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The new SNDS website 4 SPACE_2012 8-9 SND St. Louis revisited 10-12 SvD on the iPad 14-15 The lonesome photographer 16-17 Aftenposten’s total makeover 18-21 redesigned 21 The Xtra Small newspaper of the future 22-23 Infographics – print or online? 24 CAP&Design’s unique covers 25 Graphic design books for Christmas 26-27 Boston Globe’s new pay website 28 SNDS members list 29-31 Local news, everywhere 32




President Anders Tapola Smålandsposten, S-351 70 Växjö, Sweden Tel.: +46 470 770 686 E-mail:

Secretary Sissel Bigset Sunnmørsposten, Boks 123, sentrum, N-6001 Ålesund, Norway Tel.: +47 70 12 00 00 E-mail:

Web-editor Kartin Hansen Morgenavisen Jyllands-Posten Grøndalsvej 3, DK-8260 Viby J, Denmark Tel.: +45 87 38 38 38 / 31 07 Fax: +45 87 38 31 99 E-mail:

Seminars Lars Andersson Upsala Nya Tidning, Box 36, S-751 03 Upsala, Sweden Tel.: +46 18-478 16 79 E-mail: FINLAND Communication Petri Salmén Helsingin Sanomat PB 71, FI-00089 Sanoma Helsinki, Finland Tel.: +358 91 22 24 02 Fax: +358 91 22 23 88 E-mail:

DeNMARK Vice -President/ Treasurer Frank Stjerne JP/Politikens Hus Rådhuspladsen 37, DK-1785 Copenhagen V, Denmark Tel.: +45 33 47 23 99 Fax: +45 33 14 72 17 E-mail: SNDS Secretariat Lone Jürgensen Morgenavisen Jyllands-Posten Grøndalsvej 3, DK-8260 Viby J, Denmark Tel.: +45 87 38 38 38 / 31 08 Fax: +45 87 38 31 99 E-mail:


Best of Scandinavian News Design Chairman of the Competition Committee Flemming Hvidtfeldt Århus Stiftstidende Banegårdspladsen 11, DK-8000 Århus C, Denmark Tel.: +45 20 91 17 52 E-mail: Substitutes for the board Jørn Broch, JydskeVestkysten, Denmark Pieta Forssell-Nieminen, Keskisuomalainen, Finland Kristoffer Nilsen, Morgenbladet, Norway Petra Villani, Sydsvenskan, Sweden


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Editor, Art Director Lars Pryds Mob.: +45 30 53 87 14 E-mail:

Print: Svendborg Tryk

Co-editor, Journalist DJ Lisbeth Tolstrup Mob.: +45 51 32 89 62 E-mail:

Articles and ideas for SNDS Magazine and are most welcome. Please contact us if you have any tips or ideas.

SNDS Magazine editorial office Østerbrogade 158, 3. TH., DK-2100 Copenhagen Ø, Denmark Tel.: +45 39 20 80 19

Typography: SNDS Magazine is set in Myriad Pro, Myriad Pro Condensed and Adobe Jenson Pro and designed in Adobe Indesign for Macintosh.

SNDS Magazine is published four times a year, in March, June, September and December. Deadlines: 15 February, 15 May, 15 August, and 15 November. Published by: Society for News Design Scandinavia E ISSN 1901-8088

The new SNDS website 4 SPACE_2012 8-9 SND St. Louis revisited 10-12 SvD on the iPad 14-15 The lonesome photographer 16-17 Aftenposten’s total makeover 18-21 redesigned 21 The Xtra Small newspaper of the future 22-23 Infographics – print or online? 24 CAP&Design’s unique covers 25 Graphic design books for Christmas 26-27 Boston Globe’s new pay website 28 SNDS members list 29-31 Local news, everywhere 32

The front page shows Eva Lone reading the “Daily XS”, a printed prototype for a new format newspaper, designed by Koos Staal. See more on page 22-23. Photo: Lars Pryds.

E-mag: All recent issues of SNDS Magazine can be read online as e-magazines: E SNDS is on Facebook: E

SNDS Magazine 2011|4 Editorial

Size matters n Which

size is the best for a piece of paper? For newspapers, judging from pure statistics, it’s clearly the tabloid format. Most Scandinavian papers have abandoned the old-fashioned, unprac­tical broadsheet years ago. In Norway practically all papers are in tabloid, in Sweden only Hallpressen print in broadsheet – and rumour has it that the only reason for this is that their printing machines simply cannot handle the tabloid format. But a few major papers stay with the large size. “Broadsheet is by far the best format for a serious newspaper. It gives us more possibilities to work with visuals. Therefore, Politiken says thank you to all the other Danish newspapers who allow us to be the sole player on the big stage,” says design editor Søren Nyeland from Politiken, which at the time we went to press launched a new design – but did not shrink the paper from broadsheet to tabloid. Helsingin Sanomat, the big Finnish newspaper, will update its design in January, and will still be in broadsheet: “Thinking about readers’ interests we make some changes in the structure of the paper and we will introduce some new story formats and ways of presentation,” says managing editor Hannu Pulkkinen. “We are interested

in smaller formats and personally I believe that HS will go to tabloid some day. But when, that is impossible to say.” Look South, to the Netherlands, and get a completely different picture. The Daily XS is a prototype for, maybe, the newspaper of the future: The size is almost A4, but the asymmetrically folded mini paper is actually printed on two sheets of broadsheet paper, using the state-of-the-art presses. Koos Staal from Staal & Duikers has been experimenting with designing and producing mini-sized newspapers since 2005, and presented his latest version to the public in October. If the printed paper can survive, this could be how – in a size only marginally larger than an iPad. Maybe then young readers – like this magazine’s cover girl Eva – will stay with paper just a little longer. Speaking of the iPad – since last issue we lost Steve Jobs, the father of all things Apple. May he rest in peace, but his products live on: We take a closer look at Svenska Dagbladet’s INSIKT app for the iPad (see page 14-15). We recommend Steves biography, published only shortly after his death in the beginning of October, along with other great books that will make the days of Christmas a little easier to endure. See which ones on page 26-27.

But there is more – Aftenposten’s new design seems like a nice and gentle change to the old venerable newspaper. The use of white space on the pages is a really nice feature, and personally I’m a great fan of the paper’s seldomly used new sans serif typeface Clan – which we introduced into the weekly Ingeniøren a few years ago. Enjoy all the other things as well – including the first glimpse of what we are preparing for the next SNDS seminar: SPACE_2012, which will be in Copenhagen on 27-28 September 2012. It will be a special event – with a new and different approach to attending a seminar. Don’t miss it! See page 8-9. And don’t forget to collect your finest work for the next SNDS design competition. There are some great new things coming here. One is a brand new award, or actually two: We will find “Scandinavia’s Best Designed” printed newspaper as well as “Scandinavia’s Best Designed News Site”. And the best part: it’s free to enter these categories – if you enter just one other category. More info will come to you all in the beginning of January. Until then – have a Merry Christn mas and a Happy New Year! Lisbeth Tolstrup & Lars Pryds Editors, SNDS Magazine

THE BOOK n 80 pages, A4 format, colour images of all winning entries in the competition THE DVD n High resolution image files of the winning

pages / websites n Catalogues 2006-2011 (pdf) n SNDS Magazines 2006-2011 (pdf) n SNDS logos for print and web n Competition rules

PRICE: n Book+DVD: 30 € / 240 NOK / 225 DKK n Book only: 25 € / 200 NOK / 185 DKK n DVD only: 20 € / 160 NOK / 150 DKK To order your copy: Contact SNDS Secretariat, Lone Jürgensen by e-mail:

Remember: The books from previous years are still available

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Best of Scandinavian News Design 2011 book & dvd

3 The new website has been redesigned and coded by webmaster Kartin Hansen and online communication specialist Lisbeth Scharling from

Welcome to the new The official website of Society for News Design Scandinavia has moved – to a new publishing system and into new clothes. The url is the same, the wellknown yellowand-red feeling is still there, but the functionality of the site has been given a thorough overhaul with the change to the WordPress platform. Kartin Hansen are changing and so is We have restructured and redesigned our website to be able to give a better and more dynamic flow of information to our members and readers. The last time we made major changes to our site was in 2006. It has served us well but the time had come to reconsider the purpose of the website as well as the look and feel of it. With terrific help from Lisbeth Scharling from we have worked for some time now to figure out the nature if the new site. We also wanted to change the publishing platform. The choice soon landed on WordPress – the fastest growing open source online publishing tool. With its wide range of plugins and functionality it is perfect solution for a site like

