SNDSmag 1|2013 by SNDS Magazine

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Looks like a winner! 6-8 It ain’t easy 3 World’s Best Designed: 40% Scandinavian 4-5 Responsive or adaptive web? 10-12 World Press Photo of the Year 2012 16-19 Popular lies about graphic design 20 Is it a font? Is it a graphic? – or both? 20-21 National Geographic on the iPhone 22-25 Understanding visual communication 26-27 SND: A key reference for design professionals 28-30 Scandinavian news design still rules 32

Sweden

NORway

SNDS.ORG

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

Kristoffer Nilsen Morgenbladet, Etterstadsletta 55b N-0660 Oslo, Norway E-mail: kristoffer@saftogvann.com

Lars Andersson Upsala Nya Tidning, Box 36, S-751 03 Upsala, Sweden Tel.: +46 18-478 16 79 E-mail: lars.andersson@unt.se

DeNMARK

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

FINLAND Communication Stefani Urmas Aamulehti, Itäinenkatu 11, 33100 Tampere, Finland E-mail: stefani.urmas@aamulehti.fi

Business Manager/ Treasurer Frank Stjerne JP/Politikens Hus, Rådhuspladsen 37, DK-1785 Copenhagen V, Denmark Tel.: +45 33 47 23 99 E-mail: frank.stjerne@jppol.dk SNDS Secretariat Lone Jürgensen Morgenavisen Jyllands-Posten, Grøndalsvej 3, DK-8260 Viby J, Denmark Tel.: +45 87 38 38 38 / 31 08 E-mail: lone.jurgensen@jp.dk

SNDS MAGAZINE

Best of Scandinavian News Design Chairman of the Competition Committee Flemming Hvidtfeldt Berlingske Media, Vesterbrogade 8, DK-8800 Viborg, Denmark Tel.: +45 20 91 17 52 E-mail: flhv@stiften.dk Substitutes for the board Søren Nyeland, Politiken, Denmark Pieta Forssell-Nieminen, Keskisuomalainen, Finland Lill Mostad, Mediehuset Østfold, Norway Petra Villani, Sydsvenskan, Sweden

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

SNDSMagazine 2013|1

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

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

Read SNDS Magazine as e-magazine: E www.snds.org/magazine

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.

The front page shows jury member Elisabeth Svendby, chief designer of onsite.no, working to find winners in the online categories of the Best of Scandinavian News Design competition. Photo: Lars Aarø, www.fokus-foto.dk. See more on pages 6–8.

Published by: Society for News Design Scandinavia E www.snds.org

SNDS is on Facebook: E facebook.com/sndscandinavia

ISSN 1901-8088

SNDS is on twitter: E @sndstwit

SNDS Magazine 2013|1 Editorial

It ain’t easy It ain’t easy. It ain’t easy It ain’t easy to get to heaven When you’re going down – David Bowie, on The Rise and Fall of Ziggy Stardust and the Spiders from Mars, 1972 n Well, it

certainly ain’t easy being a media company these days. Fewer and fewer costumers want to buy advertisements in our publications, readers are disappearing, and there’s heavy competition from social networks and other players who are able to adapt to the changes in society and in the behaviour of users much faster than we are. It’s no wonder that the old companies struggle for survival and tend to focus on quick results, cutting staff and trying to find ways to do things faster, more efficiently, and cheaper. But this shortsighted way of optimizing a newspaper, magazine, web service, or a mixture of all these may not be the best way to stay healthy. It may be a better investment to look further than the next six months’ bottom line and instead think ahead and make plans for the future. Turn your business model upside down – and take a wild guess at what will be the cool thing to aim for in a year or two. Finding out which way to go ain’t easy. Two major players in the market recently chose opposite directions: Jyllands-Posten, one of Denmark’s largests dailies, took the bold decision to hire a head of design – for the first time ever in the company’s nearly 150 year-old history. Almost simultaneously

Svenska Dagbladet, the Swedish design icon and multiple World’s Best Designed winner, announced that its design director since 2001, Anna Thurfjell, will leave the newspaper to start her own company later in 2013. So JP and SvD both try something new, for sure. Maybe you should, too? Who knows – you might come up with something really great, but you may of course also be completely wrong. “Wrong” is the theme for this year’s SNDS seminar, which will take place in Copenhagen on 10-11 October 2013. Wrong can be right – and sometimes the best solutions turn up by chance or by someone doing something completely wrong and learning by the mistakes. What else ain’t easy? In this issue, we focus on a great storytelling tool – infographics. We invite you to take a rare look behind the scenes of one of the world’s leading infographics departments – that of the National Geographic. This iconic magazine is known for devoting months to its projects, and the magazine’s art director Juan Velasco gives us a first hand view of how the print product was recently transformed into an equally dedicated but completely different iPhone version. Read the story on page 22. Ole Munk looks at Alberto Cairo’s new book, The Functional Art, about the mysteries of information graphics and visualization (page 26). Ole Munk has also tested the special font FF Chartwell – which is much more than

just a typeface: Using the endless possibilities of the OpenType format, FF Chartwell gives you a quick and easy way to build pie charts and many other graphs. See page 20. Kim Pedersen, head of design at Ekstra Bladet, takes us into the world of html and other coding languages in his “Beginner’s crash-course in responsive vs. adaptive webdesign” on page 10-12. His examples of how websites must adapt to the way users seek out news on different platforms was a real eyeopener to us – so hopefully it will be to you as well. Building a website that caters for everybody’s needs sure ain’t easy – but it is possible. World’s best x 2 The Swedish newspaper Dagens Nyheter (DN) has had a very good year already. Together with Danish Politiken, DN was named one of five “World’s Best Designed Newspapers” in the SND34 contest – and in the very same week, DN’s photographer Paul Hansen won the prestigious “World Press Photo of the Year 2012”. Our own competition, “Best of Scandinavian News Design”, has also been judged and winners have been found. The results will be kept secret until the SNDS seminar in October, but you can get a glimpse of the jury’s hard work (and happy days) in Legon land on pages 6–8. Enjoy! Lisbeth Tolstrup & Lars Pryds Editors, SNDS Magazine

Best of Scandinavian News Design book and dvd SNDSMagazine 20113|1

Back issues of the SNDS competition catalogue from previous years are still available. Contact Lone Jürgensen at lone.jurgensen@jp.dk for info and prices and to order your copy of the book and/or DVD with winning pages.

Note: Shown are the five most recent issues of the book – books from earlier years are also available. Some issues may not include the option of a dvd.

