focus this year when the company in Blackwood, Wales, undertook a new initiative where all staff in all areas were encouraged to put themselves in publishers’ shoes to widen their working perspectives and put them firmly in the mindset of their customers. From this evolved twice daily audits to ensure every process is executed to the highest standard and delays are reduced. The company has enhanced checking of plotter proofs and the analysis of mailing data, and extended courier options to offer more flexible pick-ups and collections. “A great business with a great strategy,” concluded the judges. “They seem to put their people first, which in turn encourages their people to put the customer first.”
Pindar (part of the YM Group)
Sam went from being aged 24, homeless and living in his car to an outstanding trainee print operative. This is his journey: last May Sam became the first young person to join the social enterprise’s 12-week volunteer print programme, which led to a full-time post. Sam is now being trained on its MIS software and quality assurance for clients including Sky and Lloyds Banking Group. “To even be in a position to be nominated for this award is beyond anything that I could have imagined a year ago,” said Sam. “We talk about business turnaround stories in print,” added a judge, “but people can do it too.”
Jacob Cook, The Alexir Partnership
Jack Southern, The Folkestone Academy
London’s Boss Print lived up to its name for the second year running to prove when it comes to luxury, it’s the boss. “Absolutely outstanding, so well made, beautifully designed and a great choice of materials,” raved one judge. The 50 Canaletto ceramic sculpture boxes included a champagne-colour foil-blocked logo, tray in metallic ink and plinth die-cut and wrapped in Kashgar Black Silk. The LVMH box sets had an outer box litho printed on 140gsm Splendorgel and silk laminated. Lavish interior elements include welcome letter with a USB stick inserted into an inner plinth, with the handmade masterpiece wrapped and finished with concealed magnetic catch to hold it all in place.
The Cardiff company took stock for Take Stock, one of several highly praised magazines. The high-end catering title had reluctantly agreed to reduce the cover weight from 220gsm to 200gsm to enable bespoke making of reels. Westdale was spot on: despite the drop in weight, the quality was uncompromised. “Vibrant results across all four submissions,” concluded judges. “Some great finishing too, such as a 6pp flush gatefold on Man About Town‘s autumn issue.”
High-quality colour and innovative applications were needed to secure victory in this category and who better then to flaunt them than fashionistas? The British Fashion Council annual review showcased a year of fashion and Leeds-based Team (Impression) went big on production, using digital print, foil blocking, duplexing of board to cloth, flat binding, coloured edging and a presentation slipcase made by hand. “This project was simply stunning, such skill has been used and it really takes your breath away,” gasped judges. A Marble Arch presentation book for a boutique property development, and a Hoxton nine document flagging up a high-end apartment complex in East London also left them breathless.
“What the hell is this...?” opens the piece that scooped this prize. Improve International runs training for vets and veterinary staff and wanted to maximise uptake. Bravedog, the group’s marketing agency, brainstormed a complete strategy to raise brand awareness, inform vets, differentiate the client from rivals, and fill up training spaces. ESP used a personalised email campaign, trade magazine and Facebook ads and personalised printed prospectuses. The campaign, said one judge, involved “full use of cross-media with impressive lead generation stats, and that’s what matters.” Results were spectacular, with significantly more leads than in the previous year and an equally impressive number of click-throughs. The training programmes, meanwhile, were fully subscribed.
Chairs Are For People and awards are for winning. Pureprint Group secured this gong for a host of brochures including the aforementioned one on chairs. What made this job special was the use of a six-colour digital process that brought photography, illustrations and section dividers to life in brilliant orange and violet. The finishing touches were the handmade paper and letterpress-printed personalised jacket for 50 very special copies. But every sample “ticked all the boxes,” insisted the judges.
The concept for the Wardian Brochure seemed to be asking too much of the processes involved to come close to the designer’s ambition, according to this year’s category winner. Long discussions took place before anything went to print and the project demanded a strong partnership between the London company, the client and its customer. A book block with 20pp was gathered and sewn, but heavy ink coverage throughout made cutting, folding and binding a challenge. It was overcome with custom-made pressing pads and care and skill, which was not lost on the judges. One of them said of this and other entries: “This is the perfect combination of inventive and traditional finishing – fantastic and some of the most beautiful books I’ve ever handled.”
