Trends Newspaper Design 01 by Norbert Kuepper

Newspaper Design 1

European Newspaper AWARD 1999 N E W S PA P E R D E S I G N

Norbert KĂźpper The Results of the First European Newspaper Award

The Competition

European Trends of Design

Firda

Dagblad de Limburger

Die Welt

Front Pages

Sectional Front Pages

Inside Pages

Supplements

Special Pages

Innovators

Photography

Visual Display

Typography

Informational Graphics

Special Theme: Solar Eclipse

The Winners

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The Competition The European Newspaper Award was immediately accepted among Europe’s newspapers. 161 papers from 21 countries participated in the competition.

THE IDEA. The wrapping is as important as the content – a message now even understood by newspaper editors. But – what should the right wrapping look like? Will a worldwide standard layout be enough – in Sacramento, Istanbul, Vienna and Berlin? Or are there regional needs and peculiarities that newspaper makers have to respond to? The first “European Newspaper Award” was meant to present a survey of “good old Europe’s top of the art”. To come right to the point: With all due respect to the newspaper culture coming from the new continent, it has to be said that Europe’s newspaper design is abundant in ideas and of remarkable quality. THE ORGANIZERS. The organizers are the three Journalist’s magazines De Journalist (the Netherlands), Österreichischer Journalist (Austria) and Medium Magazin (Germany). Norbert Küpper (Office for Newspaper Design, Meerbusch near Düsseldorf) was in charge of the idea and organization of the competition. THE INVITATION. 1,200 publishing houses all over Europe were invited to take part in the competition. In order to avoid misunderstandings the

invitations were translated into eight languages, namely English, French, Spanish, Dutch, Danish, Swedish, Finnish and Norwegian. Three aspects had to be observed: 1 Only newspapers from certain weeks could be sent in. 2 The participants were asked to collect and send in pages according to the following categories: front pages, inside pages, supplements, special pages, photography, visual display, typography, illustration and infographics. The pages had to be published between October 1, 1998 and September 30, 1999. 3 Anybody was permitted to send in pages, even the readers of the journalists’ magazines who organized the competition. Quite a number made use of this possibility.

T H E P A R T I C I P A N T S . 161 newspapers participated. Among them: 30 local papers, 79 regional papers, 18 national papers, 17 weeklies, 8 tabloids, 5 supplements, 4 special cases. Additionally, an extra 42 newspapers from nine countries were examined on their contributions to the topic “solar eclipse”. THE AWARDS. The jury was well aware of the fact that national newspapers have larger budgets than small local papers. In order to take these different financial budgets into consideration, the award “Europe’s Best Designed Newspaper” was divided into the categories local paper, regional paper and national paper. An extra award was provided for the category weekly paper. Since the standard of weeklies varied considerably

European Newspaper AWARD 1999 N E W S PA P E R D E S I G N

this year, an award in this category was cancelled. “Awards of Excellence” were given according to different categories such as front pages, inside pages, supplements, visual display, informational graphics, etc. THE CRITERIA. Only the design was put to the test, not the quality of the texts. The standard of the design of the sent-in papers had to be clearly above the normal. Therefore, it was not enough to make a neatly designed newspaper, which quite a number of papers try to achieve. The requirements were as follows: A high standard in the use of visuals, including photographic cuts, the sizes of photos within the layout of an individual page, and variation of formats. Furthermore, the pictures should be used in a truly journalistic sense, namely as a means of information and introduction into a topic as opposed to a thoughtlessly used mass product. The layout had to be of professional quality, which includes an unmistakable connection between text and picture and guidance of the reader from large to small elements.

The next competition has already started.

Typographic elements had to be strictly used on all pages. Finally, Europe’s Best Designed Newspapers had to stand out from the rest to a considerable degree for the jury to choose them. So it was also a matter of good fortune.

A P R I Z E F O R B E A U T Y ? By no means. With newspapers, good design implies an optimal display and function of the individual elements of a page, namely headlines, opening paragraphs, bodycopy, visuals, captions and section titles. Furthermore, also by the order of the pages, the sectional front pages and the order of topics a distinctive appearance is created. A well-designed newspaper is focused on the optimal function of all elements. On top of that, Europe’s Best Designed Newspaper is outstanding in so far as it makes creative use of the chosen means.