World’s Best Designed: Dagens Nyheter and Politiken were two out of five winners of SND34 World’s Best Designed Newspaper. The three others were two German broadsheets, Die Zeit and Welt am Sonntag, and The Grid from Canada. Lars Pryds pryds@mac.com again, Scandinavia made its mark in the SND World’s Best competition, where the winners were announced in February. Politiken (DK) won their third title (they also won in 2006 and 2012), but for Dagens Nyheter (S) it was the first time to be up there among the big multiple winners: “We are very exited to be a member of this party! One of our objectives when redesigning Dagens Nyheter in 2011 was to take a more prominent place among the world’s best news papers. This is a proof that we succeded,” says Lotta Ek, Dagens Nyheter’s Art Director. The judges among other things applauded Dagens Nyheter for mixing fun and dramatic stories in one cohesive newspaper. But that’s not all it takes to turn Dagens Nyheter into a great newspaper, says Lotta Ek: “It is ALL the people working at Dagens Nyheter every day, all year around, that make the newspaper. Not only journalists but colleagues in all departments, on every level. Discussions, cooperation, and lots and lots of drafts are the key to a successful product. Søren Nyland, Head of design at Politiken, is happy to win again:

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n Once

Dagens Nyheter, Sweden. World’s Best Designed newspaper: 2012

“It is an amazing and uplifting experience to win two years in a row. And three times in total. I thought it would not be possible in competition with the New York Times, Guardian, El Globo, Expresso and the many new newspapers from the Middle East that present brand new exclusive design. The words from year’s jury has made us happy. We are particularly pleased with this sentence: ‘Politiken’s efforts have become a defined classic in the industry, but the designers and editors somehow manage to renew their energy every day’ ”. The Grid, Canada. World’s Best Designed newspaper: 2011, 2012

The judges commented on the fact that Politiken is a consecutive winner but has managed to elevate its great work: “The base quality comes from a very strong use of photography, interesting choices, provocative edits and strong play. But they’re fearless about which resources or visual languages they’ll use to deliver each day’s report. The range is spectacular when you look at the different styles they use: from classic displays and intimate portraits, to even turning the cover completely into a hand-drawn comic book.” Politiken, Denmark. World’s Best Designed newspaper: 2008, 2011, 2012

40% Scandinavian

The three other winners of the title have all tried to be named World’s Best before. The Grid, launched as late as May 2011, also won last year, Die Zeit has won six times since 1998, and Welt am Sonntag took the first title in 2008. The rest of the best “Several fascinating innovations popped up in the general competition,” the jury say – such as new micro format papers and the use of technology like augmented reality to enhance printed pages. “Many Asian papers are starting to Welt am Sonntag, Germany. World’s Best Designed newspaper: 2008, 2012

use Western design methods but are still maturing; Latin American newspapers burst with energy but some lack focus. In the Middle East, the quality of printing and production is impressive; we look forward to the evolution of their individual personalities.” However, the judges would like to have seen more illustrations and especially information graphics: “These are the tools that newspapers can use to distinguish their content from the pack and add context and understanding to their report,” as they Die Zeit, Germany. World’s Best Designed newspaper: 1998, 1999, 2001, 2002, 2004, 2012

said in a final statement, published on the SND website. These remarks caused some debate about the structure of the competition which some commentors said itself “re-inforces the ignorance of the value and opportunity of including more illustrations (and graphics)” in the submitted entries. Follow and participate in the discussion on bit.ly/152Rn9s n

See also: Scandinavian design still rules page 32

E www.snd.org

The SND34 competition in numbers: Winning entries: 717 Total entries: 9,262 Gold medals: 3 Silver medals: 36 Judges Special Recognitions: 10 Awards of Excellence: 673

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no. 1 Dagens Nyheter presented the happy news of being World Champions in design across a full spread in the newspaper on 15 February, showing also some of the many pages that won in the general SND34 Best of News Design competition.

wrong Who else than Politiken would have the courage to present the news of being the best designed newspaper in the world by completely fucking up the design of the story? Mads Zacho, acting back page editor at Politiken, came up with the idea of visualizing the design award this way. The text of the first paragraph reads: ”If you do not appreciate the smallest details in your everyday life, you are at least reminded of them, when they are no longer there”. Politiken, 15 February 2013.

Nine gold awards – highest Great magazine work in print and pragmatic mobile web design dominated the “Best of Scandinavian News Design” competition for work published in 2012. Lars Pryds pryds@mac.com nA

total of 91 winners can look forward to the “WRONG” SNDS seminar in October 2013. Here, they will all receive proof of having created the best designed news publications in 2012. Twelve jury members gathered in Billund in February and chose from hundreds of entries in both online and print. On these pages, we give you a glimpse of the process of finding the winners – and in parallel to the judging, the winning entries are registered, categorized and photographed. Some entries (and winners) were enormous – one was a photo feature printed across 51 (that’s “fifty-one”!) pages – so of course, we had to pick only a few spreads to show in the catalogue which will also be published in October when the winners are announced.

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Print crisis? What print crisis? The number of entries were surprisingly high. Chairman of the committee Flemming Hvidtfeldt says: “It was very nice to see such a high number of entries – in spite of the economic crisis. And the quality of the entries in the print categories were definitely on a high level. It was also good to see that local and smaller newspapers were of high class. “ The high level caused the print jury to find the highest number of gold award winners ever – nine entries will get the highest recognition in this competition. One of the gold winners will also be awarded with the prestig-

ious title “Scandinavia’s Best Designed Newspaper”. In the online categories the level was not as high as in print, apparently. Kim Pedersen, chairman of the online competition, sums up his impression of the online entries this way: “There was a high number of responsive designs this year, which was very nice to see. But a very low number of mobile apps – mediahouses have entered and embraced the more pragmatic mobile web. It seems like production is in focus, and not so much new developments or original initiatives.” No online gold winners were found. Hopefully, we will see new initiatives n that will deserve gold next year. All photos by Lars Aarø: E www.fokus-foto.dk More photos from the jury's work: E www.snds.org/billund2013

a winner? Yellow post-it notes are used to signal that the work should win an award.

9 22 38 1

Gold Awards Print categories

Silver Awards Print categories

Awards of Excellence Print categories

Best Detail Award Print categories

number ever!

screen test The online jury at work.

Gold Awards Online categories

Silver Awards Online categories

Bronze Awards Online categories

Concentration and coffee Walter Jensen.

Awards of Excellence Online categories

Best Detail Award Online categories

Best Feature Award Online categories

E SNDSMagazine 20113|1

Concentration Walter Jensen, Rickard Frank, Tone Gilje, Olli Nurminen, Cilla Nilsson.

online jury at work Ulf Högberg, Asmo Halinen, Elisabeth Svendby and Kim Pedersen working to find the online winners. Rikke Tange, also member of the online jury, was not present when this photo was taken. Photo to the right: Asmo Halinen in deep concentration.

