Happy days in Legoland 4 Full Stockholm program 6–11 Looking back – and ahead 12–13 The Daily: Any news? 14 Fortune: Vintage art direction 16–17 Adresseavisen: Urban cowboy 18–20 Berlingske: The new face of a grand old lady 22–24 SND GLOBAL: Network and education 26–28 Photography crossing borders 29–30 Graphic life in magazines 31 Tapola: It’s raining gold in Scandinavia 32
President Anders Tapola Smålandsposten, S-351 70 Växjö, Sverige Tel.: +46 470 770 686 E-mail: firstname.lastname@example.org
Secretary Sissel Bigset Sunnmørsposten, Boks 123, sentrum, N-6001 Ålesund, Norge Tel.: +47 70 12 00 00 E-mail: email@example.com
Web-editor Kartin Hansen Morgenavisen Jyllands-Posten Grøndalsvej 3, DK-8260 Viby J, Danmark Tel.: +45 87 38 38 38 / 31 07 Fax: +45 87 38 31 99 E-mail: firstname.lastname@example.org
Seminars Lars Andersson Upsala Nya Tidning, Box 36, S-751 03 Upsala, Sverige Tel.: +46 18-478 16 79 E-mail: email@example.com 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: firstname.lastname@example.org
DENMARK Vice -President/ Treasurer Frank Stjerne JP/Politikens Hus Rådhuspladsen 37, DK-1785 København V, Danmark Tel.: +45 33 47 23 99 Fax: +45 33 14 72 17 E-mail: email@example.com SNDS Secretariat Lone Jürgensen Morgenavisen Jyllands-Posten Grøndalsvej 3, DK-8260 Viby J, Danmark Tel.: +45 87 38 38 38 / 31 08 Fax: +45 87 38 31 99 E-mail: firstname.lastname@example.org
SNDS MAGAZINE Editor, Art Director Lars Pryds Mob.: +45 30 53 87 14 E-mail: email@example.com
Co-editor, Journalist DJ Lisbeth Tolstrup Mob.: +45 51 32 89 62 E-mail: firstname.lastname@example.org SNDS Magazine editorial office Østerbrogade 158, 3. TH., DK-2100 København Ø, Danmark Tel.: +45 39 20 80 19
BEST OF SCANDINAVIAN NEWS DESIGN Chairman of the Competition Committee Flemming Hvidtfeldt Århus Stiftstidende Banegårdspladsen 11, DK-8000 Århus C, Danmark Tel.: +45 20 91 17 52 E-mail: email@example.com
SUBSTITUTES FOR THE BOARD Jørn Broch, JydskeVestkysten, Danmark Pieta Forssell-Nieminen, Keskisuomalainen, Finland Kristoffer Nilsen, Morgenbladet, Norge Anna W. Thurfjell, Svenska Dagbladet, Sverige
Print: Svendborg Tryk www.svendborgtryk.dk Typography: SNDS Magazine is set in Myriad Pro, Myriad Pro Condensed and Adobe Jenson Pro and designed in Adobe Indesign for Macintosh. Articles and ideas for SNDS Magazine and SNDS.ORG are most welcome. Please contact us if you have any tips or ideas. 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 www.snds.org
2 ISSN 0909-1459
Happy days in Legoland 4 Full Stockholm program 6–11 Looking back – and ahead 12–13 The Daily: Any news? 14 Fortune: Vintage art direction 16–17 Adresseavisen: Urban cowboy 18–20 Berlingske: The new face of a grand old lady 22–24 SND GLOBAL: Network and education 26–28 Photography crossing borders 29–30 Graphic life in magazines 31 Tapola: It’s raining gold in Scandinavia 32
The front page shows yellow post-it notes carrying the judges’ initials, placed on pages that are selected for awards in the Best of Scandinavian Neews Design competition. Photo: Lars Aarø.
Remember: All recent issues of SNDS Magazine can be read online as e-magazines: www.snds.org/magazine
SNDS is on Facebook:
SNDS Magazine 2011|1 Editorial
Roots and wings »
Just because you’ve got roots / Doesn’t mean you can’t have wings« – Jill Johnson, 2003
Both Adresseavisen and Berlingske have old, strong roots. However, being the oldest newspaper in Norway and Denmark, respectively, does not keep them from trying to ﬂy high with new wings. Both were redesigned in January, because even after having survived for more than two hundred years, it is necessary to adjust and adapt to new realities. We take a look at these two old, but new, newspapers on pages 18–24. As a visual journalist, designer, editor, photographer, or which line of work you may be in, you ﬂy out into the world once in a while – to get new inspiration, new skills, or even a new job. The real joy of travelling is to ﬁnd people in other parts of the world who share your interests, and as part of the SND network you have these people at your ﬁngertips. In this issue, we launch a series of articles portraying the other regions in the society. Appropriately, Lisbeth came up with the name SND GLOBAL for this project, and on page
26 we begin our voyage in SND Region 16 – SND/DACH, the German speaking countries Germany, Austria, and Schwitzerland. There’s a lot of great things to see ‘out there’. Other great things to see are in fact rather small. A new addition to SNDS Magazine is the “Small ﬁne graphic details” column, this time found on page 17. Here, we need your help: If you see or create a small graphic feature that is a bit out of the ordinary, give us a hint. This is not the place for big well-executed infographics or artsy illustrations (we’d like to hear about those too, for other pages), but rather the detail that gives a straightforward design a surprising twist. Post it in an email – and we will print it. The Stockholm seminar is coming up – May 12-14 is only a few weeks away when you read this. We hope you will join us there, for a great rock’n roll party and for great presentations. See the full program on pages 6–11. In the program is also the award show – and from what we hear, it’s going to be great in many ways. The organizers have hired a charming young
lady (no, we won’t tell you who – come and see!) to present the awards and kiss the winners’ cheeks. And there will be lots of kisses – the total number of awards is the highest ever, and so is the number of gold and silver awards! So you MUST come to Stockholm, to get your award or to enjoy the show – or both! Speaking of awards – in his column on page 32 Anders Tapola mentions the SND winners who have also just been announced. One detail is rather interesting: If the top winner on the list (Los Angeles Times) receives 87 awards (that’s eighty-seven) – how many entries did they submit? 87? Not likely. To win a lot you have to give a lot – for the jury to choose from, so the guys and girls at Los Angeles Times are not only the biggest winner, they are probably also the biggest spender. And this, just like attending the seminars, helps keep organizations like SND and SNDS alive. See you in Stockholm! Lars Pryds Lisbeth Tolstrup Editors, SNDS Magazine
THE BOOK ■ 80 pages, A4 format, colour images of all winning entries in the competition THE DVD ■ High resolution image files of the winning pages / websites ■ Catalogues 2006-2010 (pdf) ■ SNDS Magazines 2006-2010 (pdf) ■ SNDS logos for print and web ■ Competition rules
PRICE: ■ BOOK+DVD: 30 € / 240 NOK / 225 DKK ■ BOOK ONLY: 25 € / 200 NOK / 185 DKK ■ DVD ONLY: 20 € / 160 NOK / 150 DKK TO ORDER YOUR COPY: Contact SNDS Secretariat, Lone Jürgensen by e-mail: firstname.lastname@example.org
Best of Scandinavian News Design 2010 book & dvd
JOY After long days of judging, the competition committee and the jury had time to gather for a group photo. Left to right, in the back: Lone Jürgensen, Julie Barsøe, Hannu Pulkkinen, Annette Hyllested (almost hidden), Pål A. Berg, Anders Enström, Sami Valtere, Henrik Ulrichsen, Anna W Thurfjell, Lisbeth From Birkholm (hidden behind the newspaper), Kim Pedersen and Elisabeth Svendby. In front: Søren S. Nielsen, Mr. Lego Clown (not jury member), Flemming Hvidtfeldt, Søren Nyeland, and Ulf Högberg. Photo: Lars Aarø.