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n Times


Blog feel WordPress is by nature a blog system. Sites built in WordPress will therefore have the taste, look and feel of a blog. And so does the new We tag all content appropriately to hopefully give the reader a better overview of the subjects we cover by tag cloud and better search. Facebook One main goal of the new site is to integrate more with Facebook. We have done so by adding a Facebook comment plug-in to every story on the site. A vital part of the society's communication is based on our Facebook page – Our vision is to make this the turning point of discussion about news design be it good, bad, smart, intelligent, trivial, exciting – you name it. We urge you all to contribute to the network by posting there. We all share a common goal to create the best forum for communicat-

ing and sharing information about great news design all over Scandinavia – and the rest of the world! So please participate and share your opinions. Newsletter We have also given our newsletter a face lift. We keep on posting newsletters about our activity – the design competition, the seminar and other activities in SNDS. It is totally free to receive our newsletter. You don’t even have to be an SNDS member for that. A website is never developed completely. It is an organic system that evolves. We believe that we now have a good platform for developing our website and online communication. So, the version of the website we launch now is not the final one. We will enhance it along the way. Please also feel free to write to us if you have suggestions for the website. Wishing you all welcome on the new ! n

Online categories: n Scandinavia’s Best News Site n Front Pages n Section Pages n Article Pages n Feature Pages/ News Coverage n Webapplication (tv, maps, interactive) n Mobile Apps n Mobile website n Overall Webdesign (based on mediabrands) n Overall cross-platform design

Print categories: Scandinavia’s Best Designed n Redesign n Front Pages n News Pages n Feature Pages n Local Pages n THEME: Utøya n Section Front Pages n Visual Communication n Magazines n

NEW! NEW! NEW! The new categories: n Scandinavia’s Best News Site n Scandinavia’s Best Designed are free if you submit one entry in any other category*

Designs published in 2011 will qualify Deadline for participating in the Best of Scandinavian News Design competition 2011 is January 28, 2012.

*Submit at least one entry in any online category to qualify for a free judging for Scandinavia’s Best News Site. Submit at least one entry in any print category to qualify for a free judging for Scandinavia’s Best Designed.

The annual

seminar and workshop

Get ready for Copenhagen cordially invites you to leave your good old media for a few days to boldly go into a digital world of communication with us. Per Munch admit it. The media business and SNDS have their foundation in print. Newspapers, magazines, books. That is why SPACE_2012 will open in the garden of The Royal Danish Library, founded in 1661. But when we have passed through the Harry Potterish reading hall with its green porzelain lamps we physically and mentally enter the future. We move into the next phase on rolling pavements to the panorama view over the Copenhagen harbour through dark glass windows of the Black Diamond, built 10 years ago.

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n We


Lift off Now we’re ready for a trip into Space. How do we relate to readers who no longer sit quietly in a library or in their livingrooms at home, but instead explore the internet and the real world, too, and even contributes with their own photos, videos, text,

layouts and webdesigns? How do we make sure that our ‘old media’ will make the transistion and use the new possibilities to to creat interactivity and include the readers? How can we – immigrants in this new land of possibilities – learn how to stay up to date and how to work together in new ways that match all the new jobs? Oh, and: How do we make money out of all this futuristic new stuff? The countdown to SPACE_2012 will take place in the Queens Hall of the Black Diamond, where 10-9-8-76-5-4-3-2-1 will be followed by some of the most innovative people of the media business; people who will share their case stories and experiences with us – who see business models that are profitable as well as ethically and morally correct. We also introduce some ‘aliens’ – successful people working with food, music, architecture, consumer electronics etc. Because we believe in cross-pollination. Because we believe that enthusiasm and the power to

innovate are human qualities – not just words in a jobdescription. Futurama But – hold on to your PowerPoint presentations: Did we ever actually learn anything, just from listening to someone speaking from a stage? Shouldn’t we also learn from experience? That is why the most important ingredience of this seminar is FUTURAMA: Small, compact workshops. Our ’Space Ambassadors’ will outline a scenario for the participants to relate to. There will be brainstorming and conceptualizing, there will be discussions and thoughts flying in the air of the weightless room we create. In this room, everything is possible. The scenarios could be like this: A large newspaper wants to create an interactive universe based on a succesful printed guide section. How is it possible to engage users and use augmented reality, location based services, and a mash up of things already availabe? Or:

Space 2012 Face the Future Track 2 of the seminar is called FACE THE FUTURE. It’s about having the right tools for the job – to get inspiration from colleagues from all over the world. Here, we help you catch trends and thoughts in the minds of consumers, and give ideas to publish them to your specific platform. We look at different business models and ways to organize workflows. The sessions are workshops or larger presentations as “wake-up calls”, for instance: Twitter. What is worth following? How do clever tweeters tweet?

If you do not have a twitter account yet, get it here. Facebook Pages. Basic knowledge about creating a page for your project – how to use it wisely and efficiently. iPhone lab. Video, photo, apps, reporting. Organization. How can frozen companies create new stuff? Which new ways of working together should we learn? Is there a special Scandinavian way to cooperate and integrate? Should editorial departments work closer together with the commercial departments – and how? Food and drink – and partying Along the way, of course, we offer you a chance to enjoy Danish and Scandinavian specialties in both food and drinks. Denmark is the origin of both the New Nordic Kitchen – with excellent food prepared with local rather than imported ingrediences – and of the world famous Carlsberg brewery. So look forward to a Salsa of Scandinavia and a glass

of tasty beer! Carlsberg’s motto is “Semper Ardens” – “Always Ardent” – a motto we in the media business should adapt for ourselves. Dresscode for the future? Come as you are – but carrying as little mental baggage as possible, so that you are ready to think new thoughts and develop new ways to do things with the rest of us. So, the dresscode for the future is: New Habits.

PS: Begin your Space Voyage today on Send in your suggestions for speakers etc. – and get the latest news about the program and more. And if you haven’t already done so, remember to sign up for the SNDS newsletter at to get important news and updates. n E E

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How does a morning paper prepare for large events like the Utøya tragedy? How handle input from readers and the first reports from the scene better? And how make sure that the follow up coverage is superb? Or: Is it possible to create a club-media, where people can get information, participate, buy phisical goods, go to lectures etc.? What subjects will be relevant?

The SPACESHIP The venue for the SPACE_2012 SNDS seminar and workshop is DIAMANTEN: the BLACK DIAMOND – the Royal Danish Library overlooking the Copenhagen harbour. Schmidt, Hammer & Lassen are the architects behind the extraordinary building, which opened in 1999. The façade is constructed by 2,500 m2 Absolute Black granite from Zimbabwe, cut and polished in Italy. Photos: Lars Pryds


Meet me in St. Louis SNDSMagazine 2011|4

Well organized, clear structure, great speakers and a fascinating place to get the party started were among the highlights of the SND 33rd Annual Workshop, held in St. Louis, Missouri, 29 September – 1 October 2011.


Lisbeth Tolstrup president Steve Dorsey intro­ duced the workshop this way: ”This conference itself is a reflection of the changing time we live and work in …” and that was exactly what it was. The programme was very well organized in three different tracks. Track


one focused on ”career boost” meaning a lot of good examples showing how ones professionality can change in a positive way, even though you have to accept a change in position or a completely new way of looking at your own talent and professional possibilities. Some headlines from this track tell their own story: ”Reinvent Yourself – Reinvent Your world”, ”No longer a tourist” (focusing on the challenges you

can meet working in a different part of the world) and as a very strong line in the track ”Building Your Digital Brand”. The main idea was to get accostumed to the use of social media in a professional way and to give up the modesty, that sometimes prevent you from getting well known for your special talent. Design roots A second track was named ”Design

Photos: Nina Maja Tolstrup Pryds, Lars Pryds

very strongly, the importance of an openminded and positive dialogue. And yes – believe it or not – this magazine’s editor Lars Pryds attracted 60 persons as his audience, when his introduction: ”In Cold Scandinavia – Magazines are hot” was running across one of the screens in the conference center of Renaissance Grand Hotel in Saint Louis. So now, a few more people know about the design being made in our corner of the world. New shoots The third track was focused on ”New Shoots” (new platforms and new media). Tablets, iPads, the use of video in the news industry and a lot of other inspiring examples were shown, dis- E

Online, all the time Top: HTML 5 on the presentation screen, browser window open on the laptop. Wouldn’t want to miss a single thing in cyberspace, even at a conference. Bottom left: Charles Apple speaks to all those people in fear of losing their job in the newspaper industry. ”It’s only a job” he said about journalism – and even if you do get fired, ”You do not suck”. (Yes, the what’s missing in the photo is a ”k”, not ”ceed”.) A long list of examples showed that it is certainly possible to find a place in other lines of work. Bottom right: The official colourful SNDSTL goody bags. opposite page Top and bottom left: The opening reception of SNDSTL was at the City Museum – a crazy, very special place. A combined museum and playground, guests could climb the sometimes quite dangerous constructions both inside the place and outside – even on top of an airplane. Bottom right: Lifetime Achievement Award winner Roger Fidler, introducing new statistics about how we read the news. Co-speaker Regina McCombs looks on.

