Look for the flowers p. 3 Passion wears many hats p. 4 A great chance for small newspapers p. 6 Old news is good news at SNDS15 p. 8 Award winners in Copenhagen p. 12 The Tower and the Tricolore p. 14 Turun Sanomat redesigned big time p. 16 Get your hands dirty p. 22 How to visualize a non-visual story p. 28 SNDS members 2015â€“16 p. 30 A great opportunity p. 32
SNDS MAGAZINE SNDSMagazine 2015|4
President & Chairman of the Competition Committee Flemming Hvidtfeldt Stentoften 72, DK-9520 Skørping, Denmark +45 20 91 17 52 email@example.com
Vice President Anne Laitinen, Turun Sanomat Länsikaari 15, FIN-20240 Turku, Finland firstname.lastname@example.org
Business Manager, Treasurer Frank Stjerne Journalist Suomisvej 1 st th DK-1927 Frederiksberg C Denmark +45 40 10 28 30 email@example.com
Elisabeth Svendby, Amedia Hieronymus H. gate 1, N-0160 Oslo, Norway +47 40 23 76 25 firstname.lastname@example.org
Secretary for the board Lone Jürgensen Morgenavisen Jyllands-Posten, Grøndalsvej 3, DK-8260 Viby J, Denmark +45 87 38 38 38 / 31 08 email@example.com
Editor, Art Director MD Lars Pryds +45 30 53 87 14 firstname.lastname@example.org
Co-editor, Journalist DJ Lisbeth Tolstrup +45 51 32 89 62 email@example.com
Web-editor Kartin Hansen Morgenavisen Jyllands-Posten, Grøndalsvej 3, DK-8260 Viby J, Denmark +45 87 38 38 38 / 31 07 firstname.lastname@example.org
A big thank you to our contributors in this issue. In order of appearance:
Søren Stidsholt Nielsen Fyens Amts Avis email@example.com See p. 8–13
Print: GraphicCo, graphicco.dk SNDS Magazine is set in Real Text and Museo Slab and designed in Adobe Indesign CC. SNDS Magazine is published quarterly in March, June, September and December. Editorial and advertising deadlines: February 15, May 15, August 15, and November 15. Published by SNDS – the Society for News Design Scandinavia
Anne Laitinen Turun Sanomat www.ts.fi firstname.lastname@example.org See p. 16–21 Jeminah Birkner www.jeminah.com See p. 22–27
Maj Ribergård Ribergård & Munk www.ribmunk.dk email@example.com See p. 28
SNDS on Facebook: facebook.com/sndscandinavia
Paul Wallen ESPN the magazine @pwallen See p. 28
SNDS on twitter: @sndstwit Anders Tapola, Smålandsposten, Linnégatan 2, S-351 70 Växjö, Sweden +46 470 770 686 firstname.lastname@example.org
On the cover: SNDS15 – this year’s annual design conference. Award Show host Carsten Gregersen announces the winners in the “Best of Scandinavian News Design” competition. Photo: Lars Pryds See more p. 8–13
SNDS Magazine editorial office Østerbrogade 158, 3. TH., DK-2100 Copenhagen Ø, Denmark
SUBSTITUTES FOR THE BOARD Björn Heselius, KSF Media, Finland John Hällström, Upsala Nya Tidning, Sweden Ingrid Meisingset, Adresseavisen, Norway Søren Nyeland, Politiken, Denmark
Look for the flowers p. 3 Passion wears many hats p. 4 A great chance for small newspapers p. 6 Old news is good news at SNDS15 p. 8 Award winners in Copenhagen p. 12 The Tower and the Tricolore p. 14 Turun Sanomat redesigned big time p. 16 Get your hands dirty p. 22 How to visualize a non-visual story p. 28 SNDS members 2015–16 p. 30 A great opportunity p. 32
S Read SNDS Magazine as e-magazine: www.snds.org/magazine
SNDSMagazine 2015|4 editorial
Look for the flowers There are flowers everywhere, for those who bother to look.”
is not dead”, as his presentation was simply called. Rasmus Kyllönen from Finnish Hufvudstadsbladet argued that: “Print will survive because people want OBJECTS” – and then he launched a Facebook page dedicated to the great art of printed news design.1)
– Henri Matisse (1869–1954)
THE POWER OF PRINT
In this issue of SNDS Magazine we look back at the two first days of October, when 113 people gathered in Copenhagen for the SNDS15 news design conference. The number of participants was higher than previous years, so maybe we can look forward to a growing interest in getting together with your colleagues and get inspiration for your daily work at home (see p. 8–13). Until now, mostly members from the four “big” Scandinavian countries – Denmark, Finland, Norway and Sweden – have participated in the annual conferences. In the future, we hope to see colleagues also from the countries in the North Atlantic: Iceland, Greenland and Faroe Islands – and not least from our new Baltic members Estonia, Latvia and Lithuania. Because – Scandinavia just grew bigger, as announced on the snds.org website. SNDS President Flemming Hvidtfeldt tells the story of expanding the organisation (see back page). The SNDS board is looking for a new venue for next year’s conference, and based on the many great ideas from a questionnaire to all participants at SNDS15, we are looking forward to see a completely new concept for SNDS16. Stay tuned – check for updates on the snds.org website and if you haven’t done so already: sign up for our PH OT O BY L AR newsletter, also from the website. S AARØ Changes are also being made to the concept – including the pricing structure – of the “Best of Scandinavian News Design” competition. Flemming Hvidtfeldt explains the idea and the new initiatives (see p. 6–7). REMIX AND COLLABORATE
1) https://www.facebook.com/groups/ springtimeforprint/ 2) http://www. mondaynote. com/2014/11/24/ hard-comparisonlegacy-media-vsdigital-native/
One ubiquitous discussion in the media world is the never-ending battle between print and digital. Bjarke Myrthue, CEO and founder of Blind Spot, at SNDS15 boldly claimed that: “Life is definitely over for printed newspapers,” but then added, reassuringly: “it’s not over for media professionals”. Myrthue advocates for creating collective stories and for us to enter into a completely new mindset to survive in the new reality of remixing and collaborating. He also said, “We’ve got to get used to the fact that content is free. The real value lies in putting the content together in a special way – and getting paid for that”. On the other hand, also at SNDS15, Matthew Ball from the organisation Think Scotland showed us that “Print
But is legacy media – print – simply not able to embrace the new technology? Frédéric Filloux, founder and editor of MondayNote, sees newspapers as shortsighted, structurally limited, and having a “terrible attitude towards risk and failure”. They are not agile enough to adjust to the new culture and therefore, they will not survive the battle with the “digital natives”, Filloux says.2) In this issue, we’ll try to prove him wrong. We believe that legacy media and digital media both have their different places in this world. It’s not a question of replacing the old with the new, it’s a matter of taking the step to stop competing and start collaborating. One example of a flourishing newspaper is Turun Sanomat, which in October launched a redesign – the first for 15 years. Design Editor at Turun Sanomat, SNDS Vice President Anne Laitinen, tells the story of the transformation of the proud Finnish paper (see p. 16-19). In 2012, Europe’s biggest weekly tabloid, Bild am Sonntag, based in Berlin, Germany, brought in Brasilian born Saulo Santana as head of the design department and challenged him to improve the visual way of telling stories in the paper. Jeminah Birkner, freelance photographer and visual storyteller, in a very personal interview lets Saulo Santana tell us about the process of implementing a new way of working at the traditional tabloid – with amazing visual results (see p. 22–27). VISUALIZATION AS A STORYTELLING TOOL