Happy days in Legoland ■ The judging of this year’s Best of Scandinavian News Design competition took place in February at Hotel Legoland, Billund, like so many times before. As you can see in Lars Aarø’s photo above, the entries were on a very high level this year, causing all the judges to be very happy. So happy, in fact, that the jury awarded more gold and silver awards this year compared to previous years.
The number of excellence awards has increased too. “Relatively speaking, this is a signiﬁcant shift in the distribution of awards, but this should only be seen as a sign that a number of printed media have made signiﬁcant improvements in their presentations,” says Flemming Hvidtfeldt, chairman of the competition. The total number of awards – 115 – is also the highest ever (last year: 89).
93 award winners were found in the print categories (from 615 entries), 22 in the online categories (65 entries). The list of winners has already been posted to the SNDS website – and as usual the colour of the metal awards is a well kept secret until the annual seminar in Stockholm. –pryds www.snds.org/best2011
From the board 4
■ The board of SNDScandinavia met at Politiken’s house in Copenhagen February 12. On the agenda was the most important issue, as last time in Oslo, how to make a more professional model for future seminars. The background is that it gets harder to ﬁnd hosting media houses willing to arrange our annual seminars. A working com-
mittee met in Stockholm in November 2010 to sketch on such a model. And at the same time sketch for a more professional and eﬀective board. The board decided to make a proposal how this model of reconstruction should look like and present it at the next board meeting in Stockholm May 11 and at the general assembly May 13.
The goal is that the board should focus on developing the organization. The programme committee should focus on the programme, and for practicalities concerning the arrangements we should take help from a professional conference bureau that will work together with SNDScandinavia on a longer term. –tapola
MANY SCANDINAVIAN NEWSPAPERS USE NEWSPILOT TO EASILY PUBLISH TO PRINT, WEB, IPHONE & IPAD. DO YOU? Contact us for a demonstration or meeting with us: Sweden, Norway & Denmark: Tomas Bjรถrnberg, +46 480 36 20 04, email@example.com Finland: Kristofer Pasanen, +358 400 899 637, firstname.lastname@example.org For more information about us and our products: www.infomaker.se // www.infomaker.fi
STOCKHOLM 2011 – BE THERE
Make a difference by long stories. The story behind Filter and its concept.
Steap ahead. Svenska Dagbladets way of keeping ahead of competitors.
FOTO: MALIN EKMAN
Make a difference by communication, not talking. A lesson in colorful communication.
Make a difference by Make a difference by passion. Peace and Love happiness. Henrik Kranekrans festival – so much more than just a music dared to start a new magazine festival. during financial crisis.
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Two typefaces is enough. How to create diversity with two typefaces at hand.
”It’s the content, stupid.” The successfull redesign of Globe and Mail, Toronto.
A roundtrip for 11 million dollars. In the spring 2007 Pelle Anderson got a phonecall from Istanbul …
New ways to use the old print office. Observations in creativity.
Stockholm 12–14 may
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Make a difference by facts. Hard facts can be the difference between flip or flop.
Make a difference by analytics 7 new media trends that will become essential to any media company.
How to create your perfect iPad magazine. How to plan your iPad edition. How to find the optimal way to navigate.
Media hunting for a new business model. Berlingske Media focuses on the customer.
A revolutionary plug in for designers. The first exciting grid plug-in for InDesign.
China at crossroads. An audiovisual essay.
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STOCKHOLM 2011– REGISTER NOW
LWVWLPHWRUHJLVWHU :KDWGRHVLWFRVW" The complete seminar Thursday-Friday May 12-13, including award show including dinner, lunch, coffe breaks and rockparty Member of SND Scandiniavia: 895 euro Non-member: 995 euro One day tickets Thursday May 12 including the award show, coffeebreak Member of SND Scandinavia: 375 euro Non-member: 475 euro Friday May 13 including lunch, coffee breaks and rock party Member of SND Scandinavia: 525 euro Non-member: 625 euro Best of Scandinavia News Design award show Thursday May 12: 99 euro Rock Party Friday May 13: 129 euro Student Just access to the sessions Friday May 13: Lunch, coffe, rock party not included: 59 euro
Buy 6 tickets –pay for 5. Including, lunch,coffe and rock party, May 13: 2 625 euro 10 one day tickets Including lunch, coffe and rockparty, May 13: 4 250 euro
Special price at Sheration Stockholm Hotel – make your reservation no later than April 1, 2011 For your convenience we have pre booked rooms at Sheraton Stockholm Hotel where the SNDS conference is held. We have also pre booked rooms at Scandic Norra Bantorget situated within walking distance from the conference venue.
Everything you need to make your reservations is there for you at www.snds.org
+HUHÂ?V\RXU+RWHO Sheraton Stockholm Hotel SNDS special price single room 2 050 SEK/night or dubble room 2 250 SEK/night including breakfast. Book your room at Sheraton by following this link: http://www.starwoodmeeting.com/Book/snds
Scandic Hotels Norra Bantorget SNDS special price standard single room 1 490 SEK/night or dubble room 1 590 SEK/night including breakfast. SNDS special price superior-rum 1 690 SEK/night or as dubble room 1 790 SEK/night including breakfast. Call booking telephone between 8 am and 5 pm, +46 8 517 342 81 or by email: email@example.com To get the actual price you have to register the booking number ARR110512
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✔ Sometimes the right feeling just doesn't seem to appear when you lay your eyes on the latest issue of the paper. But what is wrong? Is it the design, the stories or the? And whatever is the matter, can you fix it in-house or do you need a helping hand from outside? solution. Two newspaper designers from A4 take your newspaper or magazine through the Design Diagnosis free of charge during the SNDS seminar in Stockholm May 12-14. They will focus on the following areas: ❱ Structure, tempo, rhythm and overall contrasts ❱ Editing and layout ❱ Typography ❱ Photos and colors ❱ Printing, paper and format ❱ To attend the Design diagnosis send an email to firstname.lastname@example.org before may 1. The result is summarized in a test protocol that shows what is working – and what needs to be changed immediately.
✔ More than 150 journalistst, designers and people from the news media industry will attend the SNDS workshop – take the opportunity to make new friends and contacts for the future.
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✔ SNDS will host a silent auction in
favor for students in visual journalism and design. The auction will take place in Stockholm at the annual SNDS workshop. Do you have any first editions of books, magazines or newspapers? Or illustrations, photos, art or other interesting things for the auction, please send an e-mail: email@example.com.
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✔ SND Scandinavia celebrates 25 years of fighting
for good news design. A good story always needs a good design. The presentation matters. The mission continues. Survival depends upon it. Come and celebrate, and let us know what we need to focus on for the next 25 years.
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her band will rock you at the party of the century. Put on your best dancing shoes, the happiest face for a faboulus evenening.
Looking back – and This year, the Society for News Design Scandinavia celebrates its 25th anniversary. Honorary SNDS member Børge Skovsende – former senior managing editor at Jyllands-Posten and former president of SNDS (1989-1991) – has been there since the very beginning. We asked him to look back on his 25 years with the organization.