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Roots” which might as well have been called the ”Tell me about your experience – and I will tell you what to aim at”-track. Again the presentations were numerous and inspiring. Graphic designers, photographers, journalists, students and professors – a bouquet of people from newspapers, huge as well as small and local, universities, printas well as web-magazines and private workshops with world wide experience introduced their work and their thoughts about the future for the whole media business. Great to listen to the questions and provocating to join the discussion that followed each session. Being a member of the audience I enjoyed the professional way most of the presentations were staged and felt,


SNDSTL speaker handouts: E More photos from SNDSTL: E Photo: søren nyeland


cussed and challenged by some of those people who have chosen to work in that specific part of the business. Roger Fidler, from Missouri’s Donald W. Reynolds Journalism Institute, opened this track by talking about how the typical iPad user expects a “relaxed, enjoyable reading experience”. He stressed the fact that the iPad is not print – but the way we read on the tablet is in many ways “printlike”. Fidler, who back in 1988 very accu­ rately predicted the arrival of what became the iPad (see )

Photos: Lars Pryds

workshop The ”Brainstorming & Creative Strategies” session was a real-live workshop, with three presenters each heading a small group of the audience working with a specific subject. Here Nick Mrozowski’s group discuss how to get an idea for the design of a poster for next year’s SND seminar. was presented a Lifetime Achievement Award at the closing dinner banquet on Saturday, the last day of the seminar. Another Lifetime Award was presented to Gayle Grin, former SND President. Next stop: Cleveland, Ohio Next year, the SND workshop will be in Cleveland, Ohio, 11-13 October 2012. Registration has opened on with early bird special rates – you have until the end of the year to save $100 and get the costs on the 2011 budget. See you in Cleveland! n

SNDSMagazine 2011|4

Photos: Lars Pryds


Schhh! The Silent Auction is a very old tradition at the SND workshops. Every year, the auction raises a money for student scholarships and travel grants.

Places to go Top: A visit to St. Louis isn’t complete without standing at the base of The Gateway Arch – the tallest national monument in the United States at 630 feet. And the view from the top is amazing. the loop Middle and bottom: Called ”One of the 10 Great Streets in America”, The Loop is a six-block area of the Delmar Boulevard with a unique collection of specialty shops, galleries – and funny old busses. Set in the sidewalks along Delmar Blvd. is the St. Louis Walk of Fame – more than 125 brass stars bearing the names of famous sons and daughters of the St. Louis area, including Chuck Berry, John Goodman, Tina Turner and Miles Davis.


MANY MANY SCANDINAVIAN SCANDINAVIAN NEWSPAPERS NEWSPAPERS USE USE NEWSPILOT NEWSPILOT TO TO EASILY EASILY PUBLISH PUBLISH TO TO PRINT, PRINT, WEB, WEB, IPHONE IPHONE & & IPAD. IPAD. DO DO YOU? YOU? Contact Contactususfor fora ademonstration demonstrationorormeeting meetingwith withus: us: Sweden, Sweden,Norway Norway&&Denmark: Denmark:Tomas TomasBjรถrnberg, Bjรถrnberg,+46 +46480 4803636202004, 04, Finland: Finland:Kristofer KristoferPasanen, Pasanen,+358 +358400 400899 899637, 637, For Formore moreinformation informationabout aboutususand andour ourproducts: products:

voila! A quick way to get an overview of the most important news. Tap dots to get a short text box with a summary of the event.

his life in a box The fact box with Zlatan Ibrahimović’s CV is placed in the bottom of the screen. You scroll horisontally from year to year.

It’s all about doing it right Svenska Dagbladet launched SvD INSIKT in September – an ambitious magazine project designed exclusively for the iPad. Business journalist and iPad aficionado Anders Rostgaard takes a closer look at the Swedish result. Anders Rostgaard

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n Back


in 2010 when I bought my first iPad I had a dream, that this tablet would become the future place for magazines. But it would take some time before I was completely convinced. It only happened recently, when I laid my hands on Svenska Dagbladet’s iPad magazine, SvD Insikt; a monthly magazine created for, designe d for and targeted exclusively for the iPad. There are, of course, a lot of magazines you can download for the iPad. Personally, I’m a great fan of the Wired iPad mag, because I love the printed version of Wired. But none of the magazines – including Wired’s – were originally meant to be an iPad product. They all have a kind of secondary look and feel to them. Which is really too bad. Because the tablet is precisely the kind of digital platform where you can make a package of content goodies – with even more features than in the printed magazines. SvD Insikt is a clearly marked by the fact that the people behind the product spent 18 months thinking about how this platform is used best – and for what. The simple answer is to

honour the platform for all it is capable of. The iPad is not only a screen; it is also a small television set, a book, a newspaper, an image projector, a radio, a browser, a pointing device – it is so much more than just digital ink. So when a magazine chooses the simple solution – exporting PDFs of the print version to the iPad – it is all too ob­ vious that it is just a copy of the print side of the press. Only a few print magazines are good enough or have the right equipment to produce high quality tv. Sound quality is often rather poor. And the graphics are often static reproductions.

but not a single one too many. They all tell their own stories – and the bright colours of the iPad’s LED screen give the photographs full power. These days, when everybody is asking for overview, SvD Insikt presents another beuatiful feature: The most important news stories placed on an interactive world map. Labelled “the World in September” the map invites you to tap the small dots with a headline, and the story will unfold as a compact text in the bottom of the screen. Very very nice! But also a great service to people who do not always catch up on all major events through a busy month.

Hhigh quality SvD Insikt takes a different approach and should be praised for that. One example is the story of the debt crisis in the first edition of the publication. The history of money is told in four small videos – starting when the value of money was tied up with gold, up to today, where money is anchored digitally. The videos are high quality, each not more than one or two minutes long and all told in graphic animations – just like you would do on tv. Another example is the use of photographs. There is a lot of images,

Getting the facts right The fact boxes are also used well. In the story of Zlatan Ibrahimović, a single screen shows his complete biography – to be read by scrolling the box horisontally. But nothing is perfect, and even Svd Insikt has a few flaws. For instance, one thing that never worked for me was the sharing function, which lets you share content to social networks on the web – an essential feature in a world where social media are an extremely important place for advertising. Links pointing to

picture this The ”Images of the Month” section gives you an overview of the month’s events and the photos are all extraordinary artworks.

extra content outside the app (the SvD website, for example) would also be a nice feature. Nevertheless – it is difficult not to be very excited. SvD Insikt nourishes the hope for journalism in a time of declining subscription numbers for the printed media. Until now, there was no real alternative – but it is here now. Not everything in the electronic universe needs to be short news flashes in browser windows. However, the tough reality is that it is not a cheap, simple and easy task to deliver great content to the iPad. All content must keep a high quality, be-

connection error This splendid article about Steve Jobs could not be shared with the outside world. The icons for social networks are there, but they do not work.

cause the competition for the customers’ attention on the tablets is tough. Fortunately for SvD Insikt my experience was so convincing that I will not hesitate to return to this product. And I’m not even from Sweden. n Anders Rostgaard is a journalist at Berlingske Business Magasin, Copenhagen. He writes about new technology, globalization and business-trends in general. In his spare time he loves take great photos, and has a deep respect for people with the ability to tell great stories with photos, graphic and intelligent presentation.

great photos Images are given lots of room, as the app is not limited to a certain number of pages. This requires good photographic quality.

SvD Insikt E Launched in September 2011. SvD’s design editor Anna Thurfjell created the design of the app, with London-based designer Mark Porter as consultant for the cover design. Weekend editor Ann Axelsson was project leader. SvD’s head of photography Joakim Ståhl, photo editor Staffan Löwstedt and graphic designer Thomas Mohlén developed the visual line: the style of photography and info graphics. Sub-editors David Stillberg, Anders Lindgren and Elisabeth Mård did the layout of pages. The content is from all sections of SvD, mainly the weekend edition of the printed SvD. Magnus Gylje is the editor. E SvD Insikt issue 4 will be available 23 December 2011.