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In legoland The jury and competition committee photographed in front of a Dragon built in Lego bricks in the reception hall of Hotel Legoland, venue of the juries’ work to find this year’s winners. From left to right, back row: Kim Pedersen, Rickard Frank, Walter Jensen, Søren Stidsholt Nielsen, Olli Nurminen, Stafni Urmas, Asmo Halinen, Elisabeth Svendby, Rikke Tange, Cilla Nilsson, Tone Gilje, Lone Jürgensen. In the front row: Lars Pryds, Flemming Hvidtfeldt, Ulf Högberg, and Søren Nyeland. Print jury member Christian Jensen was not present. Photos: Lars Aarø.

763 68 91 Entries submitted Print categories

Entries submitted Online categories

Total number of winners Print and online categories

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A beginner’s crash-course in responsive vs. adaptive webdesign In today’s ever changing landscape of the mediaworld, newssites need to stay strong, clear and to deliver the best possible experience to the customers – wherever they are, whatever platform or device they are using. This is where responsive webdesign has been seen as a savior to the performance of many websites. But is there more to it – and what is it really? Kim Pedersen kim.pedersen@eb.dk n Responsive

webdesign is basically about designing with the many screen sizes on many differenct devices in mind. But there is a history of this, and there are subtleties to be aware of. Getting the terms right will help you discuss and decide about these matters.

formatting, like using for instance, paragraph-styles in InDesign. This approach however, leaves us with some problems – like columns and elements getting too narrow or small – on small screens. So, we need something to happen in certain screensizes ...

of widely used desktop and mobile devices, for instance: 1280, 1024, 768, 640 or 320 pixels. We get this information by asking (in the code) – doing the so-called “media-queries”.

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Responsive layout According to Wikipedia, a site designed with Responsive Webdesign Breakpoints uses CSS3 media queries to adapt the When Ethan Marcotte first coined the layout to the viewing environment— term “Responsive webdesign” in 2010 with fluid proportion-based he stated that one of the most imporAbstract example of fluid along webdesign grids and flexible images. Here we tant design-decisions they did with the Fluid proportionbased design have a combination of the fluid design Boston Globe website was the decision Since the early days of html it has been approach and the breakpoints. Pay of “breakpoints”. possible to make a design that actuattention to the fact, that it is the “viewBreakpoints is the pixel-width of ally will adapt to the resizing of the ing environment” – that is; we only deal the browserwindow, where you as a browserwindow. In those days we used with the visual layout of the page. webdesigner has to decide when sometables with cells in percentages. So, in responsive webdesign, we thing new will happen with the design. An element in a fluid proportiondon’t specifically serve different content For instance, when the user resizes based design has a size defined in a or different functionalities – we simply percentage of the width of the webpage. the browserwindow (or simply has a smaller screensize if viewing the webrearrange the items we have, maybe Also, describing typesizes in “em” or % site on a smartphone) you can decide hide a few or show them in a different and not in exact points or pixels has that under 640 pixels the design should way – like scaling a photo (“flexible made it possible to make typography look different than before it reached images”) or making the menu vertical more fluid and scalable. Tables were instead of horisontal. We basically just later widely replaced by the use of CSS the 640 pixels. Mostly, the breakpoints Abstract Style example of fluid webdesign are determined from the screenwidths ask about the screensize – then gets an (Cascading Sheets) – a kind of Abstract example of responsive webdesign

Fluid webdesign

Responsive webdesign

In fluid proportionbased webdesign, the columns and maybe elements are scaled proportional to the size of the viewport/browserwindow.

In responsive webdesign, the content reflows and resizes as the size of the browserwindow is resized.

Abstract example of responsive webdesign

Ekstra Bladet in the digital world: An adaptive design-aproach

Ipad portrait Even less room for header and navigation - the size is maintained due to â&#x20AC;&#x153;finger-friendlynessâ&#x20AC;?. The right column is tucked away in a tab to allow more space for the photo and text.

Ipad portrait The typesize of the article is maintained and we get two lines in the header and three lines in the phototext.

Iphone On the smaller screen of a smartphone the users get an adapted experience in regards to navigation, content and layout.

Ipad portrait The right column can be pulled out with the tab and scrolled independently from the main article.

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Desktop In the desktop version there is room for more ads, wider navigation and top-elements.

Ipad landscape On the iPad in landscape mode there is still room for the right column. Less room for the header and navigation due to maintaining the same size. Different ads are served and horisontal elements and photogalleries can be swiped.

Responsive pioneers Boston Globe was the first major newssite making use of responsive webdesign. Here are examples of how the same page looks different when seen on different size screens. The site was designed by Ethan Marcotte in cooperation with design companies Upstatement and Filament Group, as well as the Boston Globe design crew led by Design Director Miranda Mulligan, and launched in 2011. The design was named World’s Best designed website by SND33 in 2012.

responsive With sporten.tv2.dk, the Danish TV2 have made a responsive webdesign. The problem with not going adaptive is that the content doesn’t adapt. In this example it means that the physical photos still have the same big size – and big filesize as before they were scaled down in the layout. This means a lot of kilobyte downloaded on the users device – for no reason.

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answer and let the elements respond to that on the fly. However, we can actually ask for a lot more. Adaptive design There seems to be an agreement that adaptive webdesign is the definition of a website, which “asks” the device: “who are you?”, gets an answer, and then serves a specific layout AND content AND functionalities to that specific device. This is the aforementioned “mediaquery” – but now asking for a lot more. For instance, if the website gets the answer: “I’m an iPhone with retina display” then we can serve the user a specific layout for that device of 640 pixels in width, with big buttons in iPhone-GUI-style, swipe-functional-

ities, relevant local news by the user’s gps-location, special versions of photos, infographics and videos – and maybe even serve an alternative layout and functionalities for horisontal vs. landscape mode. So, the difference between the adaptive and the responsive webdesign is basically that in the the adaptive approach we ask for A LOT more – but we also have to cater for a lot more. We can for instance ask for the screen size AND the device-type AND the orientation of the device (landscape/portrait). BUT: We have to use that information for something and serve the user a design which then takes advantage of these things. It takes wise designers and clever coders – but doesn’t it all? n

Kim Pedersen is member of the SNDS Online Competition Comittee and has been working, writing and lecturing in the field of graphic design for 20 years. Since 2006 he has been Head of Design at Ekstra Bladet, Denmark. See also these examples of adaptive and responsive newsdesign: E www.borsen.dk E www.svt.se/nyheter E www.kjendis.no E www.hs.fi/paivanlehti Find much more in-depth information and some of the resources behind this article in this link-bundle: E bitly.com/bundles/designchefen/2

the Newspaper is

ReboRn welcome digital

CCI EuropE A/S . www.ccieurope.com

TAKE A WALK ON THE WRONG SIDE Our industry went wrong because we tried to do everything right. This conference will focus on all those designers who deliberately did something wrong and suddenly hit something right. Like the Grid from Toronto! Come to Copenhagen and take a walk on the wrong side with some courageous speakers in October. We are still negotiating with obvious speakers, but please feel free to report any wrong speaker you heard of!

snds.org/wrong

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World Press Photo of the Year

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2012: Paul Hansen, Dagens Nyheter, Sweden

Norway: On the surface it looks like any teenager. But Elise is a changed girl forever. Her mother Aina will never be able to forget her daughter’s desperate whisper over the phone from her hiding place on Utøya. “Mom, they are shooting, they are shooting.” From a series of photos taken one year after Elise witnessed the terror actions on Utøya, Norway.