Børge T. Skovsende firstname.lastname@example.org
■ 25 years with SNDS. Well, almost – because the last 10 years I have mostly been on the sideline. The ﬁrst 15 years, however, were full speed ahead. 15 exciting years they were, the time when SNDS was really making progress after a rather fumbling start. It was all so new to most of us. But that really made it interesting, too, and we gladly spent a lot of hours making the organization work. And it did. After a while, it was both known and accepted by the newspaper managements. The annual design seminars were very important in those years. A lot of work was put into them. I had the pleasure of heading four in Denmark – in Aarhus, Snekkersten, Aalborg and Billund. The 1987 seminar at Scanticon in Aarhus attracted almost 90 participants, and we were very proud. We had a great program, we thought, and the participants seemed engaged and content. But, of course, we did not demand much in those days. That certainly changed, and we were able to oﬀer much more at the following seminars in Snekkersten and Aalborg. We learned a lot from what the other Scandinavian countries did when they were hosting the seminars, and on some occasions we learned from seminars and workshops in the USA. As time passed, the Scandinavian
seminars actually grew better than the American ones. My favourite seminar was the one in Billund (1997) which attracted almost 250 participants. It had a four track program, each with a very competent moderator, so all I had to do was relax and look happy. And I certainly was happy – but also a little sad, because I knew that this would be the last seminar I would be in charge of. Inspiration from ‘over there’ The success of this seminar was also important for another reason. If all went well, the international SND workshop would be hosted in Copenhagen in 1999. And it did – but unfortunately too few Americans attended. Every year the SNDS chairman usually went to the USA to attend the international workshop and the annual board meeting of SND. This was both exciting and educational and on the
Scandinavian board we thought that the Scandinavian members should also be given the opportunity to attend the SND workshops. But not only that – we also wanted to visit American newspapers that worked seriously with the development of their design. As a consequence we decided to arrange study trips to the states. I had the pleasure of being in charge of the ﬁrst three tours – to Austin in Texas, San Francisco, and Indianapolis. On the ﬁrst tour we also paid a visit to the Poynter Institute, the New York Times, and The Record i Bergen, New Jersey. On the second we visited among others the Los Angeles Times and the Orange County Register. On the third tour we saw the Providence Journal on Rhode Island and Pioneer Press, St. Paul – and one newspaper in Fort Wayne which, it turned out, was years behind the Scandinavian newspapers. Well, sometimes one can be very wrong!
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YEEHAA!! Børge T. Skovsende (left) and Ernest Dernehl wearing the appropriate Stetson hats during the SND seminar in Austin, Texas. Founding the SNDS was not only happy drinking Coronas, however; a lot of hard work has been put into the making of this organization over the years. Photo: Jyllands-Posten.
Other trips were arranged after I stopped coordinating them – to other places in the USA but also to the Netherlands and Spain. These trips – as well as the annual seminars – were very useful, not only because of the chance to gain new knowledge, but also because of the social aspect. Friendships and acquaintances were established, and many have used these after they returned home. Competition is good SND in the USA was also an inspiration in another way. We saw how they published the winning pages of their design competition in a book – and the competition actually seemed to make a substantial amount of money for the organization. In SNDS, we could certainly use a little extra money. We – most notably Norvall Skreien of Bergens Tidende and Trond Degnes from NAL (Norske Avisers Landsforening)
– tried to convince the Scandinavian publishers’ organization that the competition they already arranged (for front pages and feature pages) should be handed over to SNDS to organize. Years and several meetings later the aggreement was settled, and it was a happy day when Ebbe Dall, managing director of DDF (Danske Dagblades Forening), told me that we could organize the award ceremony and show the exhibition of the winning pages during the Aalborg seminar in 1994. This was the proper forum, we thought – so far the awards had been announced at diﬀerent conferences, for instance for distribution companies where no editorial people attended. SNDS took over the competition, and organized it (and still does) in cooperation with the national publishers’ organizations, who handed it over on condition that I was chairman of the competition for the ﬁrst ﬁve years – which eventually turned out to be seven exciting years. The competition and the book of winners slowly developed. In the beginning we published only a small booklet, but it grew in size over the years. It was my wish that the winning pages should be accompanied by texts exlaining why they were given awards. The jury members have shedded blood, sweat, and tears writing these arguments, but they also learned from it – and hopefully, so have the readers of the book. The competition today also includes electronic pages. This is only good – because SNDS must continually develop to ensure the survival of the organization. ■
It’s all about – snow ■ om:magazine was launched in February by Barking Dog Publishing. It’s basically a lifestyle magazine concentrating on a speciﬁc theme, published in cooperation with and distributed with selected newspapers. The printed mag is accompanied by a website and an online/iPad version – these being free to access in your browser or on your iPad.The ﬁrst issue is about snow – 52 pages exploring all aspects of this very Scandinavian phenomenon, published in cooperation with HSS media. In the next issue of SNDS Magazine we bring you an interview with om:magazine’s editor-in-chief, John Bark, who will tell us all about om:. www.om-mag.com –pryds
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Gotham Helvetica, you got company ■ MoMA – Museum of Modern Art in New York – has just acquired 23 digital typefaces for its Architecture and Design Collection. Until now, the only type design in the collection was the 36point Helvetica Bold lead type designed by Max Miedinger in 1956, but the new aquisitions “are all digital or designed with a foresight of the scope of the digital revolution”, as Paola Antonelli, Senior Curator at MoMA, writes on the museum’s blog. The fonts, now with a new home in the prestigious museum, include trusted work horse fonts like Matthew Carter’s Verdana and Bell Centennial, Jonathan Hoeﬂer’s modern classic Gotham – the typeface used in Barack Obama’s presidential campaign as well as for the Ground Zero memorial – but also digital groundbreakers from the 1980ies like Susana Licko’s Oakland, and curious faces like FF Beowolf. See them all: 13 www.kortlink.dk/8ss2 –pryds
LAID-BACK ACTION Plenty of images, video and interaction with the readers – but also some of the good old text, presented in an easy-to-read design. Those are some of the ingredients in Rupert Murdoch’s iPad only The Daily.
Old wine in a new bottle. In short, that is what Rupert Murdoch’s new The Daily is. But it’s certainly a very nice new bottle.
BOTH WAYS Flipping the iPad from horisontal to vertical changes not only the layout of the page, but sometimes a whole different photo is used.
Frank Stjerne email@example.com
■ The Daily is the ﬁrst news publication created from the ground up for the Apple iPad. The content is targeted at an American audience and based on Apple’s new subscription regulations, allowing you to buy a 7-day subscription for a dollar, or a full year for 40 dollars. You pay in iTunes, and so far The Daily is only available in the American app store. The idea is to download a full new issue every day. The journalistic content is like the iPad itself: reﬂective and laid-back. I have been reading The Daily for three weeks now, and there has been no breaking news, but a lot of reﬂective analyses with an American perspective. The choice of content closely resembles that of USA Today, as does the design. A simple and well organized layout makes it very easy to read on the iPad. Navigation is swipe, swipe, swipe
from page to page, or a child-simple page with an overview where you simply click on the article you want to read. The app even remembers what you have already read. At ﬁrst, I wondered how the pages were actually designed, but concluded that they were meant to be read vertically, like newspaper pages. But not any more – all feature stories are designed as spreads, and they appear diﬀerently if you turn the iPad from horisontal to vertical view. In some cases the photo is even replaced by another photo from the same event. Video and interaction This means that all pages have been designed twice – one for each of the two views possible on the iPad. Some pages have embedded video, and then you are asked to turn the iPad to ﬁt the format of the video. The most impressive video I have seen was embedded in The Daily’s front page during the protest demonstrations on the Tahrir Square in Cairo, Egypt. The photo-
grapher had ﬁlmed from the middle of the square, using the kind of camera we know from online housing advertising – so turning in your chair with the iPad takes you on a 360 degrees tour round the square. The Daily is developing day by day. The use of video is growing, and new kinds of photo series and interaction with other users emerge. For instance – through Apple’s game center you can compete with other readers about solving the daily Soduko ﬁrst. The winner gets his name posted on the score list of the day. More and more ads from movie companies also appear. The Daily is not a ﬁnished product. New functionality is added every day, and it will be interesting to see how the content develops – and if readers continue to be willing to pay for it. But as long as I can follow the work of our colleagues for as little as a dollar a week I will stay on. ■ www.thedaily.com
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Vintage Art Direction They may be a minority, but there are people out there who use Facebook for something more serious than stupid, useless status updates. New York based art director Linda Rubes is one of them. She gives us the best of Fortune magazine covers.