WE ONLY WANT YOUR BEST! The title “Europe’s Best Designed Newspaper” is awarded according to four categories: local newspapers, regional newspapers, national newspapers and weeklies. If you want to win you will have to do the following:

The indpendent jury at the Presseclub Frankfurt (from left to right): Monica Schokkenbroek, designer, Netherlands. She studied design at the Gerrit Rietveld Academy and has given numerous magazines a new look. Angelika Eggert, designer, Germany, specializes in typography. Annette Milz, editor-in-chief of Medium Magazin, Frankfurt, and Johann Oberauer, publisher of the Österreichischer Journalist, concentrated on the concept of the pages.

1 Send us copies of one of the following weeks: Saturday, April 15, 2000 – Saturday, April 22, 2000 or Saturday, June 3, 2000 – Saturday, June 10, 2000 or Saturday, July 22, 2000 – Saturday, July 29, 2000. Make sure that you send in copies of one week only. Weeklies should send in one copy of each of the following calendar weeks: 10, 16, 23 and 30. 2 Send us your best pages from September 1, 1999 till September 30, 2000 according to the following categories: Front Pages. Sectional Front Pages. Inside Pages. Photography.

Informational Graphics. Colour. Illustration. Visual Display. Typography. In that category the entire typography of the newspaper will be assessed. Supplements. Here, the entire concept of supplements will be assessed. You can send in weekend supplements and supplements published on special occasions. Special Pages. Photographic pages, but also single pages from supplements such as travel pages, or single pages concerning special occasions belong to that category. Special: The Y2K / Millennium. Supplements, pages or series on the topic Y2K will be assessed. Special: Olympic Games Sydney. Supplements, pages or series on the topic olympic games will be assessed. Portfolio. In this category series of one designer, e. g. illustrations, infographics, photos, layouts etc, will be assessed. Newspapers on the internet. This category is reserved for newspaper on the internet. It will suffice to give us the name and the URL of

your homepage and the name of a colleague in the internet staff in case of enquiries. Other. For pages not belonging to any of the above mentioned categories. 3 Anybody can send in pages. If readers find certain pages especially striking – you are gladly invited to send them in. Only printed newspapers are admitted. Do not send us parts of pages, photocopied material or drafts. The pages should not be glued on sheets. Dailies and weeklies from all over Europe can take part in the competition, but not journals and magazines. The sent-in pages must be published between September 1, 1999 and September 30, 2000. The deadline is October 5, 2000. Updated information can be found on the internet: www.newspaperaward.com. Send your best pages to: Norbert Küpper Office for Newspaper Design Gutenbergstr. 4 D-40670 Meerbusch, Germany

The Trends The main trend: Newspapers want to deliver more than just basic information. By means of supplements and special pages they are able to offer exclusive contents in an exclusive design.

CREATIVE VERSATILITY. Europe’s newspapers are most versatile. The much feared-for lineup of look-alikes cannot be found anywhere. The opposite is true: Newspapers aiming at the utmost differences in typography mark this year’s trend. V I S U A L C H A R A C T E R . Leafing through this book, you might wonder if there are any normal newspaper pages left that consist of small photos and lots of text. They certainly exist. In the section ‘Typography’ you will find some pages that contain little visual material. But those pages, on the other hand, show a striking use of white space and contrasting typographic elements. The three main awarded papers combine completely normal inside pages with excellentlycut and large-size photos. On the whole: The editors’ awareness of visuals has increased in recent years. FRONT PAGES. Front pages with a single picture in the centre of the page are trendy. There is a clear preference for photos of symbolic value and unusual perspective and cut, evoking an immediate understanding of the action.

INSIDE PAGES. Another trend is the variation in the width of columns. A fixed five- or six-column grid has been replaced by a more variable grid with an extra column containing additional information like addresses, telephone numbers or annotations to an article. Portioning is another trendsetter: Important passages are disconnected from the text and pared down to bite-sized chunks that readers can quickly read and digest. LAYOUT TECHNIQUES. Page make up is made modular by most European newspapers. It guarantees a good survey and a clear relation between text and picture, but, of course, does not mean to place same-sized blocks side by side. The lengths of the blocks need to be varied. Large and small elements, vertical and horizontal formats should be employed to avoid monotony.