Five years, five wins for Pureprint thanks this year to, according to the judges, “a strong set of entries, with the Dior book in particular stunning”. That Dior book. Richard Avedon immortalised Christian Dior’s creations in images that became legendary. While Uckfield, Sussex printer Pureprint undertook more than 80 hours of repro work, meticulously converting mono to tri-tone and four-colour black and whites. Pureprint increased ink density on the blacks by 30% to give a rich photographic black to complement Dior sketches in a sleek, dark slipcase cover. What made this special were the challenges: Pureprint tested laminates with a sand grain finish and different embossing pressures before balancing blacks and greys for a true representation of Avedon’s iconic photography and the Dior sketches.
The look and feel of real door and window frames were essential for the success of this project, explains this year’s winner of its White Stuff display. The Newcastle upon Tyne team worked with the client’s visual merchandising team to create mock-ups to ensure they matched original reclaimed doors that were the main inspiration. Imprint turned to large-format digital for the job, using its six-colour, 1.6x3.1m digital flatbed to produce window and frame props on Re-board material. “We were tasked with ensuring the final printed version of the door and window frames closely matched the original feel and look and then carry it out throughout all 100 stores across the UK.” Judges bought into the idea and execution: “Loved the adventurous way they executed the process - peerless.”
Judges wanted stunning examples of long-run targeted messaging, but the quality of the complexity of variables, text and images had to be top notch. Howard Hunt from its base in Dartford, Kent, delivered. Monarch’s winter holiday campaign for example involved 20,000 mailings and 4,000 variables with recommendations based on previous locations and spend. The front page of the mailer highlighted where the customer visited on their most recent holiday, using variable text and imagery to instantly evoke good memories. Inside the mailer also used customised text and imagery throughout to promote suggested destinations. Back of the 4pp mailer meanwhile included further personalised information on holiday options that were likely to appeal to each customer, including skiing and city breaks. The results were superb: the campaign created a return on investment that would make even the most hardened marketer weep with gratitude. Judges were carried away with this and other campaigns for Wickes, Tool Station and cancer charity Cancer Research UK: “Overall a great submission. To find four samples of this standard in one entry demonstrates they really get the concept of industrial digital.”
The one that really swung if for the judges was the St Pancras White Cedar & Stars Candle, which “was simply astonishing; it looked both aged and premium at the same time”. The luxury brand St Pancras Chambers Collection and St Pancras London Hotel collaboration took inspiration from stars on the hotel’s magnificent gothic ceiling. Two separate laminated substrates achieved a tactile, textured feel to define a limited edition of 500 digitally printed labels. Matt varnishing, embossing, hot-foiling and die-cutting worked their wonders to give the finished label an exquisite border and unique shape. That label may have swung it but others – including Martin Miller, 9 Moons and Bramley & Gage gin labels – also gave extra zing to the Dorset printer’s entry.
The Label Makers
“Don’t forget the results of the campaign,” reminded judges for a category rewarding the best marketing project for printers to promote their own businesses. Resource launched its communications and marketing events brand, CommsHero, to “get in front of new customers and win business” using a dedicated website and Twitter. It did just that: In the first year of hosting face-to-face icebreaker events, the Leeds business rolled out 45 delegate meetings, saw a 53% jump in Twitter followers and clocked up £1.3m of new business, leaving one judge to sum up, “you can’t argue with the results because in marketing that’s what matters”.
Howard Hunt Group
And why shouldn’t Iliffe Print Cambridge blow its own trumpet about the Brixton Bugle? The 24pp full-colour tabloid and broadsheet newspaper in runs of 10,000 boasts online magazine and leaflet insertion. This exemplar newspaper printing service is anchored around two KBA Colora presses capable of printing 80,000 copies per hour. The Bugle, however, is not the only stand-out product. According to the judges “all of the papers had excellent lift; the China Daily was specially impressive when you consider the the length of the run.” The title is the largest, oldest national English-language newspaper in China with a daily circulation of about one million. The European edition, a 32pp weekly, has been printed in the UK for over five years. According to the award entry it takes all of Iliffe’s 120 years of experience and trusting relationships with customers to deliver the kind of excellence needed to win such a highly competitive and coveted award. The Voice meanwhile, the UK’s only weekly paid newspaper targeting indigenous British-born black and mixed-race populations, along with the CathCom Reach newspaper for Catholic primary schools and parishes also relied on those trusted KBAs to secure victory for Iliffe Print Cambridge.