Lars Pryds firstname.lastname@example.org
■ Linda Rubes is the creator and editor of a Facebook page that shows the most beautiful covers dating back to the early years after Fortune – a global business magazine published by Time Inc. – was founded in 1930. Art direction, typography, illustration, and (sometimes) photography blend into pieces of art. Other albums on the site show selections of works by some of the illustrators who have contributed to the magazine. »There never was master plan for the Vintage Fortune Magazine page,« says Linda Rubes, »it started out as a blog post that took on a life of its own. I worked as an Associate Art Director at Fortune for nearly 10 years, and had amassed quite a collection of digital images of the covers. From the moment I started working there, I was enthralled by the original framed Fortune covers from 1930 through 1950 that lined the oﬃce halls. But it wasn’t until we started researching for the 50th anniversary of the Fortune 500 issue that I became aware of how many amazing covers were produced from the 1950s through the 1970s. At that point, I was just collecting the covers for my own reference and it had not occurred to me that I would or could do anything more with my collection.«
The collection »Around this time last year, I produced a gallery of my top 10 favorite covers of the annual Fortune 500 issue, and had it posted on the Society of Publication
Designers blog. At the end of the post was a link to the complete collection of 50 years of Fortune 500 covers, which I posted in an album on my personal Facebook page.« The response to that post was overwhelmingly positive. People started friending me and sending messages with all sorts of questions and comments, but my personal Facebook page had lots of privacy settings. So I decided that my Vintage Fortune collection needed a more open venue, and that’s when I started the Vintage Fortune Magazine fan page.« Why did you keep the page on Facebook, instead of building a “real” website? »I chose to keep it on Facebook mostly because it was the easiest and fastest way to put it out there. Also, being on Facebook, it gets a lot more traﬃc than if I had set it up independently.« Then – and now Is there any major diﬀerence between the covers created today and the covers made back in the 1930ies and onward? »One major diﬀerence between the covers of today and the ones created in the 1930s is that, back then, the cover imagery often didn’t relate directly to any article that appeared in the magazine. That certainly would never happen today! Another diﬀerence is that, early on, Fortune’s cover visuals were dominated by illustration and design rather than photography. And it wasn’t until 1963 that the ﬁrst portrait cover appeared--a painting of General Motor’s Alfred Sloan by
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“True greatness consists in being great in little things”, said Charles Simmons.* This is also the case in news design, although these days there is not much time left in daily production to care for all the little details. However, a small graphic finesse can make the difference between mediocre communication and self-explanatory visualization. In this place, we want to show you some of these examples of obvious candidates to win the AHA! Prize in the Best of Scandinavian News Design competition. So: If you see – or create – anything you think qualifies for this column, send them to us at email@example.com * Charles Simmons is an American novelist and former editor of the The New York Times Book Review
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LA CAFETIÈRÉ ELKEDEL Pluspris 849 kr. Alm. pris 999 kr. Fås i ﬂere farver Køb på politiken.dk/plus eller i Plusbutikken, Vestergade 22, Kbh. K
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The history of graphoc design What do you think makes the Fortune covers so special? »Individually, one of the things that make the Fortune covers so special, is that each one functions as a standalone poster—the visual elements are sophisticated, bold, and fully integrated. Many of the covers seem as fresh and relevant today as they must have been when they originally hit the news stand.
Linda Rubes is an independent art director and designer working mainly on magazines while exploring other forms of media such as web design and motion graphics. In addition to the Vintage Fortune page, she produces galleries for the Fortune iPad app. Her most recent project involves developing the Reader’s Digest iPad app. www.facebook.com/ VintageFortuneMagazine www.lindarubes.com
Lukkeuger for de små breder sig i hele landet
Fanger kan få en pinefuld »Alvorlig fejl«, at univerdød af stof fra Lundbeck sitet ikke gik til politiet
De elsker Anne Linnet – og nu på Betty Nansen
Stadig ﬂere vuggestuer og børnehaver må holde lukket i en eller ﬂere sommeruger. Nye tal fra Politiken Research viser, at mere end hver anden kommune nu dikterer ferielukket, og det er en klar stigning. Forældrene henvises i stedet til nødpasning i nogle få institutioner, men det ønsker kun et fåtal at benytte. Socialminister Benedikte Kiær (K) er vred og varsler et lovindgreb for at 1 Side 4 stoppe kommunerne.
Danske Lundbeck leverer et bedøvelsesmiddel til henrettelse af fanger i USA, som nu kritiseres sønderlemmende af eksperter. »Det er grusomt, smertefuldt, skrækkeligt«, siger professor i medicin ved Harvard-universitetet David Waisel. Der mangler nemlig dokumentation for, at bedøvelsen virker, så fangen ikke efterfølgende mærker den ekstremt smertefulde proces, som til sidst 1 Side 9 sætter hjertet i stå.
Hvis de var en menighed, var Anne Linnet deres gud. Teatergruppen Sort Samvittighed kredser om 25 af Linnets sange i nyfortolkede udgaver og har tidligere optrådt på mindre scener i andres scenograﬁ. Men nu kommer gruppens 12 kvinder på Betty Nansen Teatret i deres helt eget setup. Læs om Sort Samvittighed, teenageteater, Martin Brygmann solo og meget mere i sær5 Side 22 sektion om forårets teater.
En topforsker ved Københavns Universitet var tiltalt for underslæb, dokumentfalsk og falsk anklage mod en 24-årig studerende i 14 måneder – med universitetets vidende – uden at universitetet kontaktede politiet. »En alvorlig fejl« ifølge professor i forvaltningsret Claus Haagen Jensen. Og han bakkes op af professor i offentlig ret Søren H. Mørup: »Man kan ikke bare feje underbyggede 1 Side 3 beskyldninger til side«.
