By the time you read this I'll be behind a desk, on the tip of Africa, furtively crumpling up pieces of paper in an effort to originate work capable of making it into this book next year. I'll lay you a bet; I won't be alone. The World Press Awards have landed, ladies and gentlemen, and no self-respecting creative should dare to be omitted from its Annual.

After a week holed-up in Raffles, Singapore, with some fearsomely bright creative minds, one thing is apparent; to make it into this book is a real achievement. Bronze may be worth a few drinks at the pub, Silver a decent claret, but if you strike Gold, put the Krug on ice.

Does the perfect judging system exist? Probably not. But the system of judging the WPA is about as flawless as you'll get. No complex scoring model involving algebraic calculations to two decimal places. Each judge is given a plentiful supply of coloured dots (mine were British racing green). These are applied to the layouts one wants to see make it into the book. Enough dots on your work and it will be featured in these hallowed pages. If you don't achieve sufficient stickers, a jury discussion led by the incomparable Mr French may nevertheless save the day for your ad or campaign. If it doesn't, you can't complain you didn't have a fair crack of the whip.

During luncheon on the second day of judging I was asked by a keen young journalist whether I believed, in an era of increasing client demands for integrated solutions, an awards show dedicated to a single medium (especially a non-digital one) was outmoded and out of place? I of course referred him to the WPA web site where Mr French expresses, more eloquently than I ever could, the reason we should celebrate the print medium. But the integration question is apposite. Every one of the judges I spoke to believes passionately in the power of the big idea taken across multiple media platforms. But there's a shared view that a belief in integration shouldn t stifle recognition being accorded to an individual discipline. In the cuisine industry it s quite legitimate to have an award for desserts without denigrating the importance of the other courses. One can surely give recognition for outstanding lingerie design within the broader context of the fashion industry?

 

Which leads me to ask the question ' you wouldn't enter an oversized pair of panties in a lingerie award, would you? Or a giant crème Brulee in the World Dessert Awards? But a definite competitive advantage is sought by sending-in oversize print entries. (I'm assuming there aren't many A1 size magazines or newspapers published?). I'd encourage the organisers to be harder on this next year.

But that's a small gripe. And I don't have any others. The week of judging The World Press Awards was magnificent, in every respect.

There are several ads and campaigns I'd love to praise, but Mr. French is quite a stickler. Three he asked for, so three it is.

Despite my attempts to steer clear of the public service category, I'm duty bound to commend a campaign highlighting the Florence Nightingale role women have played in our lives. One execution informs us that seven men were responsible for seven weapons that reap destruction. In 1835, for example, a man invented the revolver. In 1903 a man invented the automatic rifle, in 1953 a man invented the Uzi. But, we're told, in 1965 it was a woman who invented Kevlar for bullet proof vests. What a simple, powerful insight. Strong credentials for an organisation called Women Against Violence.

Two executions in The Singapore Hospice Council campaign are quite brilliant. Skilful writing and wonderful typography (remember typography?) come together in Death and The End. The latter asks, What if that is where your story begins? The copy is based on Elisabeth Kubler-Ross's Five Stages of Death. This is print advertising at its best. It stops you in your tracks, pulls you in and rewards you with content that is thought-provoking and enlightening. Couldn't be more delighted that a decent long copy campaign is so highly rewarded.

As 2006 jury president of the London International Awards I selected the 42 Below Vodka campaign as the Grand Prize Print winner for its originality and impact. It would be remiss not to commend it here in equally glowing terms.