Trends Newspaper Design 02

Newspaper Design 2

European Newspaper AWARD 2000 N E W S P A P E R D E S I G N

Norbert KĂźpper The Results of the Second European Newspaper Award

The Competition

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Visualization

91

Laagendalsposten

9

Infographics

97

Diario El Correo

15

Illustration

107

The Guardian

25

Typography

115

Sunday Herald

29

Supplements

121

Die Woche

35

Special Pages

133

Special Recognition

41

Portfolio

147

Breaking News

47

The Innovators

155

Front Pages

51

Special: Millennium

165

Sectional Front Pages

57

Special: Olympics

173

Inside Pages

67

The Winners

185

Photography

77

List of Addresses

187

European Newspaper AWARD 2000 N E W S P A P E R D E S I G N

The Competition A complete success: 221 newspapers from 21 countries participated in the second European Newspaper Award for exemplary newspaper design. Invitations were sent to 1,600 publishing houses.

THE TARGETS. The European Newspaper Award aims at the improvement of the exchange of information concerning newspaper design within Europe and the contribution of new and creative solutions.

THE ORGANIZERS. The organizers are the journalists’ magazines Medium Magazin (Germany), De Journalist (the Netherlands) and Österreichischer Journalist (Austria).

The presentation of the awards takes place in the Coronation Hall in the City Hall of Aachen. The organizers are jointly supported by the city of Aachen, the publishing house of the „Aachener Nachrichten“ and the International Newspaper Museum of Aachen. Norbert Küpper, who developed the idea of the competition, is in charge of the organization.

THE PARTICIPANTS. More than 1,600 publishing houses in Europe had ben addressed to and 221 newspapers responded. In addition to this, the market is steadily being observed by different newspaper experts, designers and journalists.

THE AWARDS. The jury was well aware of the fact that national newspapers have larger budgets than small local papers. In order to take these different financial budgets into consideration, the award „Europe’s Best Designed Newspaper“ was divided into the categories local paper, regional paper, national paper, and weeklies. „Awards of Excellence“ were given according to different categories such as front pages, inside pages, supplements, special pages, infographics, etc.

THE CRITERIA. Only the design is put to the test, not the quality of the texts. The jury, however, keeps a watchful eye on the compatibility between pictures and articles.

The standard of the design of the sent-in papers had to be clearly above the normal. Therefore, it was not enough to make a neatly designed newspaper, which quite a number of papers try to achieve.

A high standard in the use of visuals, including photographic cuts, the sizes of photos within the layout of an individual page, and variation of formats is required.

The layout has to be of professional quality. Block make-up and an unmistakable connection between text and picture have to be guaranteed.

The layout of the pages should neither be too uniform nor too variable. If it is too uniform it will be boring; if it is too variable it might appear chaotic.

Typographic elements have to be strictly used on all pages.

The chief prizewinners are unconventional, distinctive and innovative in the widest sense in the use of their creative means.

FRONT PAGES. The front page is used as a visual display for the inside pages. Teasers above or below the masthead with cut-out pictures appear frequently. Newspapers try to guide their readers by presenting the topics in a clear hierarchical order.

A single topic, dealt with in the lead article, is put in the foreground, others are seemingly smaller so that they appear as of less importance to the readers.

SECTIONAL FRONT PAGES. They are designed with the same care as front pages. Here, too, further topics to be read about on the inside pages are indicated, and, here, the same hierarchy from large to small elements can be observed. The use of photography and detailed typography turned out to be even more ambitious than in the previous year.

Sectional front pages should work with a mixture of fixed elements which appear in the same place every day and free elements which allow innovatove solutions and provide the readers with moments of surprise.

INSIDE PAGES. In this area, quite a number of newspapers seem to have

a lot to catch up on. It is not always easy for the jury to spot outstanding pages. The layout of inside pages can be improved in two ways: 1. Photography. A higher level concerning formats, cuts and, of course, motifs will make for a better design.