EUROPEAN NEWSPAPER OF THE YEAR
28. januar 2011 Årgang 127. Nr. 119 Pris 25,00 Kundecenter Politiken 70 15 01 01 2. udgave www.politiken.dk
nekrolog BJØRN BREDAL
øger ville gerne gå sig en lang tur en gang om ugen. Det lykkedes langtfra altid, skrev han i et lille essay: »Men når jeg går, er det altid den samme rute. Turen varer op mod halvanden time og fører mig igennem den kirkegård, hvor mine forældre, min mormor og ﬂere andre familiemedlemmer ligger begravet. Hvis det er godt vejr, dagslys og i blomsterhandlerens åbningstid, køber jeg en gang imellem en lille, rød blomst, låner en haveske og planter den på graven. De ﬂeste gange standser jeg bare op, og tænker lidt koncentreret på de mennesker, der ligger foran mig, når jeg står ved gravstedet«. Nu er det alt for tidligt blevet os andre, der må standse op og tænke lidt koncentreret på Tøger. JEG TÆNKER ALLERFØRST på hans gode humør: Hvor var det smittende. Jeg husker en formiddag i 1989, hvor det gik særlig højt: »Jeg har lige haft bestyrelsesformanden i røret«, grinede Tøger: »Vi må ikke offentliggøre teksten. Han siger, at husets sikkerhed ikke kan holde til det«. Teksten var et uddrag af Salman Rushdies roman ’De sataniske vers’. Huset var det Berlingske. Og et par timer senere trykte vi et ekstra stort oplag af Weekendavisen, for som Tøger sagde: »Jeg fortalte ham, at det hastede lidt, hvis han skulle nå at fyre mig inden trykstart«. Alting var så dejlig enkelt, når Tøger tog fat. Og skægt. Nu havde Irans ayatollah Khomeini udstedt en ’dødsdom’ mod Salman Rushdie på grund af hans storslåede roman, og så gjaldt det bare om at få oversat de vigtigste passager i en vis fart og få dem ud til læserne. Det gav lidt strid bagefter med det danske forlag, som ikke havde tilladt trykningen, men striden blev bilagt, og jeg så senere med egne øjne, at Tøger og hans smukke Tine trådte dansen til fest hos forlæggeren. Berlingskes bestyrelsesformand syntes ikke, det hele var lige så festligt. Tøgers løbende ledere om Tamilsagen under den faste rubrik ’Hansen-gate’ huede ham heller ikke, for justitsminister Erik NinnHansen var et konservativt koryfæ og en ven både af formanden og af Det Berlingske Ofﬁcin, hvis storaktionær dengang var Mærsk Mc-Kinney Møller. Tøger couldn’t care less. Og jeg skriver ikke dette for at sætte hverken skibsrederen eller Berlingskes bestyrelsesformand i et dårligt lys, for Ole Scherﬁg var en dygtig erhvervsmand og storborger, som bare havde været så uheldig at blive chef for en purung chefredaktør, der ikke kun var meget, meget mere end almindeligt begavet, han var også meget mere end bare borgerlig: Han var aristokrat. TØGERS RIDDERLIGE FRYGTLØSHED havde noget at gøre med hans familiebaggrund – det har al adel jo. I hans sammenbragte slægt med ægteskaber og skilsmisser på kryds og tværs løb tre store familier sammen: Kaastrup-Olsen (dem med PHlamperne i ﬁrmaet Louis Poulsen); Bonni-
Fortsættes 2. sektion forsiden
Det bedste fra Politiken fra ugen der gik Politiken Weekly
5 708730 910150
Vores folkestyre hviler grundlæggende på den frie presse og den meningsdannende debat, der foregår i dens spalter – den debat har i dag mistet en karismatisk og engageret deltager Lars Løkke Rasmussen, statsminister
På en måde elskede jeg ham. Han værdsatte ærlighed, han var straight, alting interesserede ham. Og han var enestående intelligent A.S. Byatt, engelsk forfatter og Booker Prize-vinder
Mange tror, at Tøger kun var en meningsmaskine. Men han var et meget personligt menneske. Når han talte om sin familie, Tine og deres tre drenge, ﬁk han altid blanke øjne Lars Munch, koncernchef JP/Politikens Hus
Flere mindeord ATS om Zeitungsfaden Sagt af Tøger gennem tiden Som Roald Als så ham 2. sektion side 1-7
A great voice has died ■ On 27 January 2010 Politiken’s editor-inchief since 1993, Tøger Seidenfaden, died from cancer at the age of 53. Tøger (he was always called by his ﬁrst name) was an institution in Danish media, a dedicated person who saw open dialogue and debate as the foundation for democracy. In his newspaper, of course, the editorial is printed on the front page. So naturally, on the day his death was announced, the editorial column was empty. This way of visualizing the loss of a great voice – based on an idea by Politiken’s former editor-in-chief Stig Ørskov – was Politiken’s real tribute to Tøger, larger even than the ﬁne full page (broadsheet) drawing of his portrait beside it. –pryds
Robert Weaver. This was a huge departure from the covers of today which are typically photographs and quite often portraits. Also, in the early days, cover lines were largely absent. The vintage covers most often telegraphed their meaning clearly through the visuals and when cover lines do start to appear, they are typically secondary to the art. Today, cover lines are allotted a substantial amount of real estate, and sometimes dominate a cover.«
As a body of work, the covers produce a visual narrative of the history of graphic design as exhibited through the work of some its ﬁnest practitioners, such as: art directors Will Burton, Leo Lionni, and Walter Allner; artists Diego Rivera, Ben Shahn, and Romare Bearden; photographers William A. Garnett, Henri Cartier-Bresson, and Melvin Sokolsky. And that’s just to mention a few! Additionally, as a body of work, the covers reﬂect the cultural, social, and political growth of an era as seen through a prism where popular culture meets the discourse of business.« Which one is your own personal favourite? »My personal favorite Fortune cover is the January 1968 issue that features art by Romare Bearden. The artwork itself is just amazing. It’s so right on, and yet completely unexpected for a business magazine of that era.« ■
re mere skyet. Svag til frisk vind fra vest og sydvest. 0-5 grader.
Tegning: Anne-Marie Steen Petersen
TOP TO BOTTOM Romare Bearden’s January 1968 cover is Linda Rubes’ personal favourite Fortune cover. The July 1961 Fortune 500 cover features a graphic designed by Walter Allner, showing an actual chart of the top 500 U.S. companies listed in the annual ”Fortune 500” issue. The February 1930 issue – with the early characteristic framed illustration – is Fortune’s premiere issue, illustrated by Thomas Maitland Cleland, who also designed and executed the templates for the first issue of Fortune. The yellow and red July 1963 cover was art directed by Walter Allner, but the actual design was executed by Chermayeff & Geismar Associates.
PAGE ONE An example of the first page on a normal day. The templates for Friday and Saturday (top left) are designed differently.
PAGE 2 & 3 The opening news spread on page 2-3 in the News section. Here is the main story in the crime design.
Urban cowboy Trondheim’s Adresseavisen has been redesigned – using trusted old fonts in new ways, making the colours brighter and building a set of templates to smoothen the workﬂow.
Ingrid Meisingset firstname.lastname@example.org
■ In 2006 Adresseavisen was published in tabloid for the ﬁrst time. In the years 2006 to 2010 we have made some changes in content and design, but not very drastic ones. Adresseavisen does not have any real competition in print in Trondheim, so we can allow ourselves some local character. We do not have to distinguish ourselves from a competitor with our design or signal our “seriousness” as opposed to any competing paper. The “trønder” – a person from Trondheim or central Norway – is sometimes described as an “urban cow-
boy”, and that was also a working title of our particular typeface Morgan, introduced to our readers in 2006: A bit of Lucky Luke and a bit of Caﬀe Latte. This title also ﬁts our newspaper which covers the larger Trondheim and the surrounding districts. The good old typeface Adresseavisen is divided into three sections: Section 1 which covers News, Trondheim, International, Economics, and People. Section 2 is Culture, Travel, and Opinion. Finally section 3 with Sports, Time oﬀ, Sprek (Fit&Healthy), and Television. One reason for this sectioning is a wish to spread the advertisements across the whole paper. However,
most advertisers wish to be in section 1 – a trend we hope to turn around. Early on we decided to keep the selection of typefaces already in use. The typefaces are a very important part of how the newspaper looks, and as we were to look very diﬀerent, this made the job a bit more diﬃcult. So, we decided to go for the Morgan typeface. Previously, we had used it only for vignettes and other small stuﬀ, but the font is now used in news stories and for subheads, top bars, certain titles, openers etc. The colour palette developed in 2006 has also been given a face-lift. We took out the black in the colours, which made them brighter. We still work with the Continues page 20
SECTION 2 COVER Section 2 includes Culture, Travel, and Opinion.
Adresseavisen was founded in 1767 â€“ Norwayâ€™s oldest daily newspaper. Circulation: 73.800 Readership: 215.000 Adresseavisen is a multimedial news organisation. We publish the print paper, e-paper- and iPad products, mobile news, radio and live picture. 40 people work with visuals: 17 subeditors, 10 photographers, 2 info graphic designers, 9 tv-journalists/subeditors, 1 head of design Fonts used in Adresseavisen:
Mercury Mercury Olisopone Olisopone head
SECTION 3 COVER The content of section 3 is divided between Sports, Time off, Fit&Healthy and Television.
INSIDE PAGES Different genres are “dressed” different. Above is an example for comments, and below a spread from the sports section.
royal-blue, red, orange, and green, but all in a clearer tone. Economy has got its own new colour – petrol. The royal-blue, previously reserved for the logo, is now used throughout the paper. It is used in pagination, fact logos, quotes etc. Red is only used in the news section and here only on really important elements. Navigation uses clear vignettes and colours. Work smarter An important part of this project was to be able to work smarter, so we create as many page templates as possible. In this way we free up time for larger projects. Besides, it is important to use templates in order to get the best possible result on the basic news pages. We have two diﬀerent templates for page one – a weekend template (Friday and Saturday) and a set of templates for the weekdays. The space below the masthead is divided in four – a promo box and three smaller stories. This forces us to make a journalistic choice about what to give priority for the stories and the mix to show on page one. We also try to have less text and more room for photos on the front page. The opening news spread on page 2-3 is shared between the editorial and a news item. It is unique for our paper that these two share this arena. The daily drawing on page 2 gives the editorial appropriate weight.