Big is beautiful for the Bromley-by-Bow printer. Take the Lucozade 48-sheet Find your Flow outdoor posters that sport big, bold blocks of colour to throw up an immediate and visually arresting poster. It looks simple, almost simplistic, but the key is the consistency of colour across the sheets to create a seamless impression when installed. Everyone, according to the award entry, loves working on luxury brands and Chanel always comes up with stunning imagery for its campaigns. The six-sheet Coco Mademoiselle-Bleu poster for Network (London) required Augustus Martin to balance skin tones with the needs of background imagery. The judges were won over, with one suggesting the “strong colours, excellent skin tones and sharp details just edged it for me”.
While this category is targeted at packaging with a short shelf life, the impact of the four entries of Surrey’s D2 Printing will last long. Judges weighed up an Elements Carton targeting cool urbanites, an EIMI Perfect Setting hairspray pack for your typical Ibiza-holidaying fan, an Oral B dispenser and, finally, the Microwave Brownie three-pot carton for chocoholics. “If there were a special award for consistency across all four samples, then these guys would have probably won that too,” judges reckoned. That EIMI pack had to be innovative, jolly and interactive as well as easy to assemble. The client loved the wardrobe-door style of pack; its sun-loving target consumer was won over by the fun-loving design, while the judges were wide-eyed at such “flawless” product development.
Curtis Print & Packaging
“Can I take it home?” asked a judge seizing the book on Japanese artist Yayoi Kusama. This award has judges poring over prints, books or art catalogues with the very highest levels of origination and print. With Kusama’s work on show at the Victoria Miro gallery, Push Print could compare the work alongside proofs. Metallic paper was used and images were retouched to perfection. But the best details were the subtle ones: looking at the side of the book reveals a fine sliver of black and white. This publication was no one-off, having printed images for photographer Giles Duley before, the London printer had to balance new photos with old, but passing proofs was a problem: Duley was in Greece covering the refugee crisis so Push Print had to rely on its expertise. Duley was, according to the award entry, “over the moon”, as should Push Print be with its award.
The RCN Congress pack that caught the judges’ eyes aimed to optimise attendance at the Royal College of Nursing conference. Out went the old cumbersome pack; in came a more user-friendly and engaging alternative. Each pack was personalised on membership category, region, number of days attending and travel arrangements. “Great use of data to drive value from direct mail,” judges concluded. Whereas the RCN push involved 2,665 packs, the John Lewis All Yours mailing numbered 1.5 million but was no less engaging, interactive or effective in terms of cost, time and generating responses. Furthermore, according to the entry, “it is the most complex reel-fed digital product we have produced and has 90% ink coverage on uncoated stock. Until recently this product would not have been possible.”
Howard Hunt Group
All that glisters was solid gold for this category, where judges wanted consistent quality of print, finishing and repro. They got it once more, with Woodmansterne in Watford, Hertfordshire, securing a consecutive category win. Entries included a 3D Christmas village advent calendar and nine luxury Christmas cards with a glitter finish that had to combine with colours underneath to create different shades, effects and subtleties. It also had to sparkle across the card without detracting from the artwork. “To achieve this,” said the entry, “we had to start from scratch to explore every element of the glitter process and see how we could improve it.” Judges were suitably dazzled, with one commenting: “The glittering was amazing, I’ve never seen it applied so precisely.”
The Sherwood Group
All the numbers stacked up once again for CPI to ensure last year’s highly commended in this category went one better in 2016. A fundraising review report for WWF had judges gushing “the project was outstanding”. It had to be both unique and sustainable and after a few dummy runs, the final version included a cover of laminated oak board with simple lasered logo and oiled finish. Rank’s annual report threw timing into the numbers mix: “Every aspect of this production was time dependant, which can lead to difficulties,” noted the entry. The summary report and mailing included data processing and personalisation. All processes were carried out in-house, adhering to a demanding timetable – there was no allowance for delays. Judges concluded the “whole entry oozed quality”.