SECTIONAL FRONT PAGES. It has become trendy to use a larger head on sectional front pages, such as the first sports page or the first local page. The room under the head or in a column on the left-hand side is often used for the announcement of topics on the inside pages of a section. Front pages are often marked by especially large photos, special colours or a loose layout, and thus stand out from other pages. SUPPLEMENTS AND SPECIAL P A G E S . The jury was amazed and thrilled by the versatility of supplements and special pages. Some newspapers issue supplements in tabloid format on various topics every day. Most elaborately-designed weekend supplements can be found in Spain and Portugal. They are not primarily concerned with neat copy for advertisements, but are extra opulent editorial offerings. Should this trend be continued, the traditional newspaper, caring for a basic supply of news like the radio or TV, will develop into a new medium, exclusively presenting topics of their own and putting even more emphasis on design than today. The competition categories ‘supplements’ and ‘special pages’ are different from the others in so far as in the

category ‘supplement’ the entire issue will be assessed. In the category ‘special pages’, on the other hand, single pages from supplements, photographic pages or pages on special topics will be assessed. PHOTOGRAPHY. It has been dawning on an increasing number of newspapers that with photography it is not the quantity but the quality that counts. So this year’s trends are extreme landscape- or portrait-style photos for a dynamic look, extreme cuts and unusual perspectives. ORIGINAL VISUAL LANGUAGE. An original, unmistakable photographic style can be observed in innovative titles for young target groups and in local papers in Scandinavia. The advantage is that they take their own photos and can decide about size, cut and atmosphere. VISUALIZING. The use of photos is worth reconsidering: A gripping presentation of a theme should employ a photo which entices the reader to study the appropriate article. Research by the Newspaper Marketing Company in Frankfurt/Main have proved that articles accompanied by photos attract 5 to 10 percent more

readers than those without photos. This is why photos should not be put in thoughtlessly and in great numbers, but purposefully and economically as a means to guide the readers. TYPOGRAPHY. Typography has become a matter of filigree work and thus turns out to be unique even in the use of details. Each new design introduces new combinations of lettering which have never been seen before. It remains a standard with European newspapers, though, that texts are printed in a serif typeface, whereas additional material, such as captions and tables, appears in a sanserif typeface. HEADLINES. Also headlines are being enriched by a number of extra details. A popular feature is a keyword focusing on the theme of an article. Newspapers with many small towns in their distribution area use placenames instead, a trend which can be observed in Denmark, Sweden, Switzerland and Germany.

TYPEFACES. Some countries use a rather traditional typeface for headlines. In Scandinavia, for example, a classicist Antiqua is quite popular, in Great Britain, however, a serif typeface like Nimrod is considered appropriate for newspapers. In Germany a common trend has never existed. Some newspapers have always used sanserif typefaces, others serif typefaces. With each new creation by a typeface designer a new type of lettering for headlines comes into being. Even relatively young inventions like Meta, Rotis, Stone Sans, Scala Serif etc are being used in German news-papers today. What is important with the typeface used for headlines is to create a unique and unmistakable style. Nothing adds more to the character of a newspaper than its individual type of headlines.

INFOGRAPHICS. Infographics have made their way into all sections now. They also show more professional skill and more details. Until recently, maps, for example, used to be roughly sketched. Today, however, they offer detailed views on cities with all street names and precise information about deviations, roadworks etc. RÉSUMÉ. European newspapers continue to rapidly develop their design. The visual display of their contents still plays an important role, which does not imply a shallowness on the part of the text, since photos, infographics and service-boxes are similarly able to convey a message.

Megatrends This year’s major trend: newspapers are becoming more exclusive. They do not only supply information that has already been transmitted by radio or TV, but present more exclusive contents in an exclusive design on their special pages and in their supplements. Newspapers are becoming more individual. The trend towards a unique and unmistakable typography taking care of even the tiniest details is continued. The reader has become the focal point. The process of taking in information is supposed to be made easier by arranging separate items in a suitable sequence and employing a basic typeface that reads well.

Newspapers are becoming more creative. Whenever an unusual topic presents itself it is vehemently realized with regards to both text and design. Example: solar eclipse. Newspapers are seeking to optimize standards of photography. Gone are the days of postcard-size pictures. Instead, large photos, extreme perspectives and cuts can be seen more and more often. They give the pages a dynamic look. Don’t be afraid of changes. Numerous publishing houses have got used to regularly going over layouts and acquiring new contents. They are getting more and more knowledgeable about good design and conceptional development.