2. Typography. Polished typographic details on inside pages will contribute to a higher level of the whole paper.

TYPOGRAPHY. There is a an unmistakable trend towards clear page layouts with augmented use of white space. Every newspaper aims at an inimitable style by using unconventional typefaces for their headlines.

Individuality and typographic versatility are trend-setters among Europe’s newspapers.

PHOTOGRAPHY. Compared with the previous year some newspapers have achieved a better use of photos concerning cuts and formats. More and more newspapers have learned that photos have a decisive influence on the overall layout. „Pictures are like quick shots into one’s brains,“ as Prof Kroeber-Riehl puts it. They have a formative influence on the

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readers’ minds about the quality of a newspaper before they have actually read a single line. Unprofessional choice of motifs, wrong colours and wrong formats will not make for a favourable image of a newspaper.

INFOGRAPHICS. Fixed frames for infographics seem to become unnecessary. The blending of head-lines, texts, photos and infographics has become a current trend, instead.

Especially topics on technology and science seem to afford complex infographics for better comprehension.

COLOUR. Black-and-white newspapers are completely out of fashion now. Colour has finally made its way into the editors’ offices. Colour photos are still widely in use, whereas colour guide systems are rather seldom, probably because not all pages can be made in four-colour print. Colour backgrounds are equally seldom and are only used in soft pastel shades.

STRUCTURING OF ARTICLES. A trend that can be found all over Europe is the structuring of articles into units that read well. Boxes with

facts, portioning, contrastive use of large and small elements are apt means to achieve this. The reader can choose among different articles on the same topic that deal with different perspectives. In this way a many-facetted view is achieved.

Well-structured information creates a more comprehensive, complete and lucid impression. The readers are left with the feeling that they are being well-informed.

Last but not least: Portioning means producing a clear survey which, on the other hand, is an advantage of printed media, such as dailies, over volatile media.

SUPPLEMENTS AND SPECIAL PAGES. The special pages that have been sent in on the topics ‘Millennium’ and ‘Olympics’ show Europe’s extraordinary versatility and creativity. All in all, a trend towards relaxed layouts with lots of white space and professional photography can be noticed.

INNOVATION. There were no completely new and absolutely innovative layouts among the contributors to this competition. Clear improve-

ments can be made out, but no completely new styles. The papers awarded in the category ‘Innovation’ have one thing in common: original journalistic ideas with an unusually innovative design.

Newspaper design is no end in itself: Journalistic subject matters are meant to be designed as professionally as possible. The ideal would be a blending of journalism and design into perfect harmony.

Megatrends Newspapers manage to put the many facets that they have to offer the reader in a clear arrangement.

The advantage over volatile electronic media is played off. Big themes are presented in a journalistically versatile and lucid way.

Newspapers rely on a clear structure. The readers are well-guided through their newspapers, from front page to sectional front pages and the individual pages. Such a design leaves the impression of continuity and reliability on the readers.

Newspapers use all channels of information most professionally.

Texts, pictures and infographics are blended to a unity to provide the readers with optimum information. Newspapers have ceased to be a text medium, but have be-

come a medium of information using all channels of information equally.

Newspaper are a medium of navigation and guidance. By means of reference to other media, such as the internet, TV and radio, they help the readers to choose and use them.

Newspapers are innovative in journalism and design. To get off the beaten tracks of conveying information they do their own research and present their topics in a most innovative way. This adds to an exclusive and inimitable image.

The Independent Jury 221 newspapers from 21 countries participated in the competition. They were assessed according to 15 different categories.

The jury is independent, which means that their members do not advise newspapers in questions of design.

Jury member Angelika Eggert, a qualified designer from DĂźsseldorf (Germany), specializes in typography.

Discussion about the best pages: (from left o right) Johann Oberauer, publisher of Der Ă–sterreichische Journalist from Salzburg (Austria), Annette Milz, editor-in-chief of Medium Magazin from Frankfurt/Main (Germany) and Theo Dersjant, Academy of Journalism in Tilburg (the Netherlands).

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European Newspaper AWARD 2000 N E W S P A P E R D E S I G N

Laagendalsposten Europe’s Best Designed Newspaper in the category ‘local newspaper’. Their striking features are a clear arrangement of paragraphs and a professional use of visuals.

