Call for Entries: 2022 Book, Jacket, and Journal Show

How to Enter

1: Complete the appropriate submissions form:

Books and Journals Entry Form
Jackets and Covers Entry Form

2: Submit payment for your entries:

Payment Form

3: Ship ONE copy of each of your entries to the AUPresses Central Office:

Association of University Presses
Attention: Kate Kolendo
Book, Jacket, and Journal Show
1412 Broadway, Suite 2135
New York, NY 10018

Deadline for Entries: Friday, January 21, 2022

Please mail entries as soon as possible to avoid a deluge of entries arriving close to, or after, the deadline.

View the call for entries PDF.

Entry Fees

$45.00 per book/journal
$35.00 per jacket/cover

Fees are due upon submission.

books and journals

Scholarly typographic, Scholarly illustrated, Trade typographic, Trade illustrated, Poetry & literature, Journals, and Reference

jackets and covers

Book Jacket design, Book cover design, and Journal cover design

explanation of categories

Books can be entered for competition in the AUPresses Book, Jacket, and Journal Show in the following categories: Scholarly typo­graphic, Scholarly illustrated, Trade typographic, Trade illustrated, Poetry and literature, and Reference. Books may also be submitted for their jacket or cover design. Journals are judged on their overall design or on their covers.

SCHOLARLY BOOKS are intended for a specialized audience, of­tentimes for academic instructors to use as texts in college courses. They are not widely distributed to sell in bookstores and are most often available from online retailers and directly from the publisher. They are reviewed in academic journals and advertised directly to their core audience. The text structure is typically more complex, requiring a design that helps the reader navigate the variety of text el­ements and scholarly apparatus, including footnotes, endnotes, and appendices. These books are given a specialist or short discount, which usually indicates that they will not be stocked in brick and mortar retailers; and online retailers may sell to customers at full price or less than their usual discount.

SCHOLARLY TYPOGRAPHIC: A book with no or comparatively few illustrations that are clearly subordinate to the text.

SCHOLARLY ILLUSTRATED: A book in which the visual elements (such as photography, art, or graphic design) are the focus and the text is subordinate.

TRADE BOOKS are intended for a general audience and to be widely distributed. The design is typically open and accessible and the text features few, if any, notes, appendices, and bibliographies. They are available for sale in bookstores and are reviewed and advertised in general interest and national newspapers, magazines, websites, and other media. These books are given a trade discount by publishers so that they may be stocked by brick and mortar retailers, and online retailers may sell them to customers at a discounted price.

TRADE TYPOGRAPHIC: A book with no or comparatively few illustrations that are clearly subordinate to the text.

TRADE ILLUSTRATED: A book in which the visual elements (such as photography, art, or graphic design) are the focus and the text is subordinate.

POETRY AND LITERATURE Poetry books often require line-for-line formatting and have unique spacing requirements, while works of literature typically have few formatting needs.

REFERENCE books may be primarily intended for a trade or a scholarly audience, depending on the subject. Because they will not be read from beginning to end, reference books must organize information in a way that allows for quick location of specific entries in the text, which should be easy to read. The text may be paired with illustrations or other visuals.

JOURNALS are intended to be available to readers in libraries and other reference collections for many years, so design for both interi­ors and covers must be timeless. Balancing the need for fresh design against the importance of honoring the journal’s brand (which might be decades in the making) is also an important consideration. A note on the cover design: it must work on its own and as part of a series. The spine design is particularly important, since journals typically sit together on a shelf.


This competition is open to members of AUPresses only. Presses may submit any number of books, jackets, and covers published in the current calendar year, 2021, and journals published at least twice during 2021. Books may have been manufactured anywhere in the world, but imports or copublications from another publisher are not eligible.