Judges, who were looking at the quality of work and consistent production excellence, got just that. “Very impressive production demonstrated across all four samples, especially the Marks & Spencer and Laura Ashley products where the retained detail was top notch,” they said. For the 332pp Autumn/Winter 2015 home catalogue for Laura Ashley, the company in Scarborough, North Yorkshire, produced half a million copies in three different language versions and 12 cover changes. To meet complex delivery requirements Pindar coordinated its own fleet of articulated lorries to deliver to multiple addresses across the UK. The Marks & Spencer Food to Order 2016 catalogue numbered 600,000 copies printed in four process colours with seal throughout. The big challenge, however, was a client wanting a high-quality catalogue on matt paper at a cost-effective price. Marks & Spencer was worried that matt papers were prone to marking during printing, yet adding a seal to the text pages could change the colours and add a sheen effect to the matt paper. Pindar used a short-grain press that saved around 15% on paper usage against conventional long-grain presses. A special neutral seal meanwhile affected neither the colours nor the paper finish, ensuring the surface kept its wonderful matt look.
The PrintWeek Awards is the most prestigious event in the printing industry’s calendar, reflected by the fact the ceremony is typically attended by over 1,000 guests, a mixture of print buying and print production professionals.
The gala dinner and awards presentation will take place on Monday 16th October, at the distinguished Grosvenor House Hotel, Park Lane, London.
Your ticket price includes champagne on arrival, an excellent three-course meal, and, of course a night jam-packed with top-quality entertainment, including live music and an after-show party. The event is typically hosted by a leading light from the world of comedy, with hosts Dara Ó Briain in 2013, Jimmy Carr in 2012 & 2014 and Gyles Brandreth in 2015 & 2016.
Book now: Booking opening soon
Date: Monday, 16 October 2017
Venue: The Great Room, Grosvenor House Hotel, London
Dress code: Black tie
|Prices||Until 8 Sept||After 8 Sept|
|Premium Table for 10||£3,200.00||£3,600.00|
|Standard Table for 10||£2,300.00||£2,550.00|
|Standard Table for 12||£2,800.00||£2,980.00|
*Early bird booking rate expires on 8 September.
Please note all prices exclude VAT
Please ensure that you have read our terms and conditions before booking - which notes details about our cancellation policy.
Close Brothers Asset Finance is passionate about the UK print and packaging industry, providing funding solutions since 1987. We offer a wide range of products, including hire-purchase, leasing, refinance, debt restructuring and assistance with buy-outs and buy-ins.
Close Brothers are proud to support SMEs and understand the challenges such businesses face with cash flow, especially when planning for growth.
Close Brothers RGF Asset Purchase Scheme was set up to deliver grant assistance from the Government’s Regional Growth Fund, a £3.2 billion fund for SMEs granted via intermediaries such as Close Brothers Asset Finance. It aims to support private sector investment to create economic growth and sustainable employment across the English regions. Further demonstration of our commitment to helping SMEs purchase vital equipment required to meet their growth aspirations, whilst helping to create and safeguard jobs in the UK print industry.
Denmaur Independent Papers is a British owned, truly independent paper merchant, offering UK coverage with a wide range of high quality products, and a service culture which can really add value to your business. At a time when there are fewer and fewer direct face to face contacts, Denmaur Independent Papers remains committed to delivering innovative, customer focussed solutions and developing long term relationships with both our customers and suppliers which are beneficial for all. Denmaur Independent Papers is 100% committed to working closely with our customers, offering a wide range of value added services designed to make real and substantial differences for publishers, printers, designers and end-users alike. This includes FREE samples and mock-ups, FREE paper identification and matching, as well as a comprehensive paper management service, delivered by our industry leading TOPS2 software. For further information, please call us on 01795 426775.
EFI has chosen to sponsor the category for Luxury Packaging Printer of the Year because it celebrates a fast growing area of the digital print industry while retaining its appeal to analogue specialists. EFI’s developments that apply to the packaging market include the versatility available for short runs, proofing and prototyping from the company’s wide-format and Vutek LED-curing printers, along with its speciality inks and productivity software. EFI’s commitment to the packaging sector is endorsed by the company’s decision to sponsor this category. With the emphasis increasing on short runs, localisation and variable data, the company’s comprehensive portfolio of products includes cost-effective digital systems that are becoming ever more important in today’s demands for fast turnarounds.
Heidelberg is the world’s leading supplier of equipment to the graphics arts market. Its comprehensive offering includes, prepress, press and postpress equipment, workflow and consumables products. All products receives first rate support with maintenance, service, consultancy and training products. In the UK alone, Heidelberg has 143 field service technicians (out of a staff of 270) and it is unusual among graphic arts suppliers in retaining a large national showroom which is host to many events including open houses, demonstrations and training days. The UK arm was set up in 1975 and is the fifth largest market for Heidelberg which operates in 170 countries. Having both offset and digital products it can offer objective advice on press investment and its expertise in areas like colour, quality, productivity and the environment mean it can provide informed options to help customers equip to meet their current and future needs. The Heidelberg brand is synonymous with reliability, quality, responsibility and value for money.