STRUCTURING THROUGH WHITE SPACE. Laagendalsposten employs white space as a means of structuring. The masthead, for example, is separated from other elements on the same page by white space.

HIERARCHY OF PICTURES. The front page contains seven photos without creating the impression of abundance because they are presented according to a clear hierarchy of sizes. ƒ The photos above the masthead are the smallest and, thus, keep out of the way. ƒ The photos at the bottom of the page are also relatively small, so that they do not compete with the lead article and photo, which is rather large and of an extremely oblong format. The perspective showing the interior of a church is unusual, too.

Jury Statement Laagendalsposten is outstanding among other local papers: The sectional pages make for a good organization of the paper and in this way help guide the readers. The page make-up is professional and even details show a perfect layout. Photographic cuts and choice of formats are likewise outstanding. The use of printed and unprinted space on the front page, but also on inside pages, is exemplary.

SUBTLE PASTEL SHADES. The choice of soft colours in the pictures have not been left to chance. Even on inside pages a great number of them show subtle shades of colour. Photography, prepress and print seem to be perfectly coordinated.

WELL-STRUCTURED ARTICLES. The articles are structured by the use of breakers, like in the lead article on the front page, or service boxes.

INFORMATION ON THE NEWSPAPER: Laagendalsposten is distributed in Kongsberg, Sweden, and sold 10,955 copies in 1999. It is printed in a halfsized Nordic format.

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SECTIONAL FRONT PAGES. Newspapers with low circulations need little personnel. Laagendalsposten do not have layouters of their own. Therefore the sectional front pages appear in a set pattern which serve all purposes: The name of the section is printed in the central axis and consists of capitals in Trajan.

The upper half of the page always combines a short article with a photo in the centre.

The lead article is accompanied with a landscape- or portrait-size photo.

Briefs concerning the individual section are put flush left or right.

INTERNATIONAL STANDARD. The opinion page is divided into a left column consisting of two comments, the upper of which is broken up by a quotation, and a three-column article on the right which shows a photo of the author between two columns. It is structured by blank lines after paragraphs and before initials. The broken-up design of the entire page is in accordance with an international standard.

The masthead at the bottom of the page contains both the address of the publishing house and the telephone number and e-mail address of the editorial department.

STRUCTURING OF ARTICLES. The articles show leads in unjustified print followed by the authors’ names. Breakers are another means of structuring the articles.

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DAILY REPORTS. Almost all Scandinavian newspapers present a daily double page with reports like the local paper Laagendalsposten.

A characteristic feature is the large dominating photo added by two smaller ones. Each photo has a caption of its own because the reader should be provided with individual explanations.

The text is introduced by a lead and is further enriched by facts on the bottom right.

European Newspaper AWARD 2000 N E W S P A P E R D E S I G N

Diario El Correo Europe’s Best Designed Newspaper in the category ‘regional newspaper’. The jury was impressed with the structuring of complex themes and the sensitive typography.

CLEAR MASTHEAD. The masthead is clear and characteristic.

Jury-Statement

TEASER. The teaser below the masthead refers to sections and topics.

Diario El Correo captivates with well-balanced typographic details and a clear guidance of the reader.

A most striking device are the double sectional front pages which help to visualize a new topic. A special feature of this paper is the technique of portioning employed in most of the articles. They offer well-structured background information and numerous details.

A WELL-CUT DETAIL. The photo shows a detail of a demonstration against the ETA. Part of the motif is in and part is out of focus.

LEAD ARTICLE. The lead article on the right is clearly marked by the size of the typeface.

SOLUTION OF DETAILS. The bottom of the page contains a reference to a sports supplement, a table of contents with page numbers and an advertisement – each of them neatly designed.

INFORMATION ON THE NEWSPAPER: Diario El Correo, Bilbao, Spain, sold 152,104 copies in 1999. The newspaper is of a half-sized Nordic format.

This format, though, does not allow a structuring into different sections as it is usual, e.g. in Germany.