The top bars are brand new. All regular sections in the paper has its own top bar with a dominant vignette/ logo to the left. The top bars are a mixture of text and images. Another visual element is the fact that the diﬀerent genres are “dressed” diﬀerently. For instance, a hard crime story is more “black” than a regular news story. The diﬀerences are not gigantic, but big enough for the reader to feel the diﬀerence and to make the newspaper more varied. The new design has primarily been
developed by internal Adresseavisen staﬀ, but Ally Palmer og Terry Watson have given expert advice in the process. Anders Enström has shown us the importance of working smart with templates. Adresseavisen is produced ■ using the CCI system. Ingrid Meisingset is Head of design at Adresseavisen.
CCI NewsGate Maximizing news business
CCI NewsGate will allow us to maximize the use and impact of the outstanding journalism produced across our company,
regardless of the medium or location where it originated.â€? Randall Weissman, News Administration Editor, The Tribune Comapny
COME TOGETHER Allow your central and local resources to come together in the most flexible and efficient way.
CCI Europe A/S / Axel Kiers Vej 11 / DK-8270 HĂ¸jbjerg T. +45 8733 5588 / email@example.com
The new face of a grand old lady Denmark’s oldest newspaper, Berlingske, has relaunched with a new name, a new logo, a new typeface family and a new ambition for journalism. We talked to the designer behind the visual parts of the change – head of design Per Heilmann. Lars Pryds firstname.lastname@example.org ■ Berlingske Tidende has been shortened to Berlingske; berlingske.dk is now b.dk; the old standard 6-column grid has been replaced by a straightforward basic structure with extra white space built in – and the old Aunt Berlinger now has its own typeface family, made especially for this relaunch of the paper. Simpliﬁcation seems to be on the agenda here – but actually, this change has been very complicated, and deﬁnitely a bigger challenge than when the paper went from broadsheet to tabloid back in 2006, if you ask Per Heilmann, head of design at Berlingske. “Back then, it really was more a format change than anything else”, he says. “Of course, we didn’t just scale
down the pages to tabloid, but this time the change also includes a new way of making priorities in the journalism. And that has really been the fun part – redeﬁning the soul of the newspaper and then creating a design for it ”. The new Berlingske aims to attract the type of reader (now clearly deﬁned as a 30- to 50-year-old, business active and ambitious – more often a man than a woman) who likes to read intelligent background stories, and who gets his or her breaking news updates on the web, mobile or tv. The journalists, therefore, must “take the story further” if it is to hold any value in print. The new design should accomodate this. “Wider text columns give the newspaper a more magazinish feel”, says Heilmann, “so we now work from a 4-column grid, with fewer but longer stories on the pages”.
Built into the design is the ﬂoating “empty column” – reserved for small graphics, fact boxes or quotes. It also has the function of creating white space on the pages, making them less compact. Getting the visuals right Longer and fewer articles force the editors to make sometimes diﬃcult decisions whether to run a story or not, but this way of giving priority also goes for the visuals. “Less images – more photographs” is the new mantra for photos in Berlingske, meaning – don’t print a picture if it is not a good photograph. No more meaningless Colourbox; no more mugshots across the full width of a page, or even across two columns. Then rather run the text without any picture at all. Continues page 24
A ONE & B ONE The new logo, executed by design company E-Types, speaks in a quiet tone of voice, tugged away in the upper left corner of the front page. The Business section has an almost similar nameplate – these two being the only sections published every day.
WHAT’S IN A NAME? Berlingske is Denmark’s oldest newspaper and has had different names through the years: 1749 Kiøbenhavnske Danske Post Tidender 1808 Danske Statstidende 1833 Berlingske politiske og Avertissements Tidende 1936 Berlingske Tidende 2011 Berlingske
Berlingske Serif Berlingske Sans Sans Berlingske Text Italic Berlingske Typewriter BØìïùTUR¡?› á"ÑY≥,mæð¨2(_
SECTIONS Most sections have a cover a simple cover design with a strong photo and a descreet logo in the top left corner (below). One obvious exception is the Sunday supplement MS (above), on which the two-letter nameplate takes up almost one third of the cover’s real estate. It takes strong photos to compete with that, but the new motto for the photo department is ”fewer but better photographs” – on the covers as well as on the inside pages.
THE FUN FONT The new face of the old lady comes in 22 fonts – four styles with three to seven weights each, complemented by a dingbat font with a few characters designed especially for Berlingske. However, Berlingske is a one width family – condensed versions, for example, are completely missing. They would be a valuable addition in the future, especially in the Sans branch of the family. Design consultant and former SNDS President Ole Munk describes the Berlingske fonts this way: ”It is a collection of quirky details rather than an actual family of fonts. Take the dot in the serif lowercase r – in itself a funny idea, but it lacks any family likeness with other elements of the family”. Per Heilmann, Berlingske’s head of design, says his new typeace has a lot of character. ”I’m glad we now have a headline typeface that people will actually notice. This, of course, means that some people will like it, some won’t. But it will not be ignored like the old headline font was”.
INSIDE The ”empty column” is reserved for extra info – small graphics, facts or briefings – and can be placed in any of the four columns across a page. This is the opening spread of the ”Globalt” (international) part of section one.
ONLINE The inline B in a rounded square is used as logo for all digital activities – as icons for the variety of mobile and tablet apps, and even as favicon on the web. A black and white version functions as a ”full stop” at the end of every printed article.
Graphics will be treated from a new strategic objective – which is actually aimed at the web. Instead of turning print graphics into jpgs and posting them into the web as static images, the idea is to produce interactive graphics for b.dk and then rework the better ones for print. To free manpower in the graphic department to work on these large projects, smaller graphics are now executed directly in Excel by research staﬀ, and medium sized graphics are cut away as an option. There’s that word again: Priority.
Easy to read Overall, Per Heilmann is rather happy with the result. “The process was well thought out from the beginning, with staﬀ working in groups developing ideas for both the content, design, and branding of Berlingske – in order to set the course for the next 3 to 5 years”, he says. But things always take longer that expected, and the ﬁnal weeks up to the launch on January 26 were rather hectic. But once outdoor advertising and time slots for tv commercials have been ordered and paid for, there’s no turning back. One thing Per Heilmann is especially happy about: not a single reader has complained about the body text
being harder to read than old one. Early in the process, Heilmann decided that if the new font family, designed by Copenhagen design company E-Types, would not prove at least as readable as the trusted Gulliver text face, then he would stick with Gulliver. Heavy testing of the new Berlingske Text font assured him it was okay to switch. “We have had some complaints from couples who now cannot share the culture section and the main section of the paper (as culture is now integrated into section one), and I think we need to make some minor changes to the weather map. But the body text – no one complained!” So dive in: the long, intelligent magazinish articles are easy to read. ■
NEWCOMERS Two new supplements have been added to the Berlingske portfolio with this relaunch of the newspaper. POLITIKO is published Monday with in-depth articles and analysis of political subjects, while Berlingske Nyhedsmagasin (short: BNY) is the new glossy section 3 on Wednesdays, with special focus on Danish business leaders with a global touch. Actually, BNY is not at all a new product, though; until January it was a stand-alone subscription based publication with a 25 year long history as the only business magazine of its kind in Denmark.
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Network and The priorities for the German speaking members of SND are positioning in the global community and making sure students ﬁnd their way into the media companies of the region. Regional director Stefan Knapp explains the way SND operates in his region – no. 16.