The Jurors

books and journals

Stephen Coles (he/him) was raised in Salt Lake City where he was drawn to publishing by his father, who ran a local magazine, and was hooked on fonts the moment his family got a Mac. In college, he learned about type (and life) as a designer at his university newspaper, The Daily Utah Chronicle. After a brief stint as a freelancer in Stockholm, Stephen moved to San Francisco in 2004 to serve as FontShop’s creative director and a member of FontFont’s TypeBoard which evaluated submissions and developed the pioneering library of digital type. He was also an independent consultant, connecting font makers with font users and advocating for the interests of both groups. Stephen co-founded the websites Typographica (an annual review of new typefaces) and Fonts In Use (a crowdsourced index of typographic design), and wrote the book The Anatomy of Type. In 2017, he joined the nonprofit library and museum Letterform Archive as Associate Curator and Editorial Director. With his background in design and journalism, combined with an obsession for type history, Stephen is responsible for the online face and voice of the Archive, and helps to shape the future of the collection.

Lisa Hamm is now an independent designer. After twenty-two years and hundreds of books, she recently retired from her job as senior designer for Columbia University Press. Her work has been acknowledged by the New York Book Show and AUPresses Book, Jacket, and Journal Show. Before CUP, Lisa worked at Adobe as a senior graphic artist, but her roots are in fine art. Her goal going forward is to meld all her skills in a more personal way.

jackets and covers

Tim Green graduated from Northern Arizona University in 2002, and he has been designing books and brands ever since. His work has been recognized by the AIGA 50 Books | 50 Covers, Print Magazine, the National Advertising Federation, New York Book Show, Graphis and Chuck Norris (true story). Tim is the creative director at Faceout Studio, where he enjoys daily inspiration from his peers and the variety of work coming from publishers large and small. He is also the co-owner and creative director of Molt Brands, a newly minted design business specializing in brand identity. When he is not at his desk designing, he is most likely to be found at home, with his lovely wife and 3 children. If he’s not with them, it’s a safe bet you’ll find him at a coffee shop, probably designing something. 

Lucy Kim is an Art Director at Little, Brown & Co, a division of Hachette Book Group North America. In her 20+ year career designing book covers she has also worked for the Penguin Group, Simon & Schuster, and the Macmillan Group. Her work has been recognized by the New York Book Show and featured in Lit Hub, Buzzfeed, and Spine Magazine. She currently resides in New York City where she was born and raised.

About the Book, Jacket, and Journal Show

The Association of University Presses Book, Jacket, and Journal Show honors excellence in design produced by its member presses. The show recognizes meritorious achievement in the design, production, and manufacture of books, jackets, covers, journals, and digital publications by members of the university press community. 2022 marks the 57th anniversary of this book show.

What you may notice first about the publications by AUPresses members is the wide variety of subjects, forms, and approaches to disseminating scholarship. This variety reflects the diversity of the members themselves. Some members are among the very largest scholarly publishers in the world while other presses are offices with small staffs and limited resources. It also reflects the variety of new forms and formats available to publishers including digital and print-on-demand technologies in addition to offset printing. The budgets for the publications themselves reflect the market needs of the individual project, the press’s resources at hand, and decisions a press makes about physical aspects of the publication. What unites these books, however, is something you cannot see. It is the fact that these publications have been subject to the rigorous standards of peer review.

The design and production aspects of these publications are also integral to the very mission of the Association. Excellent design contributes to a book or journal’s reception and its impact in the larger world.

In addition to recognizing excellent work, the AUPresses Book, Jacket, and Journal Show provides an evaluation of members’ work and serves as a focus of discussion and a source of ideas for intelligent, creative, and resourceful bookmaking. The 2022 show will include books published by AUPresses members in 2021 and jackets and covers of books published that year. Books may have been manufactured anywhere in the world, but imports, and copublications designed and produced by a with a foreign publisher, are not eligible.

Through the show, and its acclaimed annual catalog, the Association seeks to expand the conversation about the essential importance of good design in scholarly publishing.

Special thanks to the 2021–2022 Book, Jacket, and Journal Show Committee

Barbara Bourgoyne, LSU, Chair
Mindy Basinger Hill, New Mexico
Jennifer Blanc-Tal, Rutgers
Ani Deyirmenjian, Toronto
Kevin Barrett Kane, Stanford
Mark Lerner, Fordham
Wendy McMillen, Notre Dame
Brady McNamara, Oxford
Regina Starace, Penn State
Carrie Downes Teefey, Wayne State
Kate Kolendo, Communications Program Manager, AUPresses