World’s best photographer In the same week as Dagens Nyheter was named World’s Best Designed Newspaper, the paper’s photographer Paul Hansen won the equally prestigious award for World Press Photo of the year 2012. He is the first Swedish photographer ever to win this title. Lars Pryds pryds@mac.com

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n Paul

Hansen’s photo (see page 16-17) also won in the category “Spot News Singles”. It shows a group of men carrying the bodies of two dead children through a street in Gaza City. They are being taken to a mosque for the burial ceremony while their father’s body is carried behind on a stretcher. Twoyear-old Suhaib Hijazi and his older brother Muhammad were killed when their house was destroyed by an Israeli missile strike. Their mother was put in intensive care. The picture was made on 20 November 2012 in Gaza City, Palestinian Territories. “I don’t remember the exact moment when I took the picture. I remember the heat, the smell of sweat. I remember all the screams; it was like a wave of sorrow. There were hundreds of

people. Everyone was crying, everyone was shouting. It was a cacophony of sound and emotion. And there I was, running around and trying to translate all of that into one five hundredth of a second,” Paul Hansen said to DN.se after being told that his photo is now regarded as the best press photo taken in the year 2012. Scandinavians have a long tradition of winning in the many categories in World Press Photo, but Hansen is only the fourth Scandinavian winner of the main prize. The three previous were all from Denmark: Mogens von Haven (1955, the first year of the contest), Claus Bjørn Larsen (1999) and Erik Refner (2001). Winning is not new to Paul Hansen – he has been named Photographer of the Year by the POYi twice (2010 and 2013), Photographer of the

Year in Sweden seven times, and two first place awards from NPPA. He is based in Stockholm and has worked for Dagens Nyheter since 2000. The World Press Photo icons In the World Press Photo context Paul Hansen joins a long list of iconic photographers – of which most have showed us strong photos from war zones and catastrophes. In the 1960ies and 1970ies the Vietnam war dominated the list for years – with Nick Ut’s 1972 winning photo of children fleeing after South Vietnamese planes mistakenly dropped napalm on South Vietnamese troops and civilians as the iconic photo from the period. In recent years, Iran, Afghanistan, Lebanon, and Yemen (last year) dominate the locations of World’s best photos. Actually, we must go all the way back to 1958 to find an image title that does not scream war

Other Scandinavian World Press Photo 2012 winners

1st Prize, SPORTS FEATURE STORIES Jan Grarup, Denmark, Laif Women’s Basketball, Mogadishu, Somalia

Arizona: Female inmates in the Maricopa prison. It’s shortly after six in the morning and the inmates are marched out to the waiting prison bus. Brittney Lewis and some of her fellow inmates have ambivalent feelings about being a part of the Sheriff’s political window dressing. Today they will clear out weeds and garbage along one of Phoenix roads.

or disaster: the chech Stanislav Tereba’s “Football”, showing Sparta’s goalkeeper Miroslav Čtvrtníček standing on the football field in pouring rain. This is no coincidence. “We exist to inspire understanding of the world through quality photojournalism,” as the World Press Photo Foundation’s mission statement reads. Or, in Paul Hansen’s words: “This prize makes us discuss photo journalism, makes us realize how important it is. If we, the media, can help illuminate all this darkness, maybe we can force world leaders to think twice. I might be naïve. But people have a voice through photos. Those two little boys are all over the world now.” n E www.worldpressphoto.org E www.paulhansen.se E www.dn.se E www.poyi.org

3rd Prize, DAILY LIFE SINGLES Jacob Ehrbahn, Denmark, for Politiken John McLean at Dining Hall,Youngstown, Ohio, USA

2nd Prize, PEOPLE – OBSERVED PORTRAITS SINGLES Marie Hald, Denmark Bonnie, Sorø, Denmark

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poyi: The Press Photographer of the Year award is given by the Pictures of the Year International, founded in 1944 at the Missouri School of Journalism. The two photos above were part of the portfolio with which Paul Hansen win the POYi this year, only a few days before his photo from Gaza (see page 16-17) was named World Press Photo of the year.

2nd Prize, DAILY LIFE SINGLES Søren Bidstrup, Denmark, Berlingske Early Morning on Summer Holiday, Italy

design graphic design Lars Pryds pryds@mac.com

Popular lies about graphic design

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n Graphic

(and other) designers spend lifetimes trying to figure out what’s right and wrong in their trade. Design school teachers, friends, colleagues and even competitors impose upon us their ideas – and some of these ideas turn into myths that are perhaps neither useful or realistic. We all know die-hard expressions like ”Rules are there to be broken”, ”The client is always right”, “Less is more” or ”Symmetry is wrong”. In this book Craig Ward, a NewYork-based British designer, sets out on a wonderful, houmorous vendetta against not the myths themselves (some of which might actually have some truth in them) – but against our way of blindly living by them. On the centre pages (printed on differently coloured paper – nice detail) he asks 13 well-known designers (David Carson, Christoph Niemann, Milton Glaser et al.) this question: ”What’s the biggest lie you’ve ever been told about design?” The answers are quite amusing. The book’s own design boasts a simple, black and white approach with a touch of grunge, which makes it both fun, easy and quick to read. At the same time it gives even seasoned graphic designers something to think about. Or, as Maria Popova says in her review of the book on Brainpickings.org: ”With its aesthetic minimalism and conceptual clarity, Popular Lies About Graphic Design manages to walk the challenging line between being critical without being complacently n contrarian.”