■ All SND members belong to geographic regions, each represented by a regional director on the SND board. Some directors report directly to SND HQ, some are Presidents of an affiliate organization, like for example SND Scandinavia. In a series of articles, we give you a glimpse of what is going on in the rest of the world. Our SND network really is a global one.
Lars Pryds email@example.com
Q ■ A ■
How is SND organized in your region? In 2007 we founded an association which enables a ﬁscal basis for our activities. Our group can only book its activities (exhibits, events, etc.) in accordance with tax laws, through this registered association. The board of the association consists of four members. The Chairperson of the Association (= the Regional Director) and three Deputy Chairpersons (= the three Country Coordinators of Germany, Austria and Switzerland). We stay in contact via mail and phone to discuss and decide topics and meet once a year at our annual meeting. In order to activate more members, we have installed advisory functions, in addition to board functions, which have a say in certain actions. Not all SND Region 16 members are automatically members of the association, as the association by-laws do not allow this. However our interested members are aware of the necessity for an association, for conducting our activities.
Q ■ A ■
Do you arrange member workshops, competitions, meetings? In our region we arrange some continuous events. The SND/ DACH annual meeting is held every year in one of our three countries Germany, Austria and Switzerland. In 2010 the Annual Meeting was held at the headquarters of the Berner Zeitung in Bern, Switzerland. We arrange workshops and roundtable-meetings. The last meeting was in Lucerne, Switzerland, at the Neue Luzerner Zeitung. SND/DACH Country Coordinator Germany, Raimar Heber, initiated the dpa infograﬁk award in 2008, which has run very succesfully three times and he will organize it again in 2011. (dpa.de)
Q ■ A ■ Q ■ A ■
What do the SND members in your region primarily work with? Newspapers and Magazines and Corporate Publishing
Is there a connection between the media houses and the educational system in your region? Several institutions of tertiary education (colleges and universities) oﬀer “Editorial Design” in the program of their design faculties and
WELCOME From the opening of ”The Best of Newspaper Design” exhibition at the Hamburger Abendblatt in January 2010, co-organized by SND/DACH. Photo: Manfred W. Jürgens
GERMAN NEWS DESIGN: der Freitag, published weekly in Berlin, was named World’s-Best Designed in 2010. The SND judges wrote: ”Strong fundamental design architecture – solid typography, intuitive navigation – combines with a refined approach to choosing and displaying visual content. The paper is not afraid to use eye-catching, original illustration, beginning on the front page.”
also have good contacts to the local media companies. The same applies to the course of studies in infographics. Walter Longauer for example, the Department Manager Infographics at the APA (Austrian Press Agency), lectures at the University of Vienna. In Swit-
zerland the publishing houses of the Berner Zeitung and the Basler Zeitung both list excellent contacts to universities and colleges alike. All colleagues who are active as lecturers have made it a prime concern of theirs to facilitate the career entry of the next generation
by giving them a professional training. In my advocational commitment as instructor for News Design at the Hochschule RheinMain I myself see it as my most paramount task to pinpoint the manifold designs of entirely different media and communicate this to
SWISS NEWS DESIGN: NZZ am Sonntag is the Sunday newspaper of the Neue Zürcher Zeitung.
AUSTRIAN NEW DESIGN: WirtschaftsBlatt is a politically independent, liberal daily business newspaper, published in Vienna. The surprising, framed illustration on this cover shows some of the companies that have actually made a profit of the international economic crisis, listing their 2009 net gains in billion euros.
good places to start in Region 16, recommended by Stefan Knapp: In Austria: Vienna with all the wonderfull Coffeehouses and the so called MuseumsQuartier www.mqw.at/en In Switzerland: Museum für Gestaltung in Zurich – a must for designers: www.museum-gestaltung.ch/en In Germany you have only to decide what city first. Berlin, Hamburg, Munich and also Frankfurt. There are many wonderful museums in Frankfurt: PHOTO: CARICATURA MUSEUM
Caricatura Museum Frankfurt A lovely museum for cartoons and caricatures: www.caricatura-museum.de Schirn Kunsthalle Frankfurt: www.schirn.de/en Museum für Moderne Kunst: www.mmk-frankfurt.de/en/news
students. For this I could win the Art Directors Janine Sack (der Freitag), Haika Hinze (Die Zeit) and Raimar Heber (dpa – German Press Asssociation) as speakers. This way we – on one hand – have and maintain best contacts to media companies; on the other hand it is close to my heart to facilitate the career entry of my students – by arranging contacts, internships or jobs.
Q ■ A ■ Q ■ A ■
Which is the most dynamic part of the news business in your region? The iPad is one of the hottest topics also in our countries.
What is the biggest challenge for your members? The biggest challenge is the balancing act between the new online-technologies and the preservation of the conservative medium. Many of us are still print-fans, although we cannot elude the fascination of iPad & Co.
What are your visions for the future of news design? – and how will SND and your members be part of it?
My vision is to maximize the international network activities. As the world has become smaller it is from my point of view vital to position oneself internationally. It is absolutely necessary to act on a global level if one wants to act as a professional. As the most powerful co-operation partners in the Society for News Design are at the right place, I am convinced that the SND will realize this global network in order to advance visual journalism in a qualitatively excellent way. The Society for News Design celebrates its diversity in cultures and skills within the one-organization, one-society context – in our Germanspeaking countries Germany, Austria and Switzerland as well as in all other countries of the world where SND plays an active role. We all feel part of a global network. ■
Stefan Knapp Strategic Media and Design Consulting Studies of communication design. 1989-1990 Graphic designer, “Ärzte Zeitung”. 1991-1999 Arthur Andersen. Responsible for the “graphics & design” Germany-wide. In 1999 he founded “Knapp Design Consulting”, a company that consults consolidated groups of companies in the fields of auditing and tax consulting, as well as banks, law firms, and venture capital companies as regards their corporate design and the design of their company publications. In 2002 he founded a press office specializing on medical- and health topics. 2005– Increasingly active for clients in the field of media/pr-agencies. 2007– Regional Director of the SND/DACH (Austria, Switzerland, and Germany).
PHOTO: CHRISTIAN ALS, BERLINGSKE,DK Abdel Harachi is 24 years old, drugaddict and unemployed. He is earning some money by watching out in a street in the center of Algiers. He has tried to escape several times without any luck.
Young men – two worlds is a project based on dialogue and visions for visual communication as a mean of better international understanding.
Lisbeth Tolstrup firstname.lastname@example.org ■ The project is a photographic experiment crossing some of the borders which right now seem to be changing in the Arabic world. The exhibiton has been on show in Cairo and in Copenhagen, where I took the opportunity to see it together with some of my students coming from Egypt, Algiers, Turkey and Macedonia. The concept is based on an idea of showing young men in everyday situ-
ations in Denmark and in three areas of the Arabic world. The participating photographers – three Danes and one from each of the three countries Algiers, Lebanon, and Egypt – changed working ﬁelds for a short period, in an attempt to draw a realistic picture of some of the living conditions, they could identify among young men born in the 1980ies. The result is a fascinating, respectful series of photographs – a real eye opener. We are not in the middle of any concrete conﬂict or disaster, but right there in the center of the everyday life
as it can be experienced in diﬀerent environments. A junkie, a farmer, a student, an unemployed, a hard working advertiser, an ambitious designer – we meet them all through the lenses of the cameras. My students are curious – some of them defending the rough scenes from their old country, others are deeply interested in questions like: Why don’t they do something? Why can’t they move? Others are curious about the whole idea of using the photographic media in a journalistic way. One thing is to them very interesting – the idea of
Photography crossing borders
PHOTO: MICHAEL SAYEGH, AN-NAHAR, LIBANON Meeting with ecological farmer Christian Andersen from Denmark changed Michael Sayegh’s view on being a farmer in an industrialized country.