Intelligent Finishing Systems (IFS) is one of the leading suppliers of finishing equipment in the United Kingdom and Ireland. IFS have established a broad portfolio of finishing solutions. These systems are widely recognised as among the finest in their sectors and include highly automated, easy to operate, market leading choices from key manufacturers Horizon, Foliant, Durselen, Petratto, Perfecta, SCS, and Technau. Collectively they deliver business winning solutions in many of the key finishing disciplines – including folding, perfect binding and saddlestitching. IFS is the definitive point of reference for quick-response professional finishing solutions for every print need from digital on demand runs-of-one to high volume litho work.
As a service provider for the production printing industry, Konica Minolta offers you integrated workflows and applications as well as professional and sophisticated hardware products to enable your business.
Konica Minolta’s business-building concept, Digital1234, encourages print businesses to find and focus on new opportunities to save money, improve productivity, add new services, and increase profits.
The concept aims to assist print service providers to move away from solely product-focused sales, by adding value to the whole service they provide through developing new applications for print, web and mobile.
Premier Paper Group is the UK’s leading independent paper merchant and, through its nationwide branch network, offers an extensive choice of products and top brands from many of the world’s leading paper manufacturers. Premier’s range also includes the widest choice of media for digital production presses.
Within its business divisions the teams are equipped with specialist knowledge and extensive experience and are ready to offer guidance and advice to ensure that customers are able get the best from the products that Premier offer.
The Premier Paper Group is proud and delighted to be sponsoring the Brochure Printer of the Year Award and wishes all entrants the best of luck.
The PrintWeek Awards are the industry’s premier award scheme.
The awards are completely independent, and are judged by professional buyers of print and leading, independent experts in the fields of finance, the environment and customer service.
This is exactly why they are so coveted by printers and respected by buyers; in short winning a PrintWeek Award means something and by sponsoring an award category you are aligning your business with not only the best of the best, but also signalling the fact that your business understands and supports printers who go the extra mile.
By becoming a sponsor you’re guaranteed months of exposure, leading up to the industry’s night of nights when you and your guests are guaranteed a prime table in the Great Room at London’s Grosvenor House hotel.
As well as conventional category sponsorships, there is also a whole host of other bespoke opportunities. We relish the challenge of coming up with innovative partnership opportunities that not only give your brand peerless exposure but also help make the PrintWeek Awards night ‘the’ event in the print industry’s calendar.
To find out more about how your business can benefit from being associated with the PrintWeek Awards, please contact our sponsorship team on 0207 501 6685/6692 or by email at: email@example.com or firstname.lastname@example.org
Please see answers to some frequently asked questions below. If your question is not answered here, please get in touch with the awards team on 020 7501 6782, who will be happy to help.
Early bird entry deadline: Friday 9 June 2017
Standard entry deadline: Friday, 30 June 2017
*Please note – Friday 30 June is the deadline for your online submission – your physical samples must reach us by Friday 14 July.
Early bird entry rate (available until Friday 9 June): £140 + VAT per entry
Standard entry fee (available until Friday 30 June) - £170 + VAT per entry
Performance Awards - April 2016 to the end of March 2017
Quality Awards – entries must have been printed since 1st July 2016
Yes, you can enter the same entry into as many relevant categories (only one entry per category though). Remember, each category has different criteria so your written submission will need to be amended accordingly.
No – the PrintWeek Awards celebrates only the UK print industry.
No – upload your entry online, and send in the relevant printed material and a printout of your confirmation email to the PrintWeek Awards at:
St Jude’s Church
No - PDF documents can be submitted as long as the entry does not exceed 50MB.
Just one copy of each sample.
No. Please do not mark your samples in any way. Please could you take a photo of your sample and send that to email@example.com This and your printed email confirmation (which you must send in with your samples) will help us marry up your sample with your summary documents.
If you would like to discuss which category to enter, please contact Sophie on 020 3874 9219 or firstname.lastname@example.org.
Support material will not be returned, but collection may be arranged by applying to the event manager at the time of entry. Support material will be held until 17 November 2017, and disposed of afterwards unless collection is organised. Please note entries to the Poster category cannot be returned.