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MANY-FACETTED TEXTS. When it comes to portioning complex themes into small units that can easily be digested by the readers, Diario El Correo is – by all means – leading. This sectional front page deals with Pope John Paul II. But the topic is not presented as a run-on text.

A slug consisting of several lines above the headline introduces into the theme.

On the left, you can find a list with the most important dates in the life of the Pope.

The text offers statements on the aspects of papacy by different authors.

CONTRASTING PICTURES. The cut-out lead picture shows the Pope of today, the smaller picture below was taken in 1960.

TYPOGRAPHIC EXTRAVAGANCE. Small arrows and change of typeface in the lists show a certain typographic extravagance employed to breaken-up the layout of the page. They give it a clear structure and guide the readers.

THE LANGUAGE OF TYPOGRAPHY. The overall impression of this paper cannot be mistaken for a tabloid. The sizes of the typeface, photographic cuts, and typographic details signalize that it is a serious paper.

DOUBLE-PAGE SECTIONAL FRONT PAGES. They are an unusual feature, but a most effective method on a half-sized Nordic format, to attract the readers’ attention to a new section. Next to the section head references are made to further topics on inside pages.

INFORMATION IN SMALL PORTIONS. Both sectional double pages contain each a topic of their own. The texts are well-structured by breakers or additional articles and comments. As a result, the reader will not get lost within a never-ending passage.

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NORMAL INSIDE PAGES. The design of the opening pages of a section is continued on the normal inside pages.

The pictures are well-cut.

Portrait- and landscape-size formats go together with large and small photos.

Topics are portioned by breakers, quotations and additional material.

TYPOGRAPHIC SOLUTION. The comment pages consist of a single column on the left preceded by photos of the authors. The centre of the double page contains lengthy comments, supplied with illustrations, and on the right margin letters to the editor are printed, followed by a cartoon.

These pages fully display the typographic means used by Diario El Correo.

Illustrations and small photos fit in well in the overall graphic design.

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SPECTACULAR GRAPHICS. The combination of infographics on this double page inform the reader about the collision and sinking of a boat. Maps indicate the place of the accident. The large picture illustrates the dive of a submarine intending to take photos of the wreck.

A DOUBLE PAGE FOR REPORTING. This double page presents a classical report about the situation in Latin America.

The centre is taken by a large photo.

Smaller photos of the same size are put side by side at the top and another photo is just put below the lead.

The report runs on without being interrupted by a photo, although the pages contain seven pictures altogether.

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WAR IN GROZNI. The large threedimensional drawing shows the house-to-house battle in Grozni. An interesting detail is the illustration of the underground with car parks and the sewage system. Details are indicated by numbers and explained in a key. The illustration on the top right shows the equipment of the opposing parties.

The text in reverse print contains the chronology of the events since 1999.

BILBAO IN THE YEAR 1300.

This illustration was made on the occasion of the ceremony for the 700th anniversary of the city of Bilbao. The reader can visualize what the city and a number of details, like the fashion of the citizens, then looked like.

Here, also, the drawing is supplied with numbers that are explained in a legend on the margin.

On the whole, the graphic presentation of the history is more vivid and easier to digest for the reader than a textual version of the same contents.

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European Newspaper AWARD 2000 N E W S P A P E R D E S I G N

The Guardian Europe’s Best Designed Newspaper in the category ‘nationwide newspaper’. Their use of typography, layout and photography is outstanding.

TOPICS OF THEIR OWN. In contrast to other papers the front page of The Guardian is not always dedicated to the issues of the day, but to topics that the editorial staff finds more or equally important, such as AIDS in Africa. As can be seen in the example, the focus of the page is formed by a large photograph which makes for a generous layout, which is also characteristic of the inside pages. With photography, large formats are preferred and white space is carefully distributed on the page.

A GENEROUS OVERALL IMPRESSION. Their independent choice of interesting topics is reflected in the design of the front pages which do not follow the trend of presenting innumerous small articles, which is characteristic of many newspapers. Even on inside pages the impression of generosity is continued. The pictures are large and white space is sensitively made use of.