Senior Designer at American ESPN the magazine, Paul Wallen, gives advice on “How to visualize a non-visual story” – be it digital or print. We challenged Danish illustrator Maj Ribergård to visualize Paul’s article. See the result – and take the advice – on p. 28. A visual explosion followed the deadly ones in Paris, France, when six planned terrorist attacks stunned the French capital on Friday 13 November. We found some brilliant front pages from newspapers published the days after the attacks – examples of the power of print, although on a tragic background (see p. 14–15). Finally, we bring you the updated list of SNDS members – and we hope that this list will grow in the future and become even more multinational than it is now. We’d love to see more flags here next year. Lars Pryds Editor, SNDS Magazine
“Passion wears many hats” The SND Design Journal is back – stronger than ever By Lars Pryds email@example.com By the time you read this, SND will have published the 114th issue of the Design Journal and mailed it to its members. Except for the special How 2 issue in the summer of 2013, it’s been three years since the latest issue of the journal, so it has been a long time. But it was worth the wait. Subtitled The Passion Issue, all contributors focus on this driving force: “We love it when we have it. And when it’s missing, we long for it, again. […] We look at the many facets of this powerful emotion and how it has a hold on us all,” as the editor, SND Publications Director Julie M. Elman says in the introduction. The content was put together by Elman and SND Vice
President Sara Quinn, and the printing of it made possible by a generous sponsorship from The Khaleej Times in Dubai. Elman and Quinn asked a long line of people from the news design community to write about their passion – and reading their stories is an abundance of inspiration: Andrea Levy shows some of her great art for The Plain Dealer’s Op-Ed pages; Paul Wallen gives advice on how to control the dark sides of passion; Michael Stoll tells us how he came to love pop-up books and infographics; Amy Webb looks into the near-future for innovations in news; and Mario García digs out an old passion that has been stored away since his childhood: Performing on stage as ‘Mario the actor’. The headline for this article
The latest World’s Best Designed Newspapers and the runners-up are presented in the new Design Journal.
The “Passion” section opens with artwork and a text by yours truely – on putting your heart behind your work.
The cover of the reborn SND Design Journal, #114.
was taken from his essay: If any, Mario García has been wearing all kinds of hats in his long career, always generously letting us know what goes on under the brim. Finally, I’m really excited to have been invited to join this
Terence Oliver – Associate Professor at University of North Carolina – teaches his students to fly like eagles.
great party myself, and even given the honour of opening the ‘Passion’ section with a collage and a short text about putting your heart into what you do. The first part of the journal is dedicated to presenting the latest SND World’s BestDesigned Newspaper winners – and the runners-up. One spread features the World’s Best-Designed Digital winner: Facebook – a controversial choice we also wrote about in SNDS Magazine no. 2/2015. If you are a member of SND, you will already have received this great 64 page booklet in your mailbox – if not, remember that you can sign up for a joint SND/SNDS membership at a discount price. See the SNDS website for more info: www.snds.org/member
The visual portfolio of Andrea Levy – illustrator/artist at The Plain Dealer in Cleveland – is a great inspiration.
Join #SNDSF: Evolving Our Craft The 38th SND Annual Workshop & Exhibition, April 7-9, 2016, will be held in San Francisco at the Golden Gateway Hotel by Holiday Inn conference center. San Francisco is synonymous with technical innovation and progressive thinking. Its beautiful downtown offers the perfect setting for the SND workshop and exhibition. SNDSF: Evolving Our Craft will explore new directions for design thinking. From its earliest days, San Francisco was built on discovery. Join us as we carry this tradition forward. Seats are limited, so register now at: www.snd.org/sndsf2016
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Norwegian Hallingdølen is one of the not-so-big newspapers that have actually participated and won several times in the Best of Scandinavian News Design competitions. The two spreads (left) won an Honourable Mention this year, the “Foto: Villreinen” page (right) won a Silver Award in 2014.
A great chance for small newspapers Small newspapers can become Best Small Newspaper and Digital Scandinavia for free By Flemming Hvidtfeldt firstname.lastname@example.org The competition committee who organizes the Best of Scandinavian News Design wishes to give smaller news papers better possibilities to be a part of the competition. Both in the online and the print categories. The committee believes that many smaller news organizations make great design but refrain from participating because of the fee or because they think they do not have any chance to win a prize. In order to make the chances better for small news organizations the committee has decided to introduce two new awards entitled “Best
Small Newspaper Design Scandinavia” and “Best Small Digital News Design Scandinavia”. The only condition for participating in the new part of the competition is to submit your work in one of the other categories. On top of this, the fee for smaller newspapers for taking part in the competiton has been reduced and the smaller newspapers will be evaluated on their own. It means that the jury isn’t allowed to see or evaluate any other contribution before the entries from the smaller newspapers have been evaluated. Last but not least the committee has changed the circulation number that mark
whether or not you are a small newspaper. It means that newspapers below 20.000 in circulation will be considered a small newspaper and newspapers above 20.001 will be considered big newspapers. It is the commitee’s hope and belief that these improvements will encourage smaller news organisations to take part in the competition and the committee see the changes as a reaching out for the smaller news organizations in the Nordic as well as the Baltic countries. EASY TO PARTICIPATE
The publishers organizations who are sponsering the competition have recommended
that the organizing committee for the competition makes it easier to submit your entries to the competition. The committee will do so in the upcomming competition. Before, you had to write the names of the people who had made a page or a spread or an online contribution. This part of the submission procedure has been removed for the next competition. Instead, the committe will contact the winners after the jury work has been finished in order to get the names. We hope the chance will make it much easier to participate in the competition. On page 7 you’ll find a list of the categories in which you can participate. In January,
“Nationen did a really good job at cleaning and tightening up their layout in this redesign. Other media ought to be envious of the tidy look and easy navigation – it is a solid foundation to build on, and a big step up from the old site,” the digital jury said about this Honourable Mention winner in the Redsign category of the 2015 competition. This clearly shows that not only the big media houses win prizes – we are very keen on the smaller ones as well.