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easy does it On the iPad, a story can be as simple as this: Sarah Riedel sings a song in a small video exclusively for SvD – and that’s it!


Superbly lit loneliness Everyday life in small American suburbs, the desolation of an old Italian film studio, and nightly fireflies in the woods. Gregory Crewdson captures the loneliness with his camera. Lars Pryds

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n His


work may seem like the opposite of press photography, but Gregory Crewdson actually finds his inspiration for his amazing work in both movies, art, and documentary photo­graphy. In practice, Crewdson works more like a film director than a photographer. His monumental images demand months of sketching and preparation, he uses a production gear the size of a rock band on a world tour and a crew

of many people to set the scene before the perfect photo is in the box. So it is no wonder that the most recent series of photos in the exhibition was shot in Cinecittà, the legend­ary now decayed movie studios outside Rome, Italy, where Federico Fellini staged his masterpieces in the 1930ies. In Crewdson’s photos, light and landscape play key roles. By carefully setting the light of the well-prepared, staged location (outdoor or indoor) and instructing the people to pose for the photo, Crewdson creates beautiful but disturbing environ­ments in which time

seems to have stopped. The ordinary people who inhabit the images appear to not being able to move – not frozen in mid-motion, but rather standing still as if they have slowed down to a halt or have been placed in their position like a puppet in a doll’s house. The photos are super realistic, every detail is razor sharp, but also extremely articifial and arranged – nothing is left to chance. The atmosphere is private, almost intimate but at the same time keeping the viewer at a distance. As Crewdson puts it – “It’s about being there but not there”.

»I’m always interested in tensions.

A primary one is that between the familiar and the strange. I think that exists in all my pictures. – Gregory Crewdson fireflies The fireflies series was photo­ graphed during lonely summer nights in a cabin in the woods, shortly after Crewdson divorced his first wife. The film and negatives of the hundreds of pictures were stored in a box for ten years and were only developed and exhibited for the first time a few years ago. Silver gelatin print, 34 x 41,5 cm. Photo: Gregory Crewdson.

All photos carry a sense of loneliness, which gave the exhibition its title – In a Lonely Place. This is also the title of a 1950 Humphrey Bogart film noir. In the movie, the lonely place was the “ideal location to commit a crime”. In Crewdson’s work, you get the same creepy feeling – only, it’s impos­sible to say if the crime has already been committed, or if we’re waiting for it. Fascinating and frightening all at once. The exhibition is shown in the Black Diamond, next year's venue for the SPACE_2012 SNDS seminar. The exhibition will travel to Stenersen Museum in Oslo in the spring of 2012. n

Ovation TV (interview+on the set): E Aperture (interview+details): E

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beneath the roses This monumental series of photgraphs is inhabited by ordinary people in everyday situations – and then again: something extra is there, waiting in the ghostly sparsely lit locations that Crewdson builds before his camera. Archival pigment print, 144.8 x 223.5 cm. Photo: Gregory Crewdson.

Gregory Crewdson: “In a Lonely Place” The National Photo Museum Den Sorte Diamant, Copenhagen Open until 28 January 2012. Monday-Saturday 10am-7pm E A 160 page catalogue with beautiful reproductions of all works available on Amazon

Sanctuary The desolated Cinecittà in Rome, Italy, is the location for the most recent series of Crewdson’s work. Archival pigment print, 53.8 x 71.7 cm. Photo: Gregory Crewdson.


A total makeover

Aftenposten – Norway's most respected and biggest-selling newspaper – went through a format change from broadsheet to tabloid almost seven years ago, introducing a design by the newspaper's art director Unar Vegstein. This October Aftenposten changed its looks again – but the format is still tabloid. Lars Pryds is an important and venerable institution in Norway, so it has been important for the newspaper to maintain the identity and strength that has been built up through the last 151 years. According to Ronny Ruud, Editorial Manager at Aftenposten and in charge of the process of both changing the design and introducing a completely new production and publishing system, the intention was to create a contemporary-feeling but serious newspaper. To help with creating the new design, Aftenposten turned to design consultants PalmerWatson from Edinburg. “The main difference in the presentation was to create a stronger

departments every day”, says Ronny Ruud. “Beyond the design changes, we have built up a system for pages and templates that allow better planning and better workflow. Thus, it is important that we want to redesign the editorial approach and greater planning aspects and solutions rather than just planning text and cases.” The new design also introduces a completely new set of typography in the newspaper – Publico and Clan for headlines and Capitolium for text. The newspaper appears lighter and more friendly than in the old design – with clear prioritizing and careful use of white space both below headlines and between articles. As well as rethinking the design, Aftenposten has adopted a different approach to its presentation and the overall package, sharpening its focus E

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n Aftenposten

hierarchy between lead and secondary articles,” says Ally Palmer: “Lead headline sizes were reduced but the character count was increased. Previously Aftenposten headlines tended to be quite short, often three words. Our basic philosophy was that the headline should 'sell' the story while the subheadline should 'tell' the story. On the front page a ‘wide-screen’ approach to the lead element was introduced to create greater impact. This also requires greater planning in the news room which was something the editors were very keen to encourage.” Ronny Ruud confirms this: “First and foremost, we have created a system of disciplined and controlled use of instruments. We're not there yet, but the important thing is that we have started to walk a new path. The new design is a tool we will develop, and this places high demands on our editorial


FRONT PAGE The old front page (left) and the two versions of the new front page: On weekdays, the nameplate is the old trusted ”Aftenposten” logo, on Saturdays and Sundays the front page carries the characteristic black circle logo. In both cases, the pages signal easy reading and careful prioritizing.

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section FRONT PAGE Controlled use of white space in combination with strong, carefully prepared photographs sends the signal of important stories told. �We should have (at least) three to five really good pictures every day and throw out all the unnecessary trifles�, says Ronny Ruud, Editorial Manager at Aftenposten.


Crisp and clean The new page 2: A great photo of the day, contact info, main headlines from the web and ”Under streken” (”Below the line”) – small funny observations and quotes from other media.

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Clearly marked news The news stories are well-researched and though packed with information graphics, maps and facts boxes, the pages give room for large photos or (see right) a commentator’s view or an in-depth analysis.

on the key stories and revising many aspects of its display. A new editorial system has also been implemented. Aftenposten now uses NewsPilot from Swedish InfoMaker. All production planning – text, images, graphics and pages – takes place through NewsPilot, while InDesign is used for the page production. As none of these programs were were in use already at the newspaper, all editorial staff in a few short weeks had to be trained in both NewsPilot and InDesign. One of Ally Palmer’s favourite features in the new Norwegian design is the black circle logo that is used for the weekend sections. “It was a much discussed element of the design,” he says. “It was something that felt very natural – the circle sits perfectly into the space above the full logo – and even in isolation it is something that is immediately identifiable as the Aftenposten brand. The design also utilises vertical rules between all elements. Again this was much debated but the more pages we did, the more it felt natural, to the extent that when we forgot to add them, the pages simply didn’t look right. They help to add a sense of organisation which was one of the main things we were trying to bring to the paper.”

Palmer and Watson worked with a core design and content group but also had a lot of discussions with both senior section editors and some of the youngest journalists at the paper. “This gave us a greater insight into what made the newspaper tick. And to our surprise it was the younger jour­ nalists who were often the most traditional and conservative! Maybe they felt a need to retain the history of the newspaper while the older journalists knew how far we could push things”, n says Ally Palmer.

Culture The supplements use a lighter headline type and a very big, thin version of Clan for the section nameplate. The structure for the covers is also used for special section openers in the main section on weekdays.

The redesign process 2011: Design consultants: Ally Palmer and Terry Watson. Art director: Unar Vegstein. Project leader: Ronny Ruud. Facts about Aftenposten Founded 14. May 1860 as Christiania Adresseblad. The name change to Aftenposten on 1. januar 1861. A morning edition is published seven days a week; eveing editions on Tuesday, Wednesday, and Thursday. Mediehuset Aftenposten is part of Media Norge ASA, owned by Schibsted Media Group. Media Norge includes Stavanger Aftenblad, Fædrelandsvennen, Bergens Tidende and Employees: Aftenposten has 600 employees. Main business is publishing Aftenposten and the websites and Aftenposten publishes to the web, mobile and iPad, and has its own video desk. Editor-in-Chief: Hilde Haugsgjerd. Circulation: 239,831 copies – Aftenposten is Norway's largest daily newspaper. Readers: 679.000 on weekdays, 465.000 on Sundays.

