"A clear winner - strong design, fierce without being frightening, super lettering and typography, a huge wolf head on the front contrasting with the small child figure on the back."

"The idea of the tongue becoming a path was ingenious. If you had been told about it in words you might have thought "contrived" but it isn't, it works perfectly. Ingenious and witty."

"Very dramatic and appropriately dark without being dour. Love the spine and the use of typography."

"Winning the Puffin Prize at the Penguin Design Award is incredibly exciting and hopefully a great step for my future career. The competition was pretty fierce, so I'm flattered to have been selected from so many great entries."

"The best fairy tales tend to be about things being more than they seem. The wolf reeks of inherent threat, and not wanting to treat a young audience as too immature to deal with fear, I thought it the perfect primary visual element."

"I wanted the wolf's head large, to make it part of the landscape, and the idea of the path arose, fitting perfectly with the tongue. I decided to link the breadcrumbs from 'Hansel and Grettel' with the sense of being eaten, and the minimal colour palette was designed to stand out when surrounded by bright covers."

"I wanted my cover design to have an impact on the shelf as well as having a connection to the story. I chose a retro look, which connects with the 1960s but is relevant to today's market."

"Fresh and intriguing, the tattooed figure is an adroit reference to 1960s subculture, which is an important subtext to the novel. That subversive spirit is reflected in the hand-drawn typography, which also succeeds in being clear and legible."