Craig Ward: Popular Lies About Graphic Design Actar, Barcelona/New York, 2012 160 pages, 17 x 12 cm. GBP 11.70 (on amazon.co.uk) E actar.com

Is it a font? Is it a graphic? – or both? FF Chartwell is a font but not really a typeface. Rather, it works as a graphing tool for those of you who do not have Adobe Illustrator installed on your computer, as well as for people who dislike Excel and/or the Illustrator Graph tool. Ole Munk ole@ribmunk.dk n In Chartwell, there are no cells to highlight or windows for values. Instead, you simply type your values as plain text, separated by plus signs. Then, as easily as you would swap a font, you can highlight the numbers and instantly transform them into different types of graphs. The secret lies in the OpenType format which allows a font to include more than 65,000 glyphs (different characters), as opposed to the maximum of 256 glyphs which can be accessed in a PostScript font. All these pie slices and line segments were predrawn, just like letters in an alphabet, and you ”type” them just like writing a text. Only, the numbers won’t become charts until you activate the Ligatures function within the OpenType features of the font. As already mentioned, FF Chartwell might be interesting in particular for those who, for one reason or the other, cannot or don’t want to use the Graph tool of Adobe Illustrator. Chartwell has its limitations, such as the fact that a graph can only include

FF Chartwell is available from E www.fontshop.com

one set of data, and that a fever chart will always become an area graph. If you want to transform this into a single-line graph, or if you wish to make other adjustments and/or refinements to your graph, you can convert the ”text” to outlines (doesn’t matter if you use Adobe InDesign or QuarkXPress) and go on from there … as shown with a pie chart in step 6 of this step-by-step explanation. The history of FF Chartwell FF Chartwell was designed by Travis Kochel, a multi-disciplinary designer based out of Portland, Oregon. In 2008 he received a BFA from the School of the Art Institute of Chicago. Shortly thereafter, Travis co-founded Scribble Tone, a creative studio focusing on interactive and branding projects. He is also an adjunct professor at Portland State University. FF Chartwell (Pies, Lines, Bars) was originally released in 2011 under the TK Type foundry. In 2012, it was added to the FontFont library with the addition of four new chart styles, the Polar Series (Rose, Rings, and Radar) as well as Bars Vertical. n Sources: fontfont.com, tktype.com

More about Travis Kochel at: E www.tktype.com

O pen the Text window (â&#x152;&#x2DC;-T on Mac, CTRL-T on PC). Highlight your text, activate the OpenType submenu and choose Discretionary ligatures.

Y ou can change the chart type by highlighting the text and choosing another one of the seven Chartwell fonts.

rite the values you want to visualize, separating each value with a W plus (+). If you choose Chartwell Pies, colour each value differently (donâ&#x20AC;&#x2122;t worry about choosing the right colours, they can easily be changed later on). NB: For a pie chart, the values must add up to 100!

J ust like magic, your text will now metamorphose into a pie chart, each slice having the colour chosen by you for that particular value.

T he easiest way to adjust and refine the look of your chart will be by converting it into outlines via the Text menu. But bear in mind that after converting, the chart type and values can no longer be edited.

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O pen a page in Adobe InDesign or QuarkXPress and create a text frame. Make it roughly the same size that you imagine your final chart will be. Now, select one of the seven Chartwell fonts. You can choose from Bars (horizontal or vertical), Lines, Pies, Radar, Rings, and Rose.

Reinventing National Geographic for the iPhone Following the launch of National Geographic on the iPad which won the National Magazine Award for best tablet magazine in 2012, last October the magazine started the iPhone edition of the magazine. National Geographic’s art director, Juan Velasco, takes us threough the work process. Obviously, we’re able to show only the static images here, but you can see the interactive parts of the design on Velasco’s website, National Infographic, where he shares many more secrets from the fabulous work at Nat Geo. based Photoshop. If you have used some Flash you’ll get comfortable using After Effect relatively quickly.

Juan Velasco jvelasco@ngs.org n Available by subscription (iPhone,

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iPad and Kindle Fire versions), the iPhone edition posed a significant design challenge for our design team. According to Bill Marr, our Creative Director: “You’d think that the size is the first hurdle. What we found was that the real challenge was organizing content. We had to re-think what we were doing on the iPad for this smaller format. We wanted it to be much easier to navigate and organize things simply—the table of contents is basically the guidepost to the whole app.” The app features daily content, such as photos from readers, news and the daily Instagram feeds of our photographers as they work on the field. Perhaps the biggest challenge was to adapt our content rich information graphics, maps and illustrations for the tiny screen. How did we go about it?

Small size, but animated Although illustrations are easier to adapt than data rich graphics/charts and maps, which need to be broken down into small pieces, the small format doesn’t always make justice to the power and beauty of art pieces. On the flip side, we are now able to animate art. Our iPhone covers always have motion. One example is our January 2013 cover for print, followed by the animation we created for the iPhone (see illustration right). The great illustration by space artist Dana Berry comes alive, free of all the type we obviously need to run on the print edition. Many of the animated graphics are created in-house using After Effects, the Adobe motion graphics software that could be described as a timeline-

Simplicity 1 T he design of the iPhone edition (right) is more simple than the print edition (above), due to the size of the screen. On the plus side is that content can be animated.

Simple structure, clean interface The layout of the iPhone edition is clean and simple. All stories have been reorganized and broken down into three or four parts: Read (the text), Look (a gallery with the story photographs), Watch (videos, including graphics) and Listen (voice-narrated article). Bill Marr and Lisa Lytton, our Director of Digital Editions, worked with Joe Zeff Design studio to create a series of templates using Adobe Digital Publishing Suite (a set of tools that adds interactivity to layouts directly within Adobe InDesign). Photos look stunning on the iPad screen, and I think they look really nice on the iPhone too despite the tiny size. The Listen menu takes us to a new feature where the user can choose to listen to the author reading the story. With more and more people getting their news on the go during their commutes, I think it will be a popular feature. The toughest challenge by far is to adapt data intensive maps and graphics that were conceived as a unit editorially

table of contents The interface of the iPhone edition of Nat Geo is clean and simple, making it easy for the user to navigate between the different sections.

Simplicity 2 Converting information rich maps and graphics for the iPhone format requires breaking up the information into smaller pieces and creating a minimalistic interface. Left: the printedition, below: five screens from the iPhone version of the same story. We worked with Joe Zeff Design to design this simplified experience. In this case we chose to keep only the mapping of the decreasing elephant range in Africa) the impact of poaching in different regions) and a simple chart showing seizures of illegal ivory in five Asian countries. Alex Tait from International Mapping has been helping us to adapt many of our maps for the iPhone screen. It was the most expedient solution but

eventually we plan on going with a tiling map approach (where you would be able to zoom in on a map to reveal more detailed content, as you would do on Google Maps). People certainly expect that on their phones. Illustrations Illustrated information graphics posed the same problem. Fernando Baptista (graphic) and Martin Gamache (map) had created a beautiful piece about the

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and visually. A good example is the October 2012 graphic showing the prevalence of elephant poaching in Africa as well as the Asian countries involved in the illegal international trade of Ivory, fueled by Chinaâ&#x20AC;&#x2122;s new wealth. It was clear that some of the content would need to be dropped to create a meaningful experience true to the nature of the device and the readership. The bandwidth limitations also requires more limited content.