Anders Tapola n Dagens


Nyheter lauched the redesign of on October 25. They go the same way as Svenska Dagbladet in terms of fonts, they are now the same as in the printed edition. It’s good, because regardless of platform you should recognize the sender, or brand. Otherwise, not much has changed. DN:s web manager Björn Hedensjö says in that “I’m not in favor of the trend of horizontal sites. We are going to be a rather long and flowing site, with repetition, the economics section will show up after an economics article, for example “.

There will also be more action, according to Björn Hedensjö. The site should feel like new even for regular readers, is the idea. This means that different sections are moved during the day in the fixed columns, which has the approximate proportions 3, 1 and 2. It is a very traditional site, in other words. It is also difficult to get a clear overview – and that is a shame. feels much easier to read. And not to compare with But they are of course both more horizontally structured, with a more flexible grid system. The latter – flexibility – should also apply to So far, I haven’t seen any major changes, as for example when breaking news occurs.  n

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Pocket size The Daily XS-L newspaper, when closed, measeres a little more than A4: 29 x 22,5 cms, to be exact.

Assymmetric binding Opening the paper to the first spread reveals the assymmetric folding of the two sheets of paper, which results in the ”tab” navigation in the bottom left hand corner. At this time, it’s like holding a couple of sheets of A3 papers.

A4 and broadsheet – all in one product Things are happening in the Netherlands. A new model for the printed paper – The Daily XS – was launched in the Hague in November. The man behind the idea and the project, designer and consultant Koos Staal from Staal & Duiker Designers in Haren/Berlin, tells the story of the new, truely compact newspaper. Koos Staal

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n In


2003 most daily papers were published on broadsheet format. Except for the yellow press, giving double meaning to the word tabloid, in format and character. In 2004 British publishers of serious dailies began making tabloid versions parallel to their broadsheet papers. Easy to read. Streetsales were booming. Continental publishers soon adopted the idea. The compact news­paper, easy to read, easy to handle, perfect medium for the contemporary news­ paper reader with less time to read. The first mini compact: XS But these newspapers in tabloid format still left the reader with a feeling of

guilt. Lots of interesting stories, attractive presentation, pictures and infographics but not enough time to read it all. Seems a daily waste of energy, money and material. For that reason in 2004 I developed the XS, the truly compact newspaper: Take one broadsheet sheet, fold it in a specific way and it turns into a 16 page mini-newspaper. The trial issue contained over 60 items, articles, listings and seven ads. Instead of printing on giant and expensive webpresses, XS is produced on a common sheetfed press at the printshop around the corner with a max run of 10,000 copies an hour. So XS can be a perfect one-man/ one-woman newspaper. Ideal for the romantics who wish to be publisher, editor in chief, or journalist of your own newspaper.

But not only these romantics liked the idea. Mainstream news publishers in the Netherlands and Germany appeared to be interested in the XS concept. There was just one problem: they wished to produce in high circulation on their web-presses. And that was not how XS was meant to be. The next step: XS-L – the Tablet paper Early 2010 Martin van Ee, managing director of Royal BDU Printers, sat downwith me and we actually found a way how a compact paper could be produced on their web-press. The result was the prototype XS-L – the big brother of XS – also called the Tablet paper. Two broadsheet pages only. Glued to a 3.5-page paper. An asymmetric folding construction creates tabs for navigation and although compact it offers the overview of a clas-

Brothers in print  Left: The original onesheet-16-pages XS (2005) prototype, measuring 23 x 15 cms. Right the brand new big brother: The two-sheet Daily XS, or XS-L (2011), a little over A4 in size. Both designs are based around sophisticated, asymmetric folding solutions. E E E

sic broadsheet page, 42 cms wide. Easy to handle for commuters in crowded trains or buses. Furthermore it is possible to print and fold the paper with a minimum run of 70,000 copies per hour. On november 10, 2011 the trial issue was launched at the Dutch National Publishers day in the Hague: The Daily XS – A model for a compact daily paper. Costing a fraction of energy, money and material. A durable newspaper too. For the trial issue the actual content was on my request mainly delivered by Dagblad van het Noorden, the major daily paper in this northern region of the Netherlands. Royal BDU Printers organised the printing. The trial issue is stapled but BDU will be able to glue the pages, as you see a lot in Scandinavia, so then

XS-L will be a ‘clean’ product, which is easy to recycle. XS-L has potential for a daily paper, application on special occasions, manifestations, concerts, or as a print edition of digital media etcetera. Now we’re hoping for publishers to come up with ideas to use this concept. Daily XS was made as a daily paper but it could also be a special occasion paper. We are also thinking of creating a web-module where you can fill the pages with your own content and then have it printed by BDU. Already, there is some serious interest. A weekly paper, the jury report of a major contest for cross-media journalism, and I have discussed the possibilities with the editorial board of a Dutch daily within their cross-media concept. The idea is there, all the publishers have to do now is pick it up!  n

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Oh, that broadsheet feeling Turning the pages you enter the sections which appear in what actually both looks and feels like a good old-fashioned broadsheet paper. The best from both worlds – the super compact and the big print. Photos: Lars Pryds


Print or online?

One masterpiece and one screw-up Which platform is the best for complex infographics? The New York Times has a long tradition for both print and online graphics of the highest standards, and recently published the same graphic in two different versions. Gert K. Nielsen compares them. Gert K. Nielsen n The

New York Times just ran an interesting article titled ‘It’s All Connected: A Spectator’s Guide to the Euro Crisis’. They also ran an interactive visualization online with the same title, but reworked to fit on the screen. Pretty much the same stuff – except that I challenge you to understand and gain insight from the online-version which you read at – before reading the print-version, which can be found at .

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Journey of information The printed version has a lot of text, which leads you through the story and educates you along the way on a highly complex system. The graphic is the perfect companion on this journey, where you’ll find exactly what you need and gain some extra helpful facts too. Like the explanation why Japan is not in risk, even if it has a debt of 233% of GDP. It’s interesting to explore it on your own, while you make short pauses in the reading. The online version shows you the data and tells you some accompanying facts – but doesn’t tell you the story. The same data, but strangely disinteresting. Why would I even click around to get


good or bad? Which works best for you – the print version (left) or the online interactive one? Take a look at both at

the data, when I have no use for it? I’m forced into explorermode too early. Big differences in the looks too The print version is elegant with good colours and easy focus on the worrisome countries. The online version has weaker colour and also a black line around every element, which kills the appearance. Black lines around the circles, which separate the arrows sticking out, look very amateurish. Surrounding a thin colored line with black lines is a disaster. Overlaying text on black lines is a bad decision too. In an effort to make the interactive version more useful, it has been split into six smaller sub-stories. But presented like this the bubbles are in fact less useful. You lose context and end up with very crude charts that doesn’t aid your insights at all. On a final note – the role of China as the unknown factor in the world of economics has been edited out of the interactive version for no apparent reason. Where the printed story ends with an entire paragraph (#7) to inform me and make me think about the future, the interactive one just ends because I run out of boxes to click. The Verdict The printed version is a masterpiece of visual journalism, which unfortunately leaves the role of the screw-up to the

online version. On a day like this you feel really bad that print is in decline. After the article was published at I have been in contact with people from the New York Times. They agreed that the printed version works best but felt the label 'screw-up' is unjustified for the onlineversion. Well - a blog needs opinionated writing. The awful black outlines were in part a browser problem and a new version of the online graphic has now been published on the NY Times website. n Gert K. Nielsen is the infographic wizard behind GrafikGert and the manager of the Visualjournalism website. E E E

CHALLENGE: Does this graphic help you understand this sentence? 'If there is no firewall or if it is inadequate, it would be easy to imagine a run on banks'.

11.003 unique covers Lars Pryds n Publishing

a unique cover for each copy of the magazine made it possible for every reader to pick their favourite version on the newsstand, with a unique cover photo and a unique serial number. Not something you usually expect to find on the shelves of a newsstand – the opposite of mass production, you could say. “This is part of our continuing effort to surprise our readers while at the same time demonstrating the possibilities inherent in printing technology”, says Therese Järnankar, editor-in-chief of CAP&Design.