BEST OF SCNADINAVIAN NEWS DESIGN 2016 SUBMISSION DEADLINE:
January 2016 All entries must have been published in 2015.
SNDS will send out a booklet with all the information about the competetion as well as the entryform. The competition committee hopes that the improvements and the change in the evaluation for smaller newspapers will result in a rising number of entries both in the digital and the print competition. WELCOME TO THE BALTIC COUNTRIES
For the upcoming competition it is not only Nordic countries who are invited to participate. As you may know, SNDS is expanding and now also includes the Baltic countries Estonia, Latvia and Lithuania. And they are invited to join
the competition. The committee looks forward to see the entries from these countries. It will bring new inspiration to the competition and hopefully give new angles on both online presentation and print presentation. Because of the new countries in the competition the committee has decided to broaden the composition of the juries for online and print. The two juries will for the next competition include jury members from the Baltic countries. FIND YOUR BEST WORK NOW
Although everyone will get a reminder about how to enter in the competition in early
January 2016, the committee urges all to get started finding contributions for the upcoming competition now. It will make your January much easier and less stressed. Have a great time finding contributions and best of luck to everyone.
D1 D2 D3 D4 D5 D6 D7 D8
Redesign Website Frontpage Storytelling/feature News coverage Data project TV design App
Flemming Hvidtfeldt is SNDS President and chairman of the committee for the Best of Scandinavian News Design competition. He is a freelance journalist.
P1 Overall design P2 Redesign P3 Front pages P4 News pages P5 Local pages P6 Feature pages P7 Sectionfront pages P8 Visual communication P9 Newspaper magazines P10 Sports pages P11 Open class
Bjarke Myrthue from Blind Spot: “Life is over for printed newspapers, but it’s definitely not over for media professionals”. (sn)
Old news is good news at SNDS15 A lot of input to take home from two days in Copenhagen at the SNDS15 conference By Lars Pryds email@example.com “All I have is old news – so the newspaper business must really be in a deep crisis to invite me as a speaker!” With these words, Henrik Hatt, administrative manager at MOMU, Moesgaard Museum, opened his presentation at SNDS15. However, it was not at all irrelevant to hear how MOMU uses modern communication to attract a new audience to visit the mueum’s archaeological exhibitions. A museum is not (only) a place for learning, but should cater for a social experience. The target group is practically everybody, from kids to parents to grandpar-
ents at the same time! This observation made Henrik Hatt feel a little envious with the news business, where publishers usually can focus on a much more defined audience. Other speakers talked about topics closer to the news business itself, like Arne Depuydt – showing the redesign process for the Belgian newspaper DeMorgen (SND World’s Best Designed Newspaper 2014). Mari Randsborg from Danish design company e-Types let us into her world of typefaces – and told the story of how designing fonts can lead to a lot of things, among them opening the world’s first typeface store. “We need to play more,”
her advice was – even when working for large brands. Emily Goligosky from the New York Times told us how to use interviews and usability tests to get an idea about who your readers are; Pål Nedre gotten from Amedia, Norway showed how a large number of choices on a website is a barrier of usage and could effectively scare readers away; and Rune Madsen from O’Reilly Media claimed that today it is impossible to separate design from programming. USEFUL INPUT
So, to rephrase a very famous Henri Matisse quote (see p. 3) – there was inspiration everywhere, for those who would bother to listen.
However, there will always be different opinions and other ways to do things. After the conference, the SNDS15 organizers asked all participants for input to improve the content, venue, and organisation of the annual SNDS conference and got some great answers. The input has already been discussed at a recent SNDS board meeting, in order to make our conferences even better. “We’re thankful that so many participants would spend a few minutes to evalu ate the conference,” SNDS President Flemming Hvidtfeldt says: “We see this as a sign of commitment amongst our members. This is of great value for SNDS in the future”.
Photos by Søren Stidsholt Nielsen (sn), Nina Maja Tolstrup Pryds (nmtp) and Lars Pryds (lp). More photos: × snd.org/snds15photos
The results from a Master Class held in the morning were presented at the Infusion sessions in the afternoon (sn)
SNDS President Flemming Hvidtfeldt (sn)
Rune Fagerheim, Susanne Bondrup, Ida Jerichow Omdahl (lp)
Arne Depuydt, DeMorgen (lp)
Kim BjĂ¸rn with Josh Lainz, Ted Irvine, Brian Anderson, Vox Media (sn)
Mari Randsborg, e-Types (lp)
Henrik Hatt, MOMU (lp)
Infusion session audience (lp)
Emily Goligosky, NY Times (lp)
Rasmus Kyllönen, Hufvudstadsbladet (lp)
Photos by Søren Stidsholt Nielsen (sn), Nina Maja Tolstrup Pryds (nmtp) and Lars Pryds (lp). More photos: × snd.org/snds15photos
10 SNDSMagazine 2015|4
Simen Grytøyr, VG – multiple award winner (nmtp)
Award Show host Carsten Gregersen (nmtp)
Lunch break (lp)
Proud front page winner from Expressen (lp)
Jury member Håvard Holten with Tomas Østergren, Politiken – “Best of Show Print” winner (nmtp)
SNDSMagazine 2015|4 11
Gold to Denmark, Finland and Norway – while Swedish Dagens Nyheter wins its third consecutive “Scandinavia’s Best Designed Newspaper” SNDS, Society for News Design Scandinavia, has awarded the best design of web sites and newspapers, published in the year 2014 Text and photo by Søren Stidsholt Nielsen firstname.lastname@example.org
The Danish newspaper Politiken and the Finnish Helsingin Sanomat shared between them this year’s six Gold Awards in the print categories of this year’s competition for the best Scandinavian news design. The competition is organized by the SNDS, the Society for News Design Scandinavia, and winners were announced at the SNDS15 annual news design competition in Copenhagen 1-2 October. “Printed news is no longer hard news. The printed medias are concentrating increasingly on telling the story behind the quick news online. The stories in the papers will be longer, deeper and is still better prepared. It is also reflected in the
development of the design,” said SNDS President Flemming Hvidtfeldt, Denmark.
that Dagens Nyheter also won in 2014 and 2013.