THE LEAD-IN. The report opens with the journalist’s portrait, which has been cut at the top and bottom so that just the face is put into focus.

The journalist’s name is printed below. The article begins with a five-line initial, which is also used on the inside pages.

Jury Statement The jury was impressed with The Guardian’s typographic versatility and detailed solutions which form part of a logical concept. The readers’ guidance leading from the front page to the table of contents and sectional front pages is clear and accurate. The use of visuals, as far as sizes, cuts and contrasting formats are concerned, is exemplary.

Complex themes are well structured and presented together with clear infographics. The interplay of headings, photos, infographics and texts is perfect.

FORMATS OF PICTURES. The large photo is accompanied by a very small one below – a striking contrast.

PLAIN INFOGRAPHICS. The report is rounded off by infographics containing a map of Africa on the left and a bar chart on the right with the numbers of people infected with AIDS. INFORMATION ON THE NEWSPAPER: The Guardian, London, sold 394,996 copies in 1999. Together with The Times, The Daily Telegraph and The Independent it is renowned for its quality. The format roughly equals the Nordic format. The British copies, however, differ from the European edition in the layout of the front pages and the number of pages.

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GRIPPING ACCOUNT. Also the inside page is dedicated to the topic AIDS. The extreme cut and format of the photo evokes closeness and dismay.

PITHY HEADLINE. The photo is gripping and the headline “The desease ten times deadly as war“ will surely draw the reader in.

PAGE HEADLINE. It does not indicate the section, but the topic. The Guardian and other British newspapers often break through the invariable division of the pages into sections. If necessary, pages are left for a single topic running on over several pages.

VARIABLE COLUMNS. The page make-up makes use of a variable column, leaving white space and giving the layout a relaxed appearance. On the front page shown, this column is used for the caption.

CLEAR INFOGRAPHICS. The four boxes with infographics on the bottom right are clustered in a single block. Bar charts and temperature curves are not supplied with illustrations, but are presented in a most objective way. Thus, the reader can get an unimpeded survey of the figures.

LARGE PAGE HEADLINE. It is designed in the same fashion as the front page of the according section. The &-sign is even larger, printed in halftone and cut off at the bottom, thus achieving a three-dimensional effect.

FOUR-COLOUR CARTOON. Only special events are illustrated by fourcolour cartoons. In the example shown the extreme horizontal format is striking.

INITIALS AS A MEANS OF STRUCTURING. Three big initials are put in the comment. Their various positions make for an optimal breaking-up of the article. The same effect could have been achieved by the insertion of a photo of the author.

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European Newspaper AWARD 2000 N E W S P A P E R D E S I G N

Sunday Herald Europe’s Best Designed Newspaper in the category ‘weekly newspaper’. Extreme photographic cuts and sizes as well as an aggressive typography create a gripping paper.

AGGRESSIVE TYPOGRAPHY. Can typography be aggressive at all?

Evidently so. The masthead in the hard-cut sanserif typeface and the contrasting colours red and blue do not evoke a feeling of harmony and the peace and quiet of a Sunday. This newspaper is wide-awake and bursting with energy.

TEASERS. The teaser under the masthead is relatively tall in order to present important topics conspicuously above the fold. It becomes evident that retail sale is an important factor with this newspaper.

EXTREME PHOTOGRAPHIC CUTS. Not only with the golf player in the front page, but also on many inside pages the photographic cut is extreme.

It supports the dynamics suggested by the masthead.

QUIET HEADLINES. The relatively light-faced type of the headlines forms a clear contrast to the powerful masthead. The quiet impression is underlined by the length of the articles with only little structuring.

Jury Statement The appearance of the Sunday Herald is by no means relaxed and harmonious, but aggressive and bursting with energy. The Sunday Herald combines the traditions of design that are characteristic of British quality papers. Thus, it creates the impression of being part of the tradition and familiar.

Innovative tendencies, however, can be traced in the vehement photographic cuts and the gripping use of black-and-white photos.