So, how did they do? They places a young girl model, Alma Helgesson, on a chair. Programmed a camera to photograph her at very short intervals while Björn Atldax and Karl Grandin from CAP&Design’s design agency started painting the model’s face and the background behind the girl. Twelve hours and 12.000 photos later, the next step was to place the photos in the cover template and pair the different images with a unique number for each cover. And then print, bind and package the magazines and distribute them to the resellers. “The charming thing about working this way was that several of the covers are shot in the middle of the make-up process, and sometimes Alma

would be coughing or we would put the paintbrush into her eye – and there is no cheating. Nothing was retouched digitally”, says Karl Grandin, one of the designers behind the covers. The creating and printing of 11,003 unique covers was preceded by several month of planning and production and carried through in cooperation with design agency Vår, which arranged the cover shots, and printing house Elanders who contributed their expertise in printing technology and processes. n Movie showing the painting process: E Read more about the project: E

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The Swedish magazine for all things communication and graphics, CAP&Design, printed a unique cover for the entire circulation of issue no. 5, published in November.


A good read for Christmas

December is a busy month. There's simply too much to do before you're ready to celebrate with your family and friends. But when Christmas Day arrives, it's time to relax and read – so here's a handful of tips for great books you could ad to your wisk list this year – or just hurry to the nearest bookshop and buy … Have a Merry Christmas!

design icons of the past

Back in the USSR

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n Made


in Russia – unsung Icons of Soviet Design presents fifty masterpieces of the more populist work of graphic and industrial design from the Soviet era. Each work is accompanied by texts describing its origins and influence on the daily life of the Russians behind the iron curtain. The texts are well written with a personal touch – editor Michael Idov belongs to what he calls the last Soviet generation: he was 15 years old when the empire collapsed – so much is based on his own experiences and memories. The monotonous array of Soviet consumer goods did not mean people were unaware of the value of good design – "against this ocean of gray, any item made with a modicum of care, the tiniest formalist flourishes, immediately shone like a beacon", as Idov puts it. Four other Russian writers contribute with essays on specific items in this entertaining and surprisingly colourful book about a colourless time in history. Michael Idov: Made in Russia – Unsung Icons of Soviet Design 222 pages, 21 x 13 cm. Rizzoli Intern. Publications ISBN: 978-0-8478-3605-5 · £7.49

Historic type magazine

staged photography

Upper&lowercase Beautiful and When I was in design school some 25 dis­quieting years ago, it was a revelation to discover n

U&lc., the quarterly type and graphics publication which was distributed by International Typeface Corporation. It was a showcase for much of the best graphic design work being created in the United States during the time it was published – and it was free! Printed on varying quality paper, the designs explored the possibilities of type use and type design – from the experimental to the elegant workhorse typefaces, often presented in artistic or minimalist black and white. It certainly helped build my understanding of what typography can do. This book provides a retrospective look at U&lc and the use of type within it, by reproducing some of the best pages from the 26 years' period it was published. Included are full lists of all topics in every single issue, as well as essays by some of the magazine's editors through the years.

n The companion book for the exhibition with the same title (see page 16-17), this book shows all the exhibited works in beautiful reproduction. Both exhibition and book is a co-production by the German photo gallery C/O Berlin, Kulturhuset in Stockholm, and the Danish National Photo Museum. It includes an introduction to Crewdson's work, written by the three directors from the three organizing galleries, as well as texts by Gregory Crewdson himself (with focus on his sources of inspiration) and an essay by Craig Burnett primarily about the Sanctuary series, photographed in Cinecittà 2010. Although the original photographs measure up to 144 x 223 cm, the book gives a very good impression of the strength and quietly disturbing atmosphere of Crewdson's work. You want to be part of the life shown – but at the same time you're afraid. Fascinating.

John D. Berry: U&Lc: Influencing Design and Typography 192 pages, 33.5 x 24.5 cm. Mark Batty Publisher ISBN: 978-0972424097 · £29.75

Gregory Crewdson: In a Lonely Place 160 pages, 21.5 x 31 cm. Hatje Cantz ISBN: 978-3-7757-3136-2 · £23.11

Lars Pryds

visual storytelling

Show and tell n ”Infographics are neither illustrations

nor ‘art’. Infographics are visual journalism and must be governed by the same ethical standards that apply to other areas of the profession”. These words by Juan Antonio Giner and Alberto Cairo are quoted on one of the first pages in this book. They pin down precisely what the purpose is here – giving infographics its claim to fame in its own right. The examples and case stories are well chosen and presented with good reproductions of the many wonderful visuals. Visual Storytelling is divided into two main parts. The first, Part A, is entitled Visual Storyteller and consists of interviews with eight infographics professionals who have created or supervised excellent work all over the world. A selection of the works accompany the in-depth, hands-on explanations. The larger Part B is Visual Stories – an abundance of examples from the infographic production, divided in five chapters: Breaking News, Science, Geography, The Modern World, and Sports. Visual Storytelling is an extremely useful and inspiring book, if you work in the field of visual journalism. It’s a musthave for every graphics department in every media company, newspaper or editorial office, especially if you produce content for print. If you are a visual journalist, graphic designer or infographic artist you will most certainly want your own copy to find inspiration at every hour of the day – even when you’re off from work. Robert Klanten, S. Ehmann, F. Schulze: Visual Storytelling: Inspiring a New Visual Language 256 pages, 30.4 x 24.8 cm. Die Gestalten Verlag ISBN: 978-3899553758 · £23.11

the apple icon

The ultimate Steve Jobs bio n For once in his life, Steve Jobs (19552011) gave up control, when in 2009 he finally persuaded Walter Isaacson to write his biography. “It’s your book, I won’t even read it,” Jobs said to Isaacson, a former managing editor of Time. For a person so obsessed with control over everything he did, this was very unusual. The Apple CEO also opened up his private life in an unseen way. “I wanted my kids to know me,” he said. “I wasn’t always there for them, and I wanted them to know why and to understand what I did.” One of the most charismatic business leaders in modern history, Jobs revolutionized six industries: personal computers, animated movies, music, phones, tablet computing and digital publishing. It’s easy to understand that such a huge success would have costs. The aim of this book is to show the “roller-coaster life and searingly intense personality of a creative entrepreneur with a passion for perfection.” The ultimate story of a very unusual business icon – in 42 chapters over 600 well-written pages. For a Mac fan, this is a fascinating must-read – as it will be for many others as well.

Walter Isaacson: Steve Jobs 285 pages, 23 x 16 cm. LibrisBusiness ISBN: 978-1-84354-912-3 · £ 11.97


useful graphic links

Clever design essays n DesignObserver publishes essays and articles at the intersection of design, photography, illustration, architecture, urbanism, sustainability, social innovation and visual culture. The site is divided into five main ‘channels’ – Observatory; Change Observer; Places; Observer Media; and Observers Room. Each has their own focus – Change Observer, for instance, is devoted to the many dimensions of design for social innovation, while Places is a journal of contemporary architecture, landscape and urbanism. In a time when everybody comments on almost everything on the web’s numerous social networks, DesignObserver goes against the trend: “We publish pieces because we think people will enjoy reading them; if a good discussion starts, that’s great, but not the primary goal”, the editors write on their ‘About comments’ page. This approach makes reading the entries a peaceful experience, with a minimum of noise. The comments that are published are actually mostly were clever. Oh – and of course: DesignObserver also comes in the shape of an iPhone app, so you can take it with you on the go. Highly recommended. E –pryds

Norwegian newspapers n Want to know what’s on the cover of your favourite Norwegian newspaper? look in one place: Here you find the current front page of most Norwegian newspapers – categorized in National, Regional, Niche, Student, and Local Newspapers. Mouse over each page, and you get the choice of links to the papers website, epaper, twitter account or a page where you can buy subscriptions. In the top navigation there’s even a link you can click to get an overview of the papers close to your present location. I tried this feature from Copenhagen and got the very kind message to try again when I had moved within 100 kms of the nearest Norwegian newspaper! This is a great place to get a quick overview of the most recently published papers in Norway. 27 E –pryds

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Prices given are the cheapest found on just before the time of printing. All books are in English. – Boston Globe’s free site. – a pay wall site that almost feels like reading a printed newspaper.

A pay site that feels really good How make money on the website? The question has been on the agenda since the birth of news websites some 15 years ago. At that time we unfortunately chose to drop all news free. And we are still there at the same position – almost. The Boston Globe is an exception.

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Anders Tapola


n Recently some new interesting pay walls has been built up on news websites. One of the most exciting attempts is from Boston Globe. In September they launched This is a web site that is almost completely free from disturbing (read: jumping) ads, flying Flash components and – also – colors. It simply feels like reading an ordinary newspaper almost as on paper. Black and white. Big pictures and info graphics makes it of course even more like.