23 E

reconstruction The elaborate illustration of a Nepal burial cave was turned into a simple locator map and a video exploring the interior of the reconstruction (above right). The process of building the model of the cave is documented in great detail in this post: http://bit.ly/12VACKt

art Stephan Martiniere’s illustrations on the possibilities of reaching stars outside of our Solar System, in print in January 2013 (left), gave important information and striking visuals to a story with very few photographs, so they were essential in the iPhone version (right). Tapping on the images reveals the caption.

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Mustang caves of Nepal for our November issue (see illustration above). It was just not possible to reproduce the rich visual experience of the print artwork on an 4-inch screen. Everything was eliminated except for the locator map. They are always a necessity in our stories, which often cover remote areas of the world. But we did produce a video to be used on the iPad and iPhone.

Large graphics can be shown as a whole on the iPad allowing readers to pinch and zoom through the static print version, but the experience is painful on the small screen and is not ideal for the iPad either as it doesn’t take advantage of the possibilities of the new medium to layer a break down complex content. Art doesn’t present the problem of dealing with complex layers of informa-

tion, and we judge each piece individually to see if it will read well on the phone screen. Bacterial interactivity Another example of interactivity using Adobe’s DPS is Lawson Parker’s graphic in the January 2013 issue (see page 25 top). He looks at the thousands of bacteria species that inhabit the human body. Did you know there are

bacteria The thousands of bacteria species that inhabit the human body (outnumbering human cells by 10 to 1) are shown in this interactive graphic for the iPhone. Far left is the print version which covered a whole spread in the magazine.

interactive A detailed story about cheetahs was converted into a simple map of the cheetah range (known and historic) and a DPS interactive that allowed the reader to learn more about amazing anatomical adaptations of the fastest-running animal on Earth.

Juan Velasco is Art Director af National Geographic magazine; formerly a Graphics reporter at El Mundo (Spain) and the Graphics Art Director of The New York Times. Recently, he was a judge in the SND34 World’s Best Designed™ News paper competition. Follow Juan Velasco on twitter: E @juanvelasco National Infographic website/blog: E www.juanvelascoblog.com

Animation The Cheetahs story on the iPhone (and iPad) also included an amazing slow motion video of a running cheetah, in which the animated 3D model of the skeleton used in print was overlaid on top of the video. This is a screengrab from the iPhone video.

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2,000 distinct types of bacteria behind your ears, and they are for the most part different species in each ear? Lawson quantified the bacteria with a grid of dots following their location in the body, but these dots would not work on the tiny screen. A very simple presentation gives the reader the chance to click on different body locations to see how many kinds of bacteria we host in each of them. Minimalist and effective. We spend months researching for information graphics, art and maps and it’s always painful to eliminate really interesting content, but our print reader has completely different habits compared to the (probably younger) reader who is looking for information on the go. Nearly everyone carries a smartphone in the pocket or purse. We obviously plan to be on the Android platform as well. Adapting our rich content for an evolving readership it’s a really fascinating challenge as we enter our 125th anniversary year. n

not just print In 2013, infographics is not just a print thing. Alberto Cairo also looks into the great web possibilities for visualizing data. The New York Times used motion capture research to show the most succesful baseball hitter (left); and (right) Xaquin G.V.’s graphic shows that standard clothing sizes are not really standard, also from The New York Times.

Understanding visual communication Alberto Cairo’s new book about information graphics goes beyond the most basic introduction – and helps information architects understand what they are actually doing, while showing how to do it right. Ole Munk takes a closer look.

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Ole Munk ole@ribmunk.dk

n Most literature on infographics can be roughly divided into two groups: Purely practical how-to books which offer approaches and useful tips but often lack any kind of theoretical foundation that might help you tell the difference between good and bad infographics, and stop making bad ones – and high-brow academic opuses which do not easily translate into guidelines you’ll be able to use in your everyday work. We should therefore welcome Alberto Cairo’s new book as it places itself elegantly inbetween the two. Even

though the author is still young, Alberto’s background is quite impressive and suggests how he earned the experience and insight enabling him to write this book. Alberto Cairo was educated as a journalist but has been working with infographics at various esteemed publications, including award-winning El Mundo of Madrid and Época magazine of São Paulo, Brazil. He now teaches Information Graphics and Visualization at the School of Communication at the University of Miami. A true academic, Alberto is wellread and not afraid to share his knowledge with the rest of us, as well as teach us posh new words, such as “choropleth maps”.

The Functional Art is a revised version of an earlier book in Spanish. Even though the subtitle says ”An introduction to information graphics and visualization”, this is hardly a read for beginners. Rather, I’d recommend it to everyone who seeks a deeper understanding of what they are actually dealing with when producing visual communication. Quite a large part of the book is about perception and cognition, how our eyes work and how our brain processes what they see. Alberto builds up his argumentation carefully and logically and always tries to see problems from a reader’s perspective which makes this book very useful, not least in an educational con-

photos: LARS PRYDS

How-to: Creating Information Graphics In Chapter 8 of The Functional Art, Alberto Cairo gives practical advice on how to develop infographic projects through select examples. This is his check list to get going – based on ”lessons learned in the newsroom”:

Define the focus of the graphic, what story you want to tell, and the key points to be made. Have a clear idea of how the infographic will be useful to your readers, and what they will be able to accomplish with it.

Gather as much information as you can about the topic you are covering. Interview sources, look for datasets, and write or storyboard ideas in quick form.

Choose the best graphic form. What shapes should your data adopt? What kind of charts, maps, and diagrams will best fit the goals you set in the first step?

text. If I were to pick one quote, trying to distill the contents of this comprehensive volume into just one sentence – unfair as it would be, because this book contains much more – it might be this: ”The role of an information architect is to anticipate the structuring process in the minds of our audience … and generate order before people’s brains try to do it on their own”. From an educator’s point of view, there’s a lot of added value on the DVD which comes with the book. In eleven well-produced video lessons, Alberto walks us through the main parts of his book and carefully explains the examples he chose to make his points. Obviously, the use of multimedia tools helps

clarifying the chapter on animated and interactive graphics in particular and makes it even easier to comprehend. The last chapters of The Functional Art have been devoted to in-depth interviews with ten so-called infographic ”profiles” about their work, and my guess is there’s an audience for this part of the book as well, even though I find the first two thirds more substantial. n PS. A “choropleth map” is a map that encodes values by means of shades and colors. Alberto Cairo’s blog and website: E www.thefunctionalart.com

Complete your research. Flesh out your sketch and storyboards. Think about the visual style. Choose typefaces, color palettes, etc.