PHOTO: AHMAD HAYMAN, AL-MASRY AL-YOUM, EGYPT Hans Kristian Andersen, 24 years old, is a Danish student at University Center Roskilde. His life was experienced and documented through a ten days visit late autum 2010. PHOTO: MADS NISSEN, BERLINGSKE, DK Henry Dakak jr. is 27 years old, designer of furniture and the second generation of a family who owns a factory in Beirut.
travelling around the world, no matter where you come from or where you live. It is to be seen in a direct connection with their own experience with social media. They liked the exhibition – and they liked the idea of seeing things from a new perspective, not staged like a reality show or a music video – but right there in the middle of some other young people’s lives. ■
See all the photos here: b.dk/verden/young-men-unge-maend
The project Young Men is initiated by DEDI – The Danish Egyptian Dialogue Institute in Cairo. DEDI works together with WAN-IFRA, The World Association of Newspapers and News Publishers. The participating photographers are from Berlingske in Copenhagen Mads Nissen, Christian Als and Nikolai Linares, while the Arabian photographers all come from media that work for an independent press in the Arabic world. They are Souhil Baghdadi from El Watan in Algiers, Michel Sayegh from AnNahat in Lebanon og Ahmad Hayman from Al Masry Al Youm in Egypt.
The catalogue is produced by The Danish Egyptian Dialogue Institute in 2010. 116 pages, 22 x 22 cmc. Text in Danish and Arabic. It is for sale in www.diamantboghandlen.dk Exhibition: Den Sorte Diamant, Søren Kierkegaards Plads 1, København, until April 1, 2011. www.kb.dk
Graphic life in magazines Newspapers may be struggling everywhere to ﬁnd new business models to stay alive, but for their close relatives, the magazines, life seems a bit easier.
■ Newspapers take up less and less room in kiosks and newsstands, but there’s a glossy magazine for every thinkable topic – or a handful, or even a dozen diﬀerent titles in popular areas like fashion, food or fast cars. Not to mention magazines about art or design – and these are among the most stylish ones. The best mags are the ones you want to keep for years – not just throw them away when you leave the train. Some are even as thick as regular books (you know, the old fashioned analog ones) so they certainly aren’t easily read on the way home anyway. Here’s a couple of magazines that qualify for a long life on my bookshelf.
Eye magazine – infographics The main focus of the winter issue – no. 78 – of Eye or, as it is subtitled: “The International Review of Graphic Design” is on information design. A large special section looks at this storytelling tool in a wonderful mixture by showing examples of old and new designs that really stand out – or simply work. The British road sign system is an example of a design that was created many years ago, but still works. Mark Porter’s short essay “Hail that cab map” describes how “methodical research and data-gathering, intelligent visualization and expert programming” can be used to produce a very special interactive graphic experience. In this case the result is a digital documentation of the taxi journeys taken in Manhattan over a three month period of time. Fascinating as well as beautifully executed, but actually useful? Well, someone might be able to draw conclusions from this kind of complex mapping. Outside the infographics theme is a large interview with British artist and illustrator David Gentleman who for nearly 60 years has worked as a designer in many ﬁelds – including identity design for British Steel, wood engravings for advertising, or book
covers for Penguin. “What I know about design I learned from stamps – my interest in reﬁning an idea down to an absolute minimum,” he says. Elephant magazine – collage art This oddly named publication calls itself “The Art & Visual Culture Magazine”, and the most recent issue (a whopping 208 pages) is divided into chapters, just like a regular book. Part 1 and 3 portrays designers and artists; the former as short introductions, the latter as lenghty talks with among others the charismatic Tom Hingston. In one of his recent designs he had pop/rock icon
Grace Jones cast – live size –in dark chocolate for her album cover. A 50-page theme in the magazine is devoted to the art of collage – showing great examples made by illustrators and artists working in this special discipline. Even though many now work with the technique digitally, it is remarkable how the results often resemble the good old cut-and-glue collage expression, making one think of Richard Hamilton’s iconic collage “Just What Is It that Makes Today’s Homes So Diﬀerent, So Appealing?”, which kick-started Pop Art back in 1956. And just like his work these new collages are a great inspiration. ■
PARTIALLY CUT One of the artists featured in ELEPHANT magazine is Masha Rumyantseva, who works as an illustrator mostly for Russian magazines. She says, ”There are several alien realities together in a collage, living with each other in an unsuitable environment. By connecting their fragments I create a new and suitable reality for them”. Digital collage, illustration for Expert magazine, 2010.
Eye eyemagazine.com Subscription rates, Europe: 1-year (4 issues): €104 1-year student: €55
Elephant elephantmag.com Subscription rates, Europe: 1-year (4 issues): €64.99 1-year student: €54.99
Lars Pryds email@example.com
SNDS Magazine 2011|1 The President
It’s raining gold in Scandinavia SNDS President Anders Tapola firstname.lastname@example.org ■ Last year, there was no gold winner in the Best of Scandinavian News Design competition. This year, it is almost raining with award of diﬀerent kinds of metal. The entries were simply on a much higher level this year, according to the jury and its chairman, Flemming Hvidtfeldt. I have personally overheard the discussions and arguments of the jury at work, although not this year but on previous occasions. And I assure you – it is a very tight needle’s eye to get through for an entry to reach the unanimity of the jury required to win a golden award. This is certainly how it must be in Scandinavia’s most prestigious design competition. Therefore, it is great to see that both creativity and quality have improved igniﬁcantly this year. What the reason might be for this, one can only speculate.
In the annual international SND Best of News Design competition usually three or four newspapers are awarded with the title World’s Best Designed. This year, there was only one: i from Lisbon, Portugal. The jury said: ”Portugal’s daily newspaper, i, stood out for its ability to take the best of the visual language of newspapers, magazines and other publications and create something new that is more than the sum of its parts. It’s compact. It’s fresh. It’s consistent, yet full of surprises.”
i from Portugal is the one and only World’s Best Designed this year. But Scandinavian news design also performs very well – at home and abroad.
i was born as late as May 2009. Javier Errea, regional director for SND Spain and founder of Errea Communication, created the design together with Juan Antonio Giner’s Innovation Media Consulting. USA Today was a ground-breaker in the 1980ies – and I dare predict that likewise, i will break some heavy ground in the 2010s. Trelleborgs Allehanda won no less than nine awards in the SND competition. This is impressive. Editor-in-chief, former design consultant Rickard Frank said to medievarlden.se that ”the creative power is found in the small and medium sized newspapers. Many people think that this is where development happens”. In SND’s competition only three gold winners were found. The highest number of awards were given to Los Angeles Times: 87. Danish Politiken came in as a ﬁne number 6 with no fewer than 30 awards. This shows that Scandinavian news design still performs very well seen from an international perspective. Portuguese i, by the way, won 17 awards. In SND Scandinavia’s competition, the online categories attracted remarkably fewer entries than last year. This is another thing to speculate about. Whereas the print publications try to ﬁnd their own unique identity, another trend is apparent when it comes
FOTO: LENA GUNNARSSON
to the web publications, I think.The branding of the product has become much more important. Recognizing the company immediately, on every diﬀerent platform. Lately, large suppliers of publication systems have made all news sites look more or less the same, no matter what newspaper is behind the site. Often the logo or colour palette is the only diﬀerence between various sites, especially within large media corporations. The use of typeface and page structure is identical. Svenska Dagbladet, a newspaper that works very seriously with its brand, is about to make substantial changes to its website soon – using the same typography and logo as in the print version of the paper. This is the right way to go. Which publications won the many gold, silver, and bronze awards in this year’s Best of Scandinavian News Design will – as usual – be announced at the award show at the annual seminar. So welcome in Stockholm 12-14 ■ May. It’s time to register!
Other examples of small papers showing great creativity, thus making the SND jury impressed: snd.org/2011/02/small-papers-big-ideas