THE PRINT WINNERS
Scandinavia’s great competition for the best design of media also includes the explosively increasing, digital area. Here, Norway looks strongest at the moment, winning three Gold Awards this year. Adresseavisen in Trondheim scored one of the gold awards and the “Best of Show Digital” in the “Storytelling” category, while Bergens Tidende and VG both won gold in “Data project”. The fourth and final Gold Award in the digital categories went to Danmarks Radio’s news coverage of the 2014 FIFA World Cup – “the best event site we have seen in a long time,” the jury said. The chairman of the digital jury, Kim Bjørn, Denmark, was pleased to see more full
Politiken won a Gold Award and “Best of show” for an article across three pages with an almost interactive illustration with a boy’s tongue and a girl’s lower parts. Politiken also scored gold for a frontpage and a sportspage. Two of Helsingin Sanomat’s three Gold Awards were given to the newspaper’s supplement HS Teema in the categories “Overall design” and “Visual communication”, the third in the “Magazines” category to a photographic student project about mentally disabled people. The print jury also awarded the Swedish newspaper Dagens Nyheter as “Scandinavia’s Best Designed Newspaper 2015” – a prestigious title
Magnus Bjerg with “Best of Show Digital” winners
More photos: × snd.org/snds15photos
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solutions in the digital on both websites and mobile apps: “When technical solutions, form and content forms an attractive whole, we create not just a basis for reliability, but also for the quality of communication and information,” Kim Bjørn said. More than 70 media houses from Nordic countries participated in the competition. See all the winning newspaper pages and websites on: × www.snds.org
Søren Stidsholt Nielsen is Editor at Fyns Amts Avis/ Jysk-Fynske Medier, Svendborg. He served as a jury member in the SNDS Best of Scandinavian News Design competition 1996–98, and has been a member of the competition committee since 1999.
Håvard Holten with Rickard Frank, DN – “Scandinavia’s Best Designed Newspaper” winner
Happy winners from VG, Norway with diplomas on stage at SNDS15.
Jesse Jacob Lindkvist with Tomas Østergren, Politiken.
Elisabeth Svendby with winners of the “Best Digital Detail” award winners from Dagbladet, Norway.
Liv Håker with Gold Award and Best of Show winners from DR, Denmarks Radio.
Jury member Anne Laitinen with Silver Award winners from Bergens Tidende, Norway.
SNDSMagazine 2015|4 13
El Punt Avui, Spain
The Independent, UK Die Presse am Sonntag, Austria
The Tower and the Tricolore Following the tragic events on Friday 13 November, where more than 13o people died after mass shootings and suicide bombs on six locations in central Paris, France, newspapers all over the world reported from the attacks, devoting most of the front page to a single illustration or story. Many showed photographs of police controlling the streets or survivors in grief, but the visually most effective
covers showed one of the two really strong identifiers of the French and France: The bluewhite-and-red of the French flag, the “Tricolore”, or the silhouette of the Eiffel Tower. We’ve collected some of the best examples, including drawings, cleancut graphic solutions, elaborate illustrations, and photographs carefully cropped or showing graphic statements in the streets, like e.g. the Turkish newspaper
Zaman: People with candles and the drawing, created by French artist Jean Jullien minutes after the attacks, that spread across social media and quickly became the symbol of sympathy with the victims: A peace sign merged with the Eiffel Tower. –pryds
More covers from the days after the attack in the Newseum.org Archives: × bit.ly/parisfronts Jean Jullien interview on Wired, about the “Peace for Paris” drawing: × bit.ly/julliendrawing
Boston Herald, US La Vanguardia, Spain
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Courrier picard, France
Dagens Nyheter, Sweden
Frankfurter Allgemeine, Germany
Correio Braziliense, Brasil ers i
Helsingin Sanomat, Finland
La Stampa, Italy
Ara, Spain Kurier am Sonntag, Austria
Estado de Minas, Brasil
Richmond Times-Dispatch, US
SNDSMagazine 2015|4 15
The opening news spread has a big turquoise header, on the rest of Duplicate Ionic by Christian Schwartz.
The first new front page.
Turun Sanomat redesi Turun Sanomat has just launched a redesign in broadsheet format. Here’s how it all went By Anne Laitinen email@example.com Photos by Ari-Matti Ruuska and Riitta Salmi
It’s gone! Turun Sanomat finally got rid of the old awkward looks. In terms of design we had nothing to lose in this project, but a lot to win. The launch was in early
October – and we did win. Now that the most hectic weeks are over, I keep getting back to the very roots of this project. It’s somewhat a miracle we got the “Yes” to start this project in the
first place. I am not exaggerating. It took a lot of convincing, lobbying, some begging. Frustration. So the hardest part was done before the design part had even begun.
THE OLD TS
The previous design for Turun Sanomat was made 15 years ago.
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the pages they are medium size. The headlines typeface is
Economics page with medium size header and a ‘balcony’ with infographics.
igned big time Turun Sanomat is a regional newspaper with a circulation of 93.200, placed in Turku (Åbo), south-west Finland. The third biggest morning paper in the country. Known for its
highly skilled newsroom and tradition of quality journalism. The previous redesign was done about 15 years ago. I am grateful that in times like this investments are made
to fix the core products, print and the website, as digital development also goes on. During the redesign project we had lay offs twice. The project started in
spring 2014. Main goals were: elegant typography, strict order, easy to read, distinctive looks for different contents, variation. Content develop ment started too, though
WORK IN PROGRESS
Javier Errea’s first visit to Turku, June 2014. Far right: Henri Hallman and crime reporter Rebekka Härkönen check pages on launch day.
SNDSMagazine 2015|4 17
Cover from the second part of the paper, “TS2”. This part of the paper uses Duplicate Sans Thin as the headline typeface. On the TS2 cover we have all weights of Duplicate Sans as well as Kommissar available.