The first month was free to subscribe. The next month you had to pay $1 and what the cost will be in the future is not decided yet. Javier Zarracina, Graphics Director at Boston Globe, says: “The overall idea is that the pay wall site will attract different audiences and advertisers: The pay site will try to create a more distinctive, exclusive audience for a community of subscribers that transmits the journalistic values of the paper and the brand. Somehow we try to recreate the voice and reading experience of the paper into the digital devices. It has more limited but much more exclusive space for quality advertising.”

A quality pay wall website should attract readers. It’s only when the quality is good enough I believe that you can charge for news on a web site. And just as this is written Shibsted has decided to introduce Schibsted payment (see: ). And Svenska Dagbladet in Sweden seems to jump on the train pretty soon. I will be following this development with great excitement. n


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FINLAND Gunilla Ahlholm Vasabladet Sandögatan 6 FI-65100 Vasa Finland Johan Alén Kansan Uutiset Vilhonvuorenkatu 11 D FI-00500 Helsinki Finland Jari Alenius Sanoma News Ltd / Ilta-Sanomat POB 45 89 Helsinki Finland Peter Björkas HSS Media AB Sandögatan 6 FI-65100 Vasa Finland Sanna Eskelinen A-lehdet / Apu Apu 81 A-Lehdet Finland Pieta Forssell-Nieminen Keskisuomalainen P.O. Box 159 FI-40101 Jyväskylä Finland Markus Frey Kauppalehti P.O.Box 189 FIN-00101 Helsinki Finland Björn Heselius Hufvudstabladet AB Pb 217 FI-00101 Helsingfors Finland Kati Hiekkanen Vasabladet Sandögatan 20 FI-65100 Vasa Finland Terhi Hlavaty Turun Sanomat PB 95 FI-20101 Turku Finland Samuli Häkkilä A-lehdet/Apu Risto Rytin tie 33 81 Helsinki Finland Lassi Jaakkola Keskipohjanmaa PL 45 FI-67101 Kokkola Finland Miia Keski-Petäjä Betaniankatu 1 B 17 FI-20810 Turku Finland Ari Kinnari Helsingin Sanomat PB 71 FI-00089 Sanoma Helsinki FINLAND Tuija Kivimäki Helsingin Sanomat Töölönlahdenkatu 2, PL 75 89 Sanoma, Helsinki Finland Jaana Korhonen Kaleva PL 170 FI-90401 Oulu Finland Kimmo Koski Aamulehti Itäinenkatu 11 33100 Tampere Finland Heikki Kotilainen Karjalainen Oy Kosti Aaltosentie 9 FI-80140 Joensuu Finland Asta Lapinoja Kaleva Lekatie 1 PL 170 90401 Oulu Finland Anniina Louhivuori Väli-Suomen media Oy PL 159 FI-40101 Jyväskylä Finland Janne Laakkonen Etelä-Suomen Sanomat PL 80 (Ilmarisentie 7) 15101 Lahti Finland Matti Majasaari Satakunnan Kansa Pohjoisranta 11 E 28190 Pori Finland Lauri Malkavaara Helsingin Sanomat PB 71 FI-00089 Sanoma Helsinki Finland Marja Meskus-Mansisto Kaleva PL 170 FI-90401 Oulu Finland Maija Orava Helsingin Sanomat Töölönlahdenkatu 2, PL 85 89 Sanoma, Helsinki Finland Marienka Pakaslahti Ilta-Sanomat PL 45 FI-0089 Sanomat Finland Hannu Pulkkinen Helsingin Sanomat PB 71 FI-00089 Sanoma Helsinki Finland Asmo Raimoaho Aamulehti Itäinenkatu 11 33100 Tampere Finland Riitta Raatikainen Savon Sanomat Oy PL 68 FI-70101 Kuopio Finland Petri Salmén Helsingin Sanomat PB 71 FI-00089 Sanoma Helsinki Finland Lena Skogberg Hufvudstadsbladet Pb 217 101 Helsingfors Finland

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Matti Taipale Satakunnan Kansa Valtakatu 12 FI-28100 PORI Finland Matti Taipale Satakunnan Kansa PL 58 FI-28101 Pori Finland Pirjo Tuovinen Kaleva PL 170 FI-90401 Oulu Finland Jussi Tuulensuu Kauppalehti Optio P.O.Box 189 FI-00101 Helsinki Finland Taru Ukkola Apu Apu 81 A-lehdet Finland Stefani Urmas Aamulehti Itäinenkatu 11 33100 Tampere Finland Pasi Valtanen Kaleva Lekatie 1 90140 Oulu Finland Sami Valtere Helsingin Sanomat PB 71 FI-00089 Sanoma Helsinki Finland Markus Viitakoski Pigme Vapaudenkatu 8 FI-40100 Jyväskylä Finland Elina Vilpakka Etelä-Suomen Sanomat Ilmarisentie 7 FI-15101 Lahti Finland Toni Virolainen Etelä-Suomen Sanomat Ilmarisentie 7 FI-15200 Lahti Finland

NORGE Anita Arvidsdatter Askeland Bergens Tidende Postboks 7240 N-5020 Bergen Norge Karl-Martin Bakke Institutt for Journalistikk Boks 1432 N-1602 Fredrikstad Norge Arve Bartnes Langkaia 1 107 Oslo Norge

SNDSMagazine 2011|4

Honorary Member: Per H. Baugstø PerbDesignConsult Tverveien 17 N-4621 Kristiansand Norge


Kjell Erik Berg Dagbladet PB 1184 sentrum N-0107 Oslo Norge Tom Helge Berglie Berglie A/S Arne Stangebyes Gate 18 N-1607 Frederikstad Norge Sissel Bigset Sunnmørsposten Postboks 123 N-6001 Ålesund Norge Arne Blix Adresseavisen Box 6070 N-7003 Trondhjem Norge Simon Bognø Tordenskioldsgate 51B N-3044 Drammen Norge Kristin Bratlie Klar Tale Kongensgate 22, Pb.1180, sentrum N-0107 Oslo Norge Anne Brun Dagens Næringsliv Grev Wedels Plass 9 N-0107 Oslo Norge Sverre Bruun Vårt Land Postboks 1180, sentrum N-0107 Oslo Norge Tom Byermoen Verdens Gang/ Multimedia Postboks 1185, Sentrum N-0107 Oslo Norge Arne Edvardsen Bergens Tidende Postboks 7240 N-5020 Bergen Norge Jørn Helge Egset Sunnmørsposten Postboks 123 N-6001 Ålesund Norge Elisabeth Hamre Elliott Fiskeribladet Fiskaren Bontelabo 2, 2. Etg. N-5003 Bergen Norge Dan Kåre Leander Engebretsen VG Akersgt. 55 N-1185 Oslo Norge Bjarne Dramdal Erichsen Dagens Næringsliv Grev Wedels Plass 9 N-0107 Oslo Norge Trond Fjellseth Romerikes Blad Roseveien 1, Kjeller N-2001 Lillestrøm Norge

Tor Kristian Flage DB Medialab AS PB 1184 sentrum N-0107 Oslo Norge Tor Kristian Flage langkaia 1 N-0107 Oslo Norge Claes Frisk VG Nett Postboks 1185, Sentrum N-0107 Oslo Norge Erlend Fristad Vårt Land Postbox 1180, sentrum N-0107 Oslo Norge Signe Fæø Vårt Land Postbox 1180, sentrum N-0107 Oslo Norge Linda Gjørv Trønder-Avisa Postboks 2590 N-7738 Steinkjer Norge Trond Jan Grimeland Firda Pb. 160 N-6800 Førde Norge Annette Lysberg Gundersen Trønder-Avisa AS P.B. 2590 N-7738 Steinkjer Norge Øystein Hage Fiskaren Bontelabo 2, 2. Etg. N-5003 Bergen Norge Jon Reidar Hammerfjeld postboks 1184 Sentrum N-0107 Oslo Norge Eirin Hegdal Vårt Land Postbox 1180, sentrum N-0107 Oslo Norge Trond Birger Heitmann Fædrelandsvennen Box 369 N-4633 Kristiansand Norge Kåre Henriksen Dagens Næringsliv Postboks 1182 Sentrum 107 Oslo Norge Knut Hjortland Bergens Tidende Postboks 7240 N-5020 Bergen Norge Tonje Høyberget Dagens Næringsliv Grev Wedels Plass 9 N-0107 Oslo Norge Tor Idland Østlandets Blad Boks 113 N-1404 Ski Norge Walter Jensen Bergens Tidende Postboks 7240 N-5020 Bergen Norge Paul André Jensen Tønsbergs Blad Postboks 2003 N-3103 Tønsberg Norge Geir Jenshus Trønder-Avisa Postboks 2590 N-7738 Steinkjer Norge Britt E. Johansen Adresseavisen Box 6070 N-7003 Trondhjem Norge Finn Egil Johansen Adresseavisen Knut Glomsaas vei 3b 7040 Trondheim Norge Connie Johnsen Agderposten Østregate 5, boks 8 4801 Arendal Norge Rebekka Joswig Vårt Land Postbox 1180, sentrum N-0107 Oslo Norge Tone Jørstad Aftenposten Postboks 1, sentrum N-0051 Oslo Norge Steinar Karlsen Budstikka Billingstadsletta 17 Postboks 133 N-1377 Billingstad Norge Reidar Kristiansen Vårt Land Postbox 1180, sentrum N-0107 Oslo Norge Kjell Kvamme Vårt Land Postbox 1180, sentrum N-0107 Oslo Norge Njaal Kværnes Østerdølen PB 125 N-2480 Koppang Norge Bente Ljones Bergens Tidende Postboks 7240 N-5020 Bergen Norge Håvard Madland Dagens Næringsliv Grev Wedels Plass 9 N-0107 Oslo Norge Trond Mathisen Hamar Arbeiderblad Grønnegata 64 N-2300 Hamar Norge Laara Matsen D2 Chr. Kroghsgate 16, PB. 1182 Sentrum 102 Oslo Norge Ingrid Meisingset Adresseavisen Box 6070 N-7003 Trondhjem Norge