If you’ve been sketching offline, move the design to the computer. Complete the graphic using the appropriate tools. Many designers I know skip the preliminaries and jump directly to steps 5 and 6. Big mistake. Before you think about style, you must think about structure. n

Alberto Cairo: The Functional Art – an introduction to information graphics and visualization 364 pages 22,6 x 17,6 cm Includes a DVD with video courses New Riders, Peachpit, Berkely www.peachpit.com $35.99

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from sketch to final graphic A glimpse into Alberto Cairo’s working process: The top illustration shows a first sketch, created in Adobe Illustrator, establishing the basic structure of a graphic on the Saints of Brazil – and below: the final project as published by Época in São Paulo. As he says: ”You need to build a solid backbone for your information, a reading path, an order, and a hierarchy, before you lock yourself into a style for your display.”

4 5 6

Infographics Probably the most recognized of the news design in South America. Here is a chart on the Titanic published in Clarín.

SND: A key reference for design professionals

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With over 10 years experience in the region, the South American SND – Region 12 – has established itself as a key reference for Latino professionals, always eager to know what are the latest trends in the design world.

SND GLOBAL n 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.

Gustavo Lo Valvo glovalvo@clarin.com n This South American chapter of SND began to gain strength from the 90’s, when the profound changes experienced in the design strong impact in the region, making it grow in importance in the international context. From that time until today, the South American SND has not stopped growing. Today its members represent major newspapers in the region, both nationally and locally. However, the highlight remains the training of professionals, and the providing of tools for design continues to grow. In that sense, the highlight of these years was the organization in 2009 of the SND Buenos Aires, with the participation of more than 500 professionals from all parts of the world. However, the South American SND

have also done work quieter, with two very specific audiences: professionals and future professionals. For professionals, organizes annual seminars for the whole region and, in addition, each country sets off different courses according to local problems. Moreover, the emphasis in the training of future generations of designers, through various lectures that provide partners in various faculties, such as the Catholic University of Chile and the University of Buenos Aires. All this work has paid off in sight, with the growth that has taken the design in the region, without going any further, dozens newspapers in 2012 faced processes redesign their products, both in print and online anywhere. And especially it shows in what for years has been a hallmark of the design of the region: the excellence of its infographics, a change that began in the ‘90s and is still ticking roads worldwide. n

La Tercera It is one of the most modern newspapers of the region. Based in Chile, it was redesigned by Javier Errea two years ago and is known for its elegance.

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Governo teme entrada ●● ●●Na maioria dos postos, sisteexcessiva de dólares ma ficou indisponível. Nas estaNacioNal / Pág.8 ções, longas filas. ●● PÁG. PÁG.C3 C3

La Nación Despite global trends, La Nación decided to retain the broadsheet format. This redesign, in 2012, won several silver medals at the last competition of SND.

o estado de s. paulo Considered one of the most important newspapers in Brazil, O Estado de s. Paul is characterized by its use of color and clear hierarchy of information.

Continues E

SNDSMagazine 20113|1

O governo decidiu buscar um tas, governadores, prefeitos, concessão das licenças amacordo para liberar mais rápi- Congresso e Ministério Públi- bientais do Ibama. O novo ministro das Relações Institucioco, alémdo Tribunal Contaspara do os projetos de era exploração Normalidade a condição exigida por de Zelaya negociar o fim da crise Organização dos Estados Americanos do pré-sal e as obras da Copa da União (TCU) – que há uma nais, Alexandre Padilha, diz Estados Americanos mediar quer mediar tentativa de semana diálogo nesta semana que cada um dosdos três projetos recomendou a parali- Organização mais R$ 6 bilhões do BNDES. doMundode2014edaOlimpía●● ●● Os Estados quer terão ajuda do tentativa da de 2016, informam os repór- sação de 41 obras federais, 13 – pré-sal, Copa e Olimpíada – governo para manter investi- Antes, o limite era de R$ 4 bideverátriplo: ter “regras próprias” lhões. Para o governo, a mediteres João Domingos e Chrismentosemobrasem2010,preFrancisco Amaral / sao paulo delasdoPAC.Oobjetivoéflexichar grande acordo com objetivo que grandes obras rodoviárias, ferroviparalicitações,oque auditorias do tribua Lei de Responsatiane Samarco. Serão procu- bilizar as peladas queda de arre- da respeita destravar projetos do pré-sal, Copa do árias erestringide intervençãojudicados urbana, além • Regalo a avaliação naldee acelerar de ráde Fiscal. ●● PÁG. rados empresários, cadação. poderão tomar bilidade ● ● PÁG. PÁG. A4 PÁG. A4 A4 Uma semana depoissindicalisde o Tribunal Mundoos deprocessos 2014 e Olimpíada 2016. O legal. O presidente Lula relativas aoA4 pré-sal, possam serEles tocadas Contas da União (TCU) determinar a próprio TCU será procurado. O governo sem paralisações. Na estratégia de desmilitância petista, paralisação de 41 obras federais, sen- quer flexibilizar auditorias do tribunal travamento, o governo opera em duas que a disputa pela do 13 do Programa de Aceleração de e processos de concessão das licenças frentes: a jurídica e a fiscal. No campo está longe.Del ea Crescimento (PAC), o Planalto decidiu ambientais do Ibama. das finanças, mostra-se indiferente aos aliquipit prate cortis SP: MUSEU ‘INVADE’ ESTAÇÃO recorrer a empresários, sindicalistas, Um ano antes da eleição presidencial, “ataques” à Lei de Responsabilidade Fisnullamcortin vel ut goveradores, prefeitos, Congresso e o Planalto quer reduzir as amarras legais cal (LRF) e até abre o cofre do Tesouro landit delit lobore Ministério Público na tentativa de fe- dos projetos de infraestrutura, de forma NacioNal / Pág.8

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y marea toganadora dmebloreslplare) my sioeslaMTV. n e a gran netario (sUtación? Hollywood

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los tipitos raul y walter en juego cruzado antes del opera.

entreviSta a loS planetaS lA bAndA espAñolA viene Al festivAl “ciudAd emergente”.

sí! • suplEmEnto JovEn • buenos Aires • viernes 20 de junio de 2008

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un legislador y el proyecto para que no corten el agua en los boliches.

pagina 12

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de la trincHera al bronce seguimos lA rutA de lA estAtuA del “che” hAstA rosArio.

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black rebel motorcycle club entrevista a la revelacion del quilmes rock.

