Daniel Beddingfield apparently once turned up at the offices of indie film mag Little White Lies to tell the editor how much he loved the publication. When PrintWeek pressed him on Twitter for a comment about what it is he likes so much about the magazine, he responded: "Writhing ropes of wit, knotting my attention whilst I’m impregnated by strange and marvellous voices."
Um, thanks Daniel.

"My fave book is Head over Heels by Jill Mansell. I love reading fictional books about romance. Nothing beats the feeling of tucking into bed in the winter months and pulling out a chick-lit book."
Lydia Bright The Only Way is Essex

"I love the feel, weight, format and use of paper in the Japanese travel magazine Transit, it always makes me feel that we should be doing more to push paper and print techniques. The Swiss magazine Reportagen is a delight – I wish it was in English. The format of Acne Paper is superb – if only there was a weekend paper with that quality of finish."
Tyler Brûlé Editor in chief, Monocle

"My favourite printed item is an edition of Life magazine from 1968, featuring marvellous photos taken by the Apollo 8 astronauts of the moon and the Earth. A relative who was living in the US at the time sent me editions of Life each week  – and I can still remember the thrill of seeing those pictures. I wish I’d held onto the magazine..."
Rory Cellan-Jones Technology correspondent, BBC

"One of my favourite pieces of print is a Canadian campaign called Al Flaherty’s Spot the Hunter for an outdoor clothing store which has gained a certain amount of fame and awards. I just think that this series of posters perfectly exemplify good print. All the key elements are there: clear and instant messaging, aesthetic excellence, intrigue and interaction and a compelling desire to look more closely."
Sophie Daranyi Chief executive, Haygarth

"The artwork developed by Gilbert Lesser for Peter Shaffer’s 1973 production of Equus, a National Theatre production at the Old Vic, still creates tremendous impact. The design remains immediately striking and arresting, proving that the very best work is ageless. Lesser was well known for the highly modernistic approach to his works and, with this creative, proved that graphic simplicity can be the most powerful and evoking visual means; an approach that continues to be emulated by designers the world over."
Marc Evanson Bailey Creative services director, AKA

"The New Yorker. The logo recalls the romance of its Art Deco heritage, while the cover illustration fizzes with contemporary wit. It’s stylish, modern, relevant and always on the money – just like the magazine."
Will Gompertz Arts editor, BBC

"My favourite piece of print work is my own book Grundini. Why? Because it took me 25 years to decide how to do it and when I did it was done exactly how I wanted, meaning, I never be able to afford to do another."
Peter Grundy Grundini

"The catalogue for The Museum of Modern Art New York of the 1968 exhibition ‘The Machine’. The catalogue has four-colour printed embossed tin plate covers with a hinged spine. It was the first time I realised that a book could be come an object."
David Hillman Designer

"I have two favourite prints that are named after my two daughters Mauve and Xanthe. They were both inspired by their names, one is a detailed sequin mallow flower, as Mauve is French for mallow flower and represents a style of detailed florals that I have created as a recognised successful style of Liberty print. The second, Xanthe Sunbeam, is inspired by yellow Tansys growing wild on the island of Tresco. Xanthe is Greek for yellow or golden and was the Greek goddess of sunshine for the Oceanids, my search for print inspiration is often inspired by a name as well as a brief. The two generally go hand in hand for me. The repeat of Xanthe Sunbeam is loosely inspired by an old archival print of tiny palm trees from the wonderful Liberty Archive which we have now also revived for one of our collections and called Marco."
Emma Mawston Head of design, Liberty Art Fabrics

"My most cherished piece of print would have to be a book on Concorde I was given by my parents when I was 10, which I read so much the pages are now all dog-eared. It’s a beautifully produced book, with spectacular colours and huge pictures and I think that was actually what inspired me to get a pilot’s licence. Even now when I look at it I remember the excitement I felt learning about aviation, and I’ll end up spending an hour reading it. For me, books still have the greatest presence; a book can’t get a virus or run out of batteries. And books can have real sentimental value."
Lembit Öpik Former Liberal Democrat Member of Parliament and star of I’m a Celebrity… Get Me Out of Here! 2010

"I am obsessed with photobooks and have 12,000 of them. Every day new ones arrive, both ordered and unsolicited. This week’s treat is a new book by the amazing Stephen Gill, called Coexistence. He was commissioned by a Gallery in Luxembourg to work around cooling ponds around a pump tower, so he chased all those strange bacteria with a close up camera, and then took a bucket of pond water and shot the local residents through this."
Martin Parr Photographer

"I’m drawn towards the poster. Coincidentally, there was a book that appeared on the studio dining table Graphic Interventions; 25 years of International Aids Awareness Posters 1985 -2010. Irrespective of the message, however worthy, it’s a great example of how the same message can be conveyed in so many different ways and in so many different media - paint, gouache, pencil, ink, photography, collage, etc. There are stunningly succinct graphic messages, eloquently conveyed. Yes, they would also work on a screen, but somehow, a poster needs to be just that, a poster, not just a posting on a blog. However, if someone said I had to give up either posters or paperbacks, I’d probably give up posters. I’m an avid reader and I can’t face a kindle or any kind of screen for reading, especially as a leisure pleasure..."
Darrel Rees Heart illustration agency

"I’ve got some old, old editions of one of my favourite authors, Charles Dickens: A Tale of Two Cities and Great Expectations that my grandmother gave me. They’re leather-bound and scruffy, but I absolutely treasure them."
Louise Roe TV presenter, model and fashion journalist (fashion editor at large, Glamour magazine)

"As a children’s book illustrator I have to say: good picture books, not just out of self interest, but also as a father. There is nothing like reading a nice story to my daughter in the evening, especially when they are beautifully produced – like, for instance, Brave Irene by William Steig (Particular Books), which we are reading a lot at the moment .I hope picture books printed on paper are here to stay for a long time. I’m also subscriber of the The New Yorker, The NewYork Review of Books and the London Review of Books and it is still exciting to receive the latest issue in the post, although it’s hard to keep up with reading it all, ideally in a comfortable armchair. Reading on screen is just not the same."
Axel Scheffler Illustrator (the Gruffalo stories)