Culture page from “TS2”.
the biggest flaws were design and work flow originated. There was plenty of time, the launch was set to spring 2015.
emergencies. You can guess what’s coming. I did not mind delays that much, thought I’d speed up, and concentrated on underthe-surface goals. Figured out how to build design from scratch technically. It was all rotten what we had. Not very templated at all. I am a journalist, so there
I got the second important “Yes” when Javier Errea agreed to be a consultant for us. We started in-depth discussions right away via e-mail. Felt like
we were friends already. It was crucial to have professional help in design – for the first time in the company’s history. You can see results here: beautiful typography and the big picture. The project got delayed at the very beginning due to various reasons, so I lost all the spare time I had in case of
Advertising the redesign launch date included a campaign with these large posters at bus stops. The idea is “both sides (of the subject)” and each poster showed two people – or rather: one half of two people. From left to right: × sports reporter & local ice hockey team leader × journalist & art director × culture reporter & famous orchestra leader × news reporter & local politician, a member of the national parliament
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was a lot to learn techways. Now we had the possibility to think not only how to manage print better but how to handle all platforms. Main focus was on digital publishing and sharing content with fellow newspapers. I had never gone very deep in the CMS, but suddenly there I was. By the end of summer 2014
Science page from “TS2”. Kommissar allowed on theme pages.
The Sports section has it’s own colour and strong headlines, Duplicate Sans Bold.
we got first scetches of the new Turun Sanomat look. . The paper’s structure was modified a couple of years ago and we kept it as it was, so readers know how to navigate when everything else is changing. TS has two parts: a news section and a more featurish/ long reading section including sports.
The second part of the paper starts with magenta cover TS2. These pages include life, culture, debate, theme pages ect. Headline typeface is Duplicate Sans thin. In TS2 cover headlines also Kommissar is used, which I find very nice in big sizes, capital letters and in many weighs. Sports is so different from
Javier made the structure more clear with colours and typefaces. He created three moods. TS IN THE RIGHT MOODS
First part, news, is turquoise with Duplicate Ionic headlines. Turquoise is also TS’s corporate colour, an elegant version of our traditional dark green.
the others that it got its own colour, orange, and Duplicate Sans Bold in headlines. Kommissar is used in vignettes, big numbers and some feature headlines in page 3 which is TS’s front page. Kommissar is also widely used in supplements’ headlines. All typefaces mentioned above are from Christian
The campaign also had a life online – with an interactive banner ad which allowed the reader to drag the arrows to reveal a sentence by one or the other of the two people sharing the space. These banner ads are no longer visible on ts.fi, of course, but you can try out the graphics here: × http://uusi.ts.fi/banner_tomi_jussi_tsfi/ × http://uusi.ts.fi/banner_tomi_jussi_tsfi/
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Cover and inside pages from the supplement Extra. All TS’s three supplements use Kommissar and Duplicate Slab in headlines.
Schwartz. Body text is set in Freight. THE TRICKY PART
During fall 2014 our inhouse team thought how to maintain TS’s identity and yet gain a change needed, what elements to leave for later purposes. With Javier we prepared wide range of storytypes and faktas – a set we can benefit from when taking the next steps. We made eventually four dummies. It seemed so easy at first. Then it got tricky.
Right: Anne Laitinen and Tiina Kalpa at the news desk. Everyone kept calm even though the deadline was shifted 1-1,5 hours earlier. Far right: Kari Riikonen, Lasse Raitio and Anne Laitinen figuring out a new page/section.
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I could not have guessed how time-consuming the design part was, for me. Originally I thought I’d spend most of the time creating order and building it all up in the system. I ended up spending time with design details. Tried out different solutions, sizes and stuff. Slooooowly. Had to warn the boss we won’t make it till deadline. I tried of course – and made a messy dummy in a hurry during Christmas time. Problems were not solved. I was stuck. That was a learning point for me.
In my weakest moment I turned to my SNDS colleagues. That support meant a world to me. Good talks and you-cando-it’s. Javier was there for me all the time – not to give you wrong impression. As I see it now, it took me quite a while to get comfortable with the whole design. I had to play with it to get there. Second, the only way I could finish the job was to do exactly what I want. Not think too much. Quick choices. I had a Post-it note on my wall back then. “It’s not that
hard”, it said. That was a line from a colleague I talked to at the SNDS conference in October. In March I could throw that Post-it away. Then I gained a point when it got easy. And fun. It was just a lot of work. The tech part went surprisingly easy and quick even though we did not manage to have enough hands on it. Far from that. MEETING THE READERS
We met the readers last summer and also published a
digital dummy. I had in-depth conversations with tens of readers, whose first impression was “It’s clear”. They felt it’s still TS. “I’m a subscriber, I can take anything”, one said (well, that does not translate well into English). Readers are ready for a big change. I was happy to say the design fits tabloid size when needed. Those talks were so good I did not worry about feedback after the launch. Reactions have been great, people are astonished, even. Bad reac-
tions mainly because obituaries were moved to a different place. Now there’s something new on my wall: a handwritten letter from an elderly lady, with compliments. The launch day, it went great. The people making pages stood behind this, that much I knew beforehand. But what was crazy, was how the whole house suddenly took part in it. I actually felt the redesign to take off. And now they are asking for more, already. Awesome.
The redesign project of TS went smoothly. It was well prepared and we had time enough to think, test and check. And adjust. This project is a fantastic example of an inhouse team and consultant proper cooperation. Roles were precisely defined. How TS has changed during this project? TS is now a more modern newspaper but keeping its soul, that means readers feel they are reading their own TS as always. But both the editorial and the design teams can use and take advantage of a wider range of tools to better display and explain stories. TS is richer in this sense. Javier Errea
Paper in print in time – cake for night shift! Anne Laitinen with news chief Ilkka Tervo, photo editor Christian Lenander and Marianne Mäkitalo from the news desk.
Anne Laitinen is Design Editor at Turun Sanomat. She holds a degree in journalism, is Vice President in the SNDS board and has served as a jury member in the Best of Scandinavian News Design competition 2014–15. × www.ts.fi
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“I was a sex-slave in Germany”; the quotes written through the page are descriptions of moments that still frighten the woman who was a sex slave. 5 July 2015
Get your hands dirty When Brasilian born Saulo Santana in 2012 relocated to Berlin he was challenged to improve the visual way of telling stories at Europe’s biggest weekly tabloid, Bild am Sonntag. In this interview with Jeminah Birkner, Santana shares his thoughts about the process
Text by Jeminah Birkner www.jeminah.com
Saulo Santana possesses skills way beyond his years. His visual journalistic foresight combined with a unique artistic taste has set the bar high for many newsroom’s visual departments, worldwide. In the last years, he designed, redesigned and made different contributions in the fields of print and digital for more than 30 newspapers and magazines in Europe, South
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America and The Middle East. He was formerly Art Director for the sport daily Marca and Correio Braziliense, a newspaper awarded “World’s Best Designed Newspaper” by the SND. It was quite interesting and unlikely that Saulo Santana would move to a popular tabloid newspaper with a completely different language (Bild am Sonntag, from Germany). But since then, an interesting change started to happen, it became inspiring and impressive.