The visual power of the pictures is most appealing and stir the readers’ curiosity as to what might be waiting for him in the articles themselves.

INFORMATION ON THE NEWSPAPER: The Sunday Herald was founded in 1999 and sells 54,300 copies presently. It is a Sunday paper which is published in Nordic format in Glasgow, Scotland.

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BLOCK-COPY VARIATIONS. This front page, likewise, has a teaser under the masthead. In this copy it is filled with cut-out photos of people.

INTERPLAY OF CONTRASTS. The lead photograph is of a landscape-size format. For means of contrast the article below contains a small one-column-size photo.

The masthead is massive and printed in sansserif typeface. For headlines a more slender serif typeface is employed. This interplay of contrasts makes for a dynamic page layout.

SECTIONS. This newspaper is divided into eight sections, each of which has its own front page and a large section head.

SECTIONAL FRONT PAGES. Mostly, the sectional front pages deal with one topic only. Above the section head the readers will find references to further articles on the inside pages of the appropriate section. Each section has its own page numbering and might comprise up to 20 pages.

WORKING WITH WHITE SPACE. Inside pages make use of variable columns which leave white space and break up lengthy articles.

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RICH IN VARIETY. Photography and typography are rich in variation as can be seen on this sports page with a cut-out picture and the fancy typography of the headline.

PICTURES AS EYE-CATCHERS. A number of pictures show an aggressive cut that attract attention.

Cut and perspective are chosen in such a way as to get hold of the readers.

HEADLINE IN THE PICTURE. The sports page on the right shows a photo with integrated headline, which is almost never done in dailies. Here, however, the trick is used to direct the reader’s eye to the typography. The lead-in into the text below is made easier this way.

A SINGLE PHOTO. Both sport pages have one thing in common: a single large photo which structures the page. The large-size photo does not ask for additional pictures.

HEADLINES IN CAPITAL LETTERS. The condensed capitals in sansserif typeface underline the powerful impression of the two inside pages shown here.

PORTIONED INFORMATION. Both pages contain background information about issues of the day. The topics are divided into two articles. Detailed information is presented separately.

REGIONAL IDENTITY. The Sunday Herald is published in Glasgow, Scotland. Could such a paper also be published in Vienna (Austria), Stuttgart or in the LĂźneburger Heide (Germany)? Obviously not, because the appeal of the paper is very British and full of tension. It seems that with typography and photography something like regional identity can be transmitted. This, at last, makes fully understandable why there cannot be anything like a worldwide uniform typography for newspapers, as regional differences ask for a different treatment of design.

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European Newspaper AWARD 2000 N E W S P A P E R D E S I G N

Die Woche Europe’s Best Designed Newspaper in the category ‘weekly newspaper’. Perfect harmony on all pages by the use of colour, typography, photography and infographics.

FOR RETAIL SALE ONLY. The upper half of the front page seems to be conceived for retail sale: Three teasers below the masthead and a single and extremely large headline will attract the readers’ attention at the kiosk.

RESPECTABILITY. The unobtrusive typography and the use of pastel colours convey the impression of respectability and modernity.

TRADEMARK: TYPOGRAPHY. The typeface Janson Text is actually a classical typeface for books. Die Woche is the only paper in Germany that uses it. So the typeface contributes to its unmistakable appearance.

BALANCED PAGE MAKE-UP. Page make-up follows strictly symmetrical directions. In combination with the light-faced type of the headlines a rather classical and balanced overall impression is created.

Jury Statement Trademarks of Die Woche are the clear and distinctive layout and the unobtrusive use of colours on all pages. It is meticulously planned up to the tiniest detail. The combination of photography and infographics is reader-friendly because complex matters are arranged according to a clear visual presentation. The visual presentation of topics is always successfully achieved and done with surprising creativity.

INFOGRAPHICS. They are constantly made use of. They often save the readers the trouble of reading the appropriate articles as the graphics form self-explanatory units.

INFORMATION ON THE NEWSPAPER: The newspaper Die Woche, founded in 1993, is published in Hamburg, Germany. In the second quarter of the year 2000 they sold 130,667 copies (IVW II/2000). It appears in tabloid format and is four-coloured on all pages.