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Jesper Odelius Odelius New Media AB Svartmangatan 9 S-111 29 Stockholm Sverige Anders Olofsson Sydsvenskan Krusegatan 19 20505 Malmö Sverige Åsa Pallarp Beckman Upsala Nya Tidning Box 36 S-751 03 Uppsala Sverige Mattias Pehrsson SDS Group Krusegatan 19 S-205 05 Malmö Sverige Margaret Person Sydsvenskan Krusegatan 19 20505 Malmö Sverige Lotta Petersson Berling Press AB Box 22543 S-10422 Stockholm Sverige Helen Rasmussen Expressen Gjörwellsgatan 30 S-10516 Stockholm Sverige Alexander Rauscher Svenska Dagbladet Västra Järnvägsgatan 21 10517 Stockholm Sverige Emma Rigmorsdotter Aftonbladet Västra Järnvägsgatan 21 10518 Stockholm Sverige Albert Rosander Göteborgs-Posten S-40502 Göteborg Sverige Hampus Råde Norra Västerbotten Box 58 S-93121 Skellefteå Sverige Anette Stannisson Nerikes Allehanda Box 1603 S-701 92 Örebro Sverige Helena Sträng NA Norra Strandgatan 5 S-70192 Örebro Sverige Joakim Ståhl Svenska Dagbladet Västra Järnvägsgatan 21 S-10517 Stockholm Sverige Anna Sundkvist Östersunds-Posten Box 720 S-83128 Östersund Sverige Anders Tapola Smålandsposten/Sydostpress S-351 70 Växjö Sverige Clas Thorensson Upsala Nya Tidning Box 36 S-75103 Uppsala Sverige Anna W. Thurfjell Svenska Dagbladet Västra Järnvägsgatan 21 S-105 17 Stockholm Sverige Stig Vågnes Sunnmørsposten Boks 123 6001 Aalesund Sverige Gunilla Wernhamn Göteborgs-Posten S-40502 Göteborg Sverige Anna Wetterhall Svenska Dagbladet Västra Järnvägsgatan 21 SE-105 17 Stockholm Sverige Malin S. Ånell Svenska Dagbladet Västra Järnvägsgatan 21 SE-105 17 Stockholm Sverige

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SNDSMagazine 2011|4



SNDS Magazine 2011|4 The President

Local news, everywhere SNDS President Anders Tapola ”The internet enables those tasks to be performed remotely, and other news­ paper chains have made similar moves.” This is a part of a message from Cox Media Group from October 27. The headline is ”Cox Media combining jobs at AJC, other papers”. AJC is Atlanta Journal-Constitution, and the Cox Media Group has decided to consolidate different newsroom and business functions at its four newspaper locations, which also include Austin, Texas; West Palm Beach, Florida; and Dayton, Ohio. And this will probably mean that the Atlanta Journal-Constitution and The Statesmen Co. in Austin in the future will be designed in West Palm Beach or Dayton. This is just one of many strange news this fall on what’s going on in big media groups. Design hubs are spreading like a hurricane in the US right now. Another notable news this fall: n The Tribune: Orlando Sentinel in Orlando, Florida will be designed and laid out mostly by people working at The Chicago Tribune office. What possibly will remain to do in Orlando will be Sport pages, Living sections and Front pages. And it’s just not Orlando. The papers included in this consolidation at The Tribune are: Fort Lauderdale SunSentinel, Baltimore Sun, Hartford Courant, Allentown (Pa.), Morning Call, Newport News (Va.) and Daily Press. When I ask Charles Apple, visual journalist, instructor and in fact the one who knows most of what happens in the news business, if he knows other examples of this consolidation trend, I get a list that is long as a PhD thesis in Media and Communications. He writes: ”The list of papers in the US is really too long to be compiled. This is happening a LOT. And a LOT of newspaper chains have been doing

this for a while without many people knowing about it. The reason: Most readers might not look kindly on the idea of their newspaper being produced by strangers in another town, in another state. Or nearly across the country, in some cases. Most readers want their newspaper to be locally based and locally produced. Therefore, you’ll find very little concrete material out there on this topic.” He also writes: ”The Tribune currently creates “modules” – ready-made pages and portions of pages that papers drop into place. So after the Tribune made all its papers redesign, it then went back and made everyone change their designs to accommodate the modules. You don’t want typefaces changing from page to page. The idea is to increase the amount of modules and to gradually move more and more of the production to Chicago. Folks in the Tribune chain won’t really talk to me about it – they’ve all been warned not to – but somewhere from a quarter to a third of the chain’s papers are currently produced in Chicago.” On the long list from Charles Apple you also find those media groups making (or already made) the same steps: n McClatchy recently shut down the designers and copy editors in Raleigh and moved all the work from the Raleigh News & Observer to the Charlotte Observer. Ditto for Rock Hill, S.C. And they will soon do the same with its South Carolina papers: The State in Columbia, the Sun-News in Myrtle Beach, the Island Packet in Hilton Head and the Gazette in Beaufort. n MediaNews’ “Bay Area News Group,” which consists of San Jose Mercury News, Contra Costa Times, Oakland Tribune, Santa Cruz Sentinel and some other papers. n Media General consolidated nearly all of its papers last year. It created a design center in Hickory, N.C.

Photo: Lena Gunnarsson

n E.W. Scripps Company which

includes 14 newspapers around the country and nearly all of them use a hub system for design and editing. n Paxton Media Group, which owns 32 daily newspapers. Much of the chain’s design and editing is done in Owensboro, Ky. n Gannet. Of the entire chain, the only papers not included in its consolidation project are USA Today and the Detroit Free Press. Around 80 dailies is being consolidated into five hubs in Neptune, N.J., Phoenix, Ariz., Des Moines, Iowa, Louisville, Ky., and Nashville, Tenn. What about Scandinavia, then? Well, in Sweden there is similar news from just a couple of weeks ago: n Kvällsposten in Malmö and GT in Gothenburg will be designed at Expressen in Stockholm in the future. What really bothers me about this development is that consolidations and centralization previously just involved management, advertisement, IT-solutions and departments that had not touched directly on the local journalism. But now it is clear that also journalism is included. If we tie up the bag and return to the opening quotation from Cox Media Group: ”The internet enables those tasks to be performed remotely, and many newspaper chains have made similar moves.” So, if the Internet suddenly makes every task remotely and if all news­ paper chains run in the same direction (as always): Then why not make all news design from all over the world in for example in Mombay, India, then? What, don’t they have the local journalistic competition and knowledge? Or is journalistic skill really something you can transfer to anyone, anywhere? If so, we should all react now – before it’s too late.   n

SNDSmag 2011|4  

SNDS Magazine no. 4, 2011. Experimental paper sizes for newspapers; SvD on the iPad; Boston Aftenposten's new design; Globe's new website; t...

SNDSmag 2011|4  

SNDS Magazine no. 4, 2011. Experimental paper sizes for newspapers; SvD on the iPad; Boston Aftenposten's new design; Globe's new website; t...