So, we have to state the obvious now, it’s just apt to start the interview with the elephant in the room: “Why would you work with a popular tabloid, after previously working in the “best designed newspaper in the world?” Bild am Sonntag is the biggest weekly tabloid in Europe with more than 8,5 million readers. The biggest challenge was to have the possibility to change and improve their visual way of telling stories. I always believed that the potential of exploring these possi-
bilities in tabloid publications was not impossible.
How was it during the first months of work? You came from world renowned publications known for its amazing info-graphics, awards and recognitions. How is it now that you’re into a tabloid with a completely different working culture? I will never forget the great experiences I had with my previous jobs. I learned something great with each of them. But when I decided to move, I saw
“The Assad Act”; a special report shows the truth about Assad’s war on Syria: Chemical weapons, torture, mass killings. 16 August 2015
Visual storytelling brings emotion and encourages action. Badly designed stories are like a potentially good movie, but have no soundtrack PH
OT O: LÉ
Saulo Santana O CO
this opportunity as an amazing possibility to do something completely new. The first thing I thought when I arrived at Bild am Sonntag was to try to convince myself to adapt to what was already done there before and just carry on the old ways. And to think this way, was my first mistake. After a few months, I concluded that many of the amazing stories and articles were still not unleashed to their fullest potential. Visually, they were not stories, but many
times I found a number of elements just placed together.
What were the main visual “problems” you found when you started working in Bild am Sonntag? There were fundamentals such as basics principles to make a page or screen more functional and attractive that news designers should know by heart, which I didn’t see when I started working, these were possibly overlooked or not given so much importance. My impression was that
visuals were sometimes used more as decoration rather than key elements to tell the story itself. But before concluding anything, it was more important to understand how the newspaper communicated to their readers, how their relationship with them as individual readers was. The talented journalists that I work with were the key elements to help me understand how to bring those stories and reports visually to life while finding the right language that tabloids have.
Aren’t tabloid newspapers known for those “problems”? Tabloids are known for, “bad use of typography, lack of visual storytelling, “ugliness”… a lot of designers recognize it to be the DNA of such newspapers! One time, just a few days after I started at Bild am Sonntag, I met a well-known consultant in Washington. By then, I invited him to visit the newsroom in Berlin. I thought, it would be great for the team to get some inspiration. The first thing he told me when
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We shouldn’t care too much about profit, if the quality of the product is not at par anyway Saulo Santana
“It’s not over”; cover of the newspaper about the terror in Paris that shocked the world. 11 January 2015
“80.8 Millions of hearts beat for you guys”; cover on the day of the final match of the World Cup 2014. 13 July 2014
we met was, “Wow, this will be amazing! I love those ugly newspapers. I’m a huge fan!” I thought, “what does he mean by, ugly?” “Ugly” was lingering in my brain for a few days. Nobody would like to drive an ugly car, right? People are attracted to beauty by default. The world moves this way – speaking in general. Steve Jobs made his revolution with Apple by highlighting design and typography. Why then could we not bring this kind of standard visually to tell all those amazing stories? Why couldn’t a popular newspaper use all the power that visual journalism can bring?
publication, to surprise. Popular newspapers don’t need to be ugly to work. Visual storytelling brings emotion and encourages action. Bad designed stories are like a potentially good movie, but have no soundtrack. After the first months in the newsroom, nobody could convince me that all the poorly executed visuals which I found in some stories, were really what the readers wanted. I was sure that it was possible to unleash that power visually. Believe me when I say that, it’s possible to bring visual storytelling into the language of a tabloid. And the results can be impressive as well.
Did you find those answers? I am convinced that no popular publication needs to be ugly. And I am even more convinced that any story in any kind of newspaper can be told with the same power visually, which the article also contains.
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They work hand in hand. So, I was motivated to do just that. This was the first lesson I learned working for a popular newspaper, “Trust what you believe, trust your gut. A bad visually designed article is just as bad as a badly written one.” Richard Saul once said something that is the basis for information architecture: “You only understand something relative to something you already understand” - and I truly believe that visual storytelling can be a big help to do that.
What was your process in order to introduce this in a Tabloid / Yellow press style? For me, there is no tabloid-style or Yellow Press style. Yet, there is such a thing as tabloid-language, and it doesn’t have to be ugly, as many people say. I think popular newspapers have a special ability, more than any other
When and how did things start changing? What was your basic concept of change? I assumed the position of Head of Art Direction at Bild am Sonntag together with
Marion Horn (Chief Editor). Her unique view to what a tabloid should be, guided us to a completely different approach. We decided to bring good stories as a first priority. Pages started to simplify so the navigation could be mapped out easier and highlights, could really be highlights. “Content became king”, that was my most important goal. I challenge myself in each edition to use visual elements that would tell a story and say, “look who I brought” and not “look who I am”.
Taking a look at the results and the feedback taken from the pages you’ve produced for Bild am Sonntag, they are definitely inspiring and revolutionary in the tabloid industry. I’ve visited different tabloid newsrooms in Europe and many people have mentioned your work as a reference for raising the bar with
Saulo Santana has a daily blog where he shares his views and experiences: × www.saulosantana.com
I challenge myself in each edition to use visual elements that would tell a story and say, “look who I brought” and not “look who I am” Saulo Santana
storytelling for tabloids. But we know there is still a crisis when it came to number of sales, did this improve? I’m not allowed to disclose profit numbers. But, after these 2 years, I can say it’s much better than the company expected. They are very good. (Smiles) I don’t think design is the only thing that can save a publication, although it can possibly kill one! I believe in the power of telling stories visually. For me, attracting readers at first glance, is key. After passing by different newsrooms in the world, are there any common grounds shared with them? Are there any advice you could give in general on a regular basis? There’s a lot, to be honest, but maybe the most important thing I’ve noticed in most newsrooms I´ve worked in the last years, there were
“Listen to us!”; 100 important people in Germany write about how important it is to help the Refugees. 30 August 2015
SNDSMagazine 2015|4 25
“The 50 best beaches in Germany”; opening page of the special report. 3 August 2014
What best defines “visual storytelling” is the combination between visual narrative and emotional reaction Saulo Santana
moments when the editors worried more about the numbers rather than the quality of the product. Sometimes this makes them loose the focus of improving their publication and taking risks. There is always something to improve, and sometimes if you don’t take a risk, you don’t change, and in conclusion you don’t move forward as a publication. There are always better ways to catch your readers’ attention, as well as the possibility to make selling profit increase. We shouldn’t care too much about profit, if the quality of the product is not at par anyway.