EL FENOMENO DE LA MUSICA TWEEN

foto roberto pera

nEy dis lS dEl ia gir ido tr son indus eetaH dE H as n una a y c n E and s b stiEn Monta tEs , la o n uito s y s nnaH sCE grat disCo al, Ha adolE ad E E nd nlo Es d uSic dow illon ool M EraCio n H m dEl ra ndEn igH Sc na gE . u E s la E En nnEl v nCia. H om dE pstar Cha ECadE imo bo sEr po d En El ult n Con son suEña quE

de coMo diSney Salvo el pop

Sí! • SUPLEMENTO JOVEN bUENOS AirES • ViErNES 14 dE SEPTiEMbrE dE 2007

>>moto-enCuentro OcHO MiL MOTOqUErOS cOPArON LA ciUdAd dE diAMANTE (ENTrE riOS).

el valor de una idea

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>>desoCupados 2007 ¿dE qUE VAN A ViVir AHOrA LAS bANdAS TribUTO A SOdA STErEO?

un argentino de 21 años creo el primer hostel de oficina de latinoamerica. y encabeza la movida del coworking: unir a desconocidos para que trabajen juntos. entre el comunalismo de los ‘60 y las redes sociales del siglo XXi, esta es la idea del dia. pagina 2

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SUPLEMENTO JOVEN BUENOS AIRES, VIERNES 23 DE OctUBRE DE 2009

SUPLEMENTO JOVEN BUENOS AIRES, VIERNES 19 DE DIcIEmBRE DE 2008

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Familias disfuncionales

Kapanga, Alfonso el pintor y 13 H son tres entre muchos grupos argentinos que alternan parientes en su formación. Pero ellos tienen un plus: lidiar con el menos “normal” del clan. modelo de tapa. Celina, jóvenes 85, es la bailarina de 13 H, la banda de su nieto Pedro.

ROBERtO RUIz

>Como vivir Con $ 900

Aunque parezca mentira, es el sueldo promedio de los jóvenes argentinos que tienen entre 15 y 29 años. Mientras en Europa los “mileuristas” salen a la calle, acá toda una generación se pregunta cómo llegar a fin de mes. P.6

Linkin Park

> la banda estadounidense presenta un disco en vivo y chequea la imagen de su país... en sus giras por el mundo. P.10

Christina

> A los 27, Aguilera ya lanza un disco de “Grandes Exitos” y conjura un pasado de chica prodigio maltratada. P.18

Chivitos

> Desde Uruguay, el quinteto El cuarteto de Nos habla de su nuevo disco (Bipolar). P.14

Exit

> La vuelta de charly y las mejores opciones para el finde. P.16

Se busca

> En tiempos 2.0, sesionistas buscan refugio y trabajo en las redes sociales. P.9

Cómic

> Adrián Sibar habla de Ema, la emo, la historieta web del momento. P.8

Exit

> Miami Horror, U-Roy y los mejores shows para ver el fin de semana. P.16

Leo García

> Edita su primer disco en cinco años (Común y especial) y habla de Cerati. P.14

S!. This Clarín supplement dedicated to young audiences is a benchmark for twenty years that can adapt to changing audience. Their covers are characterized by innovative language for storytelling. The variety of expression and playful use of illustrations and graphic elements send a strong message.

Clarín The largest newspaper in Argentina, commitment to clarity of content through simplicity of design.

SNDSMagazine 2013|1

Gustavo Lo Valvo is Design Director at Clarín in Buenos Aires, Argentina. Gustavo was elected Regional Director for Region 12, South America, in 2012. Recently, he served as a judge on the features team in the SND34 Best of News Design Competition.

E Follow on twitter: @lovo67

2013

SND

sndlou

2013 NOVEMBER 7-9 • THE ALI CENTER

CHURCHILL DOWNS MUSEUM DERBY PARTY GALT HOUSE HOTEL • DOWNTOWN LOUISVILLE sndlou.com

/sndlou

@sndlou

sndlou

SNDS Magazine 2013|1 The President

Scandinavian design still rules SNDS President Anders Tapola anders.tapola@smp.se n Dagens Nyheter and Politiken (second year in

a row!) are World’s Best Designed Newspapers 2012. It’s actually very impressive. Dagens Nyheter got by the way totally 20 awards, and ended up in tenth place on the list of SND34 The Best of News Design competition. I really want to congratulate both of them! For Scandinavian news design is once again among the best in the world. We have also seen Svenska Dagbladet (several times) and Upsala Nya Tidning as World’s Best Designed the last ten years. Other countries that have won this prestigious award in the last ten years are: Germany (also several times, and this year including Die Zeit and Welt am Sonntag), Canada, Portugal, Spain, Mexico, Russia, Greece, United Kingdom, Estonia, Poland and Scotland. And where are the winners from the U.S., someone perhaps wonders? Well, there are actually two from this period: The New York Times (2009)and Hartford Courant (2004). And there is actually a very good explanation for why they have not won more times. I’ve mentioned it before, but in this year’s comments from jurors who participated in the World’s Best Designed, there is a quote that stresses why: ”It’s disheartening to see so many American newspapers that, after decades of discussion and education, still pay little or no attention to inside pages. Publications that spend a great amount of time finessing their covers but treat their inside pages like vessels to fill with commodity news until they’re full to the top are missing the point and the opportunity to be relevant.” In Scandinavia we care about every page in the newspaper, and we should continue to do so. Because the question is actually: What distinguishes a World’s Best Designed Newspaper?

Photo: Lena Gunnarsson

Let us once again quote the jury of World’s Best Designed: ”A culture of careful editing of all content that puts the reader first – through stringent attention to detail. Too many designers are not driven by the content in front of them; they’re just moving elements around pages. In the best-designed publications, that connection jumps off the page.” We should of course be really proud of the Scandinavian tradition. And we should also defend the way we present news. Especially in these times, when the design hubs seem to be spreading like wildfires over Scandinavia. You can read more about World’s Best Designed on page 4 and 5. Other good news from the Scandinavian (or at least the Swedish) horizon: Aftonbladet is the first mediahouse in Sweden (or as they themselves put it: first in the world) to have more revenue online than on paper. A brand new daily newspaper is to be launched in Sweden next year: Entrepreneur Johan Ehrenberg, the man behind the publisher house ETC, collects money to give out a daily ”redgreen” newspaper before the 2004 election. The target to get three million Swedish kronor, and 200 pre-subscribers, is already reached. Lots and lots of media companies throughout Scandinavia have started online pay walls. Let’s hope that the media companies are investing enough resources, so people are willing to pay for news. Finally: Welcome to SNDScandinavias annual workshop in Copenhagen on 10-11 October! The title this year is Wrong. We will focus on all those designers who deliberately did something wrong and suddenly hit something right. Because it is often by the mistakes that new n discoveries are made.