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A CLASSICAL LINE. The layout of this page follows the guidelines of design: centred headline and centred photograph.

The article is not divided by breakers.

So the photos and the headlines are the chief means to attract the readers’ attention and invite them to study the text. The cut-out photos leave lots of white space and, thus, make for its special appeal.

VISUALIZED TOPIC. The picture shows the profile of the late chancellor Helmut Kohl. Leaning against his leg is Roland Koch, one of the fellow members of his party. The photo montage suggests that Koch might be one of the little helpers in the shadow of the great master.

So, the visual means employed here fully enable the reader to grasp the topic of the article.

INNOVATIVE INFOGRAPHICS. This inside page displays a combination of photography and infographics, which is especially reader-friendly since it presents complex matters in a visual way.

Here, visual clarity is gained by the central position of headline, lead and photo.

FOR INVESTORS. This page has a great number of fixed elements that appear in the same place every week.

Numerous infographics offer the readers a quick survey of trends in the money market. The picture in the middle, with a detail of a roulette game, visualizes the topic: fair allotments of new issues in the stock market. The headline “You need to be lucky� refers to the random selection which rules the allotment of shares.

The infographics on this page are plain, neat and clear.

They consist of temperature curves, bar charts and tables. The reader is meant to get at the information which is of interest to him, without being misled by any graphic gags.

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CLEAR LAYOUT. Even on this double page each of the two pages has a symmetrical make-up. The background of the central columns is coloured and makes both pages appear as a pair. The cut-out photos, on the other hand, break-up the strict pattern and give it a more dynamic look.

Although the pictures protrude into the side columns, they are still not too small and easy to read.

European Newspaper AWARD 2000 N E W S P A P E R D E S I G N

Judge’s Special Recognition Nya Dagen, a newly designed newspaper from Stockholm has developed such a clear, harmonious and modern layout that they were awarded the Judges’ Special Recognition.

FRONT PAGE: MILLENNIUM. On December 30, 1999 the Swedish daily Nya Dagen issued this romantic front page. Above the candles a prayer is printed. It is a front page especially dedicated to the millennium.

UNUSUAL MASTHEAD. The masthead contains a fragment of the ceiling fresco by Michelangelo in the Sistine Chapel: The Creation of Adam.

The modern appearance of the masthead is mainly achieved by the sansserif typeface. On the whole, this page shows a clear and neat design.

THE DAYS OF THE WEEK POINTED OUT. The column on the left-hand side is opened by the indication of the weekday, a means of emphasizing each day of the week. This procedure can be observed among a lot of Scandinavian newspapers.

INFORMATION ON THE NEWSPAPER: The Swedish daily Nya Dagen sells 18,300 copies and is published in a half-sized Nordic format. The front page usually shows a dominant picture and in a column on the left references to articles on inside pages.

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CONCISE MOTIF. The front pages are impressively designed by their picture motifs. But there are also variants that make use of poignant quotations or cut-out pictures.

A MOST VARIABLE LAYOUT. The sectional front pages are marked in the left upper corner by a vertical line. This double page contains opinions: e.g. a marginal note on the left under the line ‘Opinion’. The lead article at the top of the left page shows a feature picture. At the top of the right page readers’ contributions to a current debate are printed, the section below is left for letters to the editor. All opinions are set in unjustified print. The combination of different column widths and the central section heads, which leave lots of white space and structure the page well, can be regarded as truly innovative.

WHITE SPACE. The front page of the cultural section offers CD criticism at the top. The interesting aspect of this double page is the contrast between the small picture on the left page and the large portrait on the right. White space is skilfully used, e.g. with the photo on the left that is surrounded by a white frame and, thereby, set off against the background.

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PHOTO REPORT. The main motif is shot from an upper position to present a survey.

Two smaller photos show details of the famine in Ethiopia.

The text consists of a lead, breakers, and, at the end, the name of the authoress is printed flush right. Each photo has a caption. On the bottom right you can find infographics and a list with facts on the topic.