If you compare your experience to all those traditional
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newspapers where you have worked before, is there any special formula for bringing “visual storytelling” to a tabloid? I’m not sure there’s any recipe written on stone for that matter, but I could say that understanding the language of the publication should be the first step. You need to know and understand your readers. And for me, what best defines “visual storytelling” is the combination between visual narrative and emotional reaction. If you achieve both, you can be sure that you’ve reached your readers. Change is always hard. To change the culture of your team is even harder. If I could give any tip for a person who
is trying to do it; “stop criticizing the past”. You have to get your hands dirty, inspiring your team with what you say by doing.
Do you mean it’s the same for digital platforms? Yes, no doubt it is. It’s funny because I did things the other way around. I started my career working in the digital platform first before working on the print. For me, there is no difference when it comes to visual storytelling. The power of telling stories visually applies in all platforms. In digital, you have of course different “tempos”, frequency strategies, and how your readers come to you to consume your story is also
different. You need to have this in mind. But the most important fundamentals in visual storytelling are all the same, there are only different tools and means to achieve what we want.
Jeminah Birkner is a visual storyteller, she does freelance photography and visual documentation × www.jeminah.com
“Is the Grexit so bad?”; report about the crisis in Greece. 5 July 2015
“In the name of the drink”; a special report about the presence of Red Bull in different sports. 21 October 2012
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ILLUSTRATION: MAJ RIBERGÅRD
How to visualize a non-visual story Senior Designer Paul Wallen’s tips to how you can visualize just about any story, even on a deadline By Paul Wallen @pwallen First things first: Every story is visual. That’s because images naturally flow from words. For example, if I write “dog,” you quickly visualize in your mind what the dog might look like, right? Similarly, potential visual solutions are self-contained in each story. The challenge, of course, is identifying and executing the solutions. Even if you have a great idea, time, resources, ability and many other factors come into play. Hopefully you have a strong photo, infographic or illustration to work with. But if you don’t, all is not lost. Here’s how you can visualize just about any story, even if you’re on a deadline. RELISH THE ROLE
This isn’t just some mental mumbo-jumbo. Attitude is critical. If you waste time complaining about missed opportunities and planning failures, you’ve already lost. Those things can and should be addressed later. Right now, 100 percent of your focus needs to be on coming up with a viable visual presentation. And merely
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accepting the challenge isn’t good enough. Relish the opportunity. These are the moments when resourceful designers shine. Why do people like super-heroes so much? Because they save the day. Here’s your chance. Be super. USE THE SECRET SAUCE
The recipe may vary when it comes to making something from nothing, but there’s one ingredient you can’t do without: Editing. Why should people care about this story? What makes it important? Where’s the verbal hook that will cause a reader to stop and pay attention? There’s only one way to answer those questions, and it’s not by looking at the budget line. Read and edit. Read and edit. Read and edit. Then read and edit some more. It’s all about finding those irresistible informational tidbits. If the story isn’t written yet, talk to the writer or editor. WRITE A COMMERCIAL
Time to put on your marketing hat. Take those irresistible tidbits and write a commercial for the story. Seriously. If you had a 30-second spot to tell readers why they should buy this story, what would it say? Actually write out a few lines
for this imaginary commercial, keep it simple and focused. If you’re pressed for time, try coming up with a short sound bite or two. At minimum, make a list of key words. FLOW, VISUALS, FLOW
Remember that thing about images flowing from words? It’s go time. Start translating your commercial into as many possible visuals as you can. Write down lists of images that your sound bite or key words bring to mind. Don’t get too bogged down in specifics yet, just come up with as many visual representations as you can. Don’t forget to consider typography, shapes and color. These are powerful visual tools when combined with focused storytelling. BRING IT ALL TOGETHER
By now you are probably starting to get a feel for the possibilities. But don’t jump on the obvious ones right away. Experiment with putting together the words and images you came up with in different ways. Mix and match. Don’t be afraid of ideas that seem crazy or funny; many brilliant solutions begin that way. When you have narrowed down the possibilities to a few favorites, make some quick sketches. Your sketches
should not be complicated or look like works of art, but they will help you quickly move through the basic problem-solving stages. Even the most basic sketches will help you think about space, scale and composition. COLLECT YOUR BONUS
Oh, by the way, if you took that whole commercial-writing seriously, chances are you have already come up with some pretty good headline possibilities that will work hand-inhand with your visual concept. Be sure to take advantage by building in a working headline. Editors may end up improving on it, but a working headline will at least help give them an idea of what you’re trying to communicate to your readers. First published 2013 in How 2, a special issue of Design Journal from SND. ISSN 1520-4243
Paul Wallen is Senior Designer at ESPN the magazine.
where strategy meets technology Let our world class publishing solutions accelerate your business strategy.