The word limit for the Performance Awards is 500 words, and 250 words for the Quality Awards. You won’t be penalised for exceeding the word limit, but it is advised you try to stick within the limits as much as you can!
If you wish to add another entry to an existing booking, please click here. Please have your email address and password ready. You will come to a page that has your details displayed. Click on the "edit" button on the bottom left hand side of the page (under the payment option) and you will be able to amend or add an entry. You will be able to do this until the closing date.
The final shortlist will be announced in the first September issue of PrintWeek. Emails will also be sent out to notify entrants of the shortlist.
Yes, entries may be withdrawn up until the closing date. Entry fees will not be refunded.
All material will remain confidential to the judges. Winning cases will be published in the Awards booklet, handed out at the event. Please highlight on your entry any sensitive information that should not be reproduced.
The judging will take place in August 2017.
The results will be announced at the Awards show on Monday 16th October. It will be held in the Great Room at Grosvenor House, Park Lane, London W1K 7TN. To book your places, click on ‘Dinner Bookings’.
By taking part we are also delighted to support PrintWeek who tirelessly report, reflect, encourage and support the many facets of our innovative, exciting but, at times, frustrating industry!
The PrintWeek Awards celebrate the power, diversity and creativity of our industry and offer a unique opportunity for companies of all sizes and from all sectors of print to be nationally recognised by their peers for their significant achievements and industrial endeavours.
Winning one of the coveted PrintWeek Awards was a fantastic boost to our business, and generated a tremendous sense of pride and “feel good” buzz throughout the company - and has most certainly proved to be a significant persuading factor for prospective clients to place their work with us.
- Kirk Galloway, managing director, Buxton Press
2015 was the first time we entered the PrintWeek Awards and we were really chuffed to win two categories. Whilst giving us the feel good factor, winning has also resulted in a lot of new business enquiries. The print industry still has a lot to offer and we should all do our bit to promote this amazingly diverse industry and celebrate what we do.
The PrintWeek Awards is a great place to start.
- Fenton Smith, director, Boss Print
The awards are a great way of publicising and providing independent endorsement of the exceptional standards our team have achieved in service, quality and environmental management. A nomination or win gives recognition and a thank you to our team for the skill, hard work and commitment which has been fundamental in enabling us to reaching these standards.
- Alison Branch, managing director, Park Communications
Winning two 2015 PrintWeek Awards and receiving a further commendation has been great for both internal morale and external business at DST; re-assuring existing clients they are with the right partner, whilst helping re-enforce our credentials and generate discussions in any new business pitches.
- Jeremy Walters, chief executive, DST
Being recognised as PrintWeek’s Out of Home Printer of the Year was a great accolade for our business and has without doubt helped us to drive forward both brand and employee engagement since. The credibility of the PrintWeek Awards has also provided a level of recognition and positivity shared equally by our employees and customers.
- Mike Freely, managing director, Octink
We enter the PrintWeek Awards to challenge ourselves, and let our clients know what we can do. Augustus Martin has size, great logistics, great equipment and systems that allow our customers to react quickly when required; but we see these awards as an opportunity for our staff to show their passion and expertise.
It’s great to see them recognised for their dedication and ability by experts in our industry.
- Lascelle Barrow, joint managing director, Augustus Martin
Winning one of Printweek’s prestigious awards has a positive impact both on employees and clients alike. For the team at Screaming Colour it is recognition for the creativity, hard work and determination that everyone puts in throughout the whole year. For clients and potentials clients it helps differentiate Screaming Colour as a company who consistently produce work that is of a quality and specification well beyond the norm.
- Iain Moring, managing director, Screaming Colour
Being the winner of Industrial Digital Printer of the Year at last year’s PrintWeek Awards has propelled our profile throughout the industry. With the technology being groundbreaking and new we could not have had a better launchpad for getting it out there than this award.
It has certainly changed a number of our clients minds on what is now possible to achieve in print from the data they hold. We have found that winning a PrintWeek award has been a door opener and one that we can be proud of.
- Ian Lamb, sales director, Gask & Hawley (pictured, chief executive Earl Hawley)
If you want to win an award then it is PrintWeek award that you want to win because so many businesses enter them. Being able to show perspective new clients that you have won awards gives another reason for that business to start to trust you and give you that first chance. And it is just a great evening as well!
- Sam Neal, managing director, Geoff Neal (pictured, Geoff Neal)