SNDSMagazine 2015|4 escenic.com
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t firstname.lastname@example.org Njaal Kværnes Østerdølen PB 125 NO-2480 Koppang email@example.com Magne Kydland Sunnhordland AS Postbox 100 NO-5401 Stord firstname.lastname@example.org Lasse Lambrechts Bergens Tidende Egedes gate 14 NO-5034 Bergen email@example.com Endre Maurstad Lilletvedt Bergens Tidende Postboks 7240 NO5020 Bergen firstname.lastname@example.org Embrik Luksengard Hallingdølen Sundrevegen NO-3570 Ål email@example.com Elin Madsen Hordaland Evangervegen 32 NO-5700 Voss em@avisa-hordaland@no Ingrid Meisingset Adresseavisen Box 6070 NO-7003 Trondheim ingrid. firstname.lastname@example.org Jonas Nilsson Adresseavisen Fergemannsveiene NO-7200 Trondheim email@example.com Sigmund Nordal Dagbladet PB 1184 sentrum NO-0107 Oslo firstname.lastname@example.org Torry Pedersen Verdens Gang AS Postboks 1185, Sentrum NO-0107 Oslo email@example.com Espen Rasmussen Adresseavisen Gustav Byes vei NO-7020 Trondheim e firstname.lastname@example.org Ronny Ruud Aftenposten Postboks 1, sentrum NO-0051 Oslo email@example.com Hildegunn Soldal DB Medialab AS PB 1184 sentrum NO-0107 Oslo firstname.lastname@example.org Jarle Stanes Hallingdølen Sundrevegen NO-3570 Ål email@example.com John Kristian Strand Vårt Land Tanumvegen 14 NO-2100 Skarnes firstname.lastname@example.org Arne Størksen Bergens Tidende Postboks 7240 NO-5020 Bergen email@example.com Ingfrid Sørlie VG Helg Akersgt. 55 NO-0107 Oslo firstname.lastname@example.org Bjarne Tormodsgard Hallingdølen Hovesvingen NO-3570 Ål email@example.com Bjørnar Valdal Dagens Næringsliv Postboks 1182 Sentrum NO-0107 Oslo b firstname.lastname@example.org Kitti Øvrebø Verdal Jærbladet Meierigata 22, Postboks 23 NO-4349 Bryne email@example.com Erik Vestgård Nationen Postboks 9390, Grønland NO-0135 Oslo firstname.lastname@example.org Nils Vik D2 Christain Kroghsgate 16 NO-0107 Oslo email@example.com
Stig Vågnes Sunnmørsposten Røysegata 10 NO-6003 Ålesund firstname.lastname@example.org Torfinn Weisser Verdens Gang Postboks 1185, Sentrum NO-0107 Oslo email@example.com Nils Harald Ånstad Sunnmørsposten Røysegata 10 NO6003 Ålesund firstname.lastname@example.org
Spain (2) Javier Errea E rrea Comunicación Larrazko 93, Oficina 201 E-31013 Ansoáin email@example.com Pablo Errea Errea Comunicación Larrazko 93 Oficina 201 E-31013 Ansoáin firstname.lastname@example.org
Sweden ( 16) Lars Andersson Norran Box 58 SE-931 21 Skellefteå email@example.com John Bark Bark Design AB Vildkattsvägen 10 SE-133 36 Saltsjöbaden firstname.lastname@example.org Mikael Eklund B arometern Södra Långgatan 33 SE-391 88 Kalmar email@example.com Göran Forsberg Expressen Gjörwellsgatan 30 SE-10516 Stockholm firstname.lastname@example.org Rickard Frank D agens Nyheter SE105 15 Stockholm email@example.com Linda Häggström Svenska Dagbladet SE-105 17 Stockholm firstname.lastname@example.org John Hällström U psala Nya Tidning Box 36 SE-75651 Uppsala email@example.com Lena Lilliehorn G ate 1 Valhallagatan 27 SE-582 44 Linköping firstname.lastname@example.org Fredrik Lystell S tampen Polhemsplatsen 5 SE-405 02 Göteborg email@example.com Maria Nilsson Kristianstad Bladet Box 537 SE-29135 Kristianstad firstname.lastname@example.org Martin Olsson Värmlands Folkblad Box 67 SE-651 03 Karlstad email@example.com Nils Kr. Reppen Nyhetsgrafikk.no / NTB Esplanadgatan 22 SE-28138 Hässleholm firstname.lastname@example.org
Ulrika Sturén E xpressen Gjörwellsgatan 30 SE-10516 Stockholm email@example.com Anders Tapola S målandsposten/ Sydostpress SE-351 70 Växjö firstname.lastname@example.org Clas Thorensson Upsala Nya Tidning Box 36 SE-75651 Uppsala email@example.com Matilda Wiman S veriges Television Bergsgatan 27 A SE-11228 Stockholm firstname.lastname@example.org
United Kingdom (2) Wesley Fernandes N ature The Macmillan Building, 4 Crinan Street N1 9XW London email@example.com Jasiek Krzysztofiak Nature 14d Thane Villas N77PA London firstname.lastname@example.org
United States ( 2) Brian Anderson V ox Media Inc. 1201 Connecticut ave NW 11thfl 20036 Washington email@example.com Josh Laincz Vox Media Inc. 1201 Connecticut ave NW 11thfl 20036 Washington firstname.lastname@example.org
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SNDSMagazine 2015|4 31
SNDSMagazine 2015|4 in my honest opinion
A great opportunity By Flemming Hvidtfeldt firstname.lastname@example.org
closer academically relationship with the Nordic countries.
During the last board meeting at SND in Orlando in October, SND agreed that SNDS should include the Baltic countries Estonia, Latvia and Lithuania in SNDS. I am pleased that we now have the opportunity to expand SNDS, which will broaden SNDS and the possibilities we have to build an even stronger design-society in our part of the world.
I consider the expansion a great opportunity for SNDS and for news design both in the Baltic countries and in the Nordic countries in our constant work to secure good news design.
Years ago, SNDS had a cooperation with the Baltic countries. Media companies from Estonia, Latvia and Lithuania were invited to participate in the competition Best of Scandinavian News Design. But sadly enough SNDS did not at the time bring the cooperation to a level, where the Baltic countries were invited to be a part of SNDS. It happens now. During the next months we will invite media companies as well as publishers’ organizations in the three countries to join SNDS both as members and as participants in the upcoming design competition in print and online – as well as participants in the next conference which will be held in October 2016. I do believe that media companies in Norway, Sweden, Denmark, Finland, Greenland, Iceland and Faeroe Islands PH OT OB as well as news designers in the Y LA RS A A R Ø mentioned countries will benefit from the expansion. The Baltic countries have a lot to contribute with when it comes to news design. As well as these countries can benefit from a
In addition to this the expansion hopefully will contribute to new partnerships across the Baltic Sea. The mentioned countries have a long history in common and I hope the inclusion of The Baltic countries in SNDS at a new level will strengthen the bands between all the countries. In another perspective the expansion of SNDS marks a new step in our work to secure and develop news design. We now have the opportunity to speak with a bigger impact in SND and in that way affect the development the society. In the last year or so we have managed to affect the development in our mother organization. It will now become even bigger. I hope everyone will greet the expansion of SNDS welcome and exploit the possibilities the expansion offers. Finally I would like to wish everyone a merry Christmas and a happy New Year and please do not forget to join the competition Best of Scandinavian News Design 2016. You will regret it if you do not participate.
Flemming Hvidtfeldt is SNDS President and chairman of the committee for the Best of Scandinavian News Design competition. He is a freelance journalist.
BECOME A MEMBER OF SNDS
Join the professional network for news designers and visual journalists: A global network to people working in the news business all over the world. SNDS Magazine – four printed issues every year with info, news, advice and more. Catalogue with all winners in the annual Best of Scandinavian News Design competition.
R educed price for participating in the annual seminar and workshop. Invitations to events organized by SNDS. Found out how to join: www.snds.org/member