BODYCOPY. It is trendy to use fonts like Swift or Gulliver that were developed for newspapers. Classical fonts for newspapers like Nimrod or Excelsior are still being successfully used. A trend towards larger typesizes is continued.

Europe’s Best Designed Newspaper

European Newspaper AWARD 1999 N E W S PA P E R D E S I G N

The title “Europe’s Best Designed Newspaper” was awarded in three categories this year. Local newspaper: Firda, Norway; regional newspaper: Dagblad de Limburger, Netherlands; national newspaper: Die Welt, Germany. 9

Firda, “Europe’s Best Designed Newspaper” in the category local newspaper. Their distinguishing feature is the vehement use of pictures.

Firda is published in West Norway with a circulation of 15,000 copies and appears in tabloid-format. The newspaper employs 17 editors and 2 photographers.

A CLEAR SOLUTION. Firda’s masthead is made lighter by the use of a thin contour. In the date, appearing between the ‘F’ and the ‘I’ in the head, the weekday is pointed out. The photo in the middle of the page refers to a report in the centre of the newspaper.

TYPOGRAPHIC SOLUTION. The double page, containing opinions, combines the lead article on the lefthand side with the opinions of other newspapers on the top of the page, letters to the editor in the middle and a caricature at the bottom right. Opinions are marked by unjustified print, the letters to the editor by headlines in italics. The double page is almost entirely designed through typographic means. With excellent results.

Idea: The lead article is indented on the left margin. An important sentence from the text has been pointed out and put in a favourable visual position.

A WELL-STRUCTURED TEXT. The appeal of this inside page results from its wide-spaced lead photo and the straight and unobtrusive use of typographic elements. The article is introduced by an opening paragraph in unjustified print. For further structuring it contains breakers and a service-box.

A DOUBLE PAGE PER DAY. Firdaâ&#x20AC;&#x2122;s secret is not their front page but their daily report on a double page in the centre of the newspaper and their outstanding use of visuals. The photo gains three-dimensional perspective by the big fish in the foreground and the conveyor-belt leading to the background. The depicted scene is authentic, showing the employees at work. U N O B T R U S I V E T Y P O G R A P H Y. The lead is set in a larger pointsize, quotations break up the article. The typeface of the headline is identical with the bodycopy.

A VARIABLE GRID. “Born i 99“ is the title of a serial. The example above shows a portrait and an interview with the twelve-year-old Ida Johanne Kårstadt. The opening paragraph appears in a rounded shape with the bodycopy nestling against it. Idea: Variable grid. The text is indented on the left and on the right by the size of half a column. The white space gained in this way gives the page a relaxed look.

LOOSE LAYOUT. The double page with a portrait shows a generous layout: Only a single photo with the manageress of a hotel, taken from an unusual perspective,has been chosen. The text is broken up by quotations that are narrower than the columns. Idea: The opening paragraph is not put flush left at the beginning of the article, but inserted in the upper part of the second column.

CONTRAST IN THE HEADLINE. This double page shows a teaser with portraits and brief statements. The relation between the photos and the texts is made clear by the white spaces. The bodycopy is indented by the size of half a column. The opening paragraph on the left protrudes into the white margin. Idea: The headline appears in contrasting typefaces – Helvetica light and heavy, which makes for better visual structuring.

Jury-Statement “A distinguishing feature of the Norwegian newspaper Firda – setting it apart from other local papers – is their vehement use of photos. The editorial staff strongly relies on the appeal of visuals. Their secret is the economical use of large pictures and their daily report on a double page, often illustrated with a large photo. The spectacular use of visuals, however, affords a clear and unobtrusive typography, as shown on the pages.”

THE READER IS INVOLVED. The double page in the centre of the paper is always devoted to a single topic – like playing yo-yo. The topic is very well presented in the large photo on the left. The yo-yos are flying towards the reader. Its dynamic appeal is achieved by the extreme cut at the boy on the right margin. Both parts of the page are connected by the headline. The bodycopy is rather unobtrusive. Even this short article is structured by an opening paragraph and breakers.

The double page is framed by a broken line, embracing both halves and leaving a clear margin on the right. Another remarkable feature is the handling of the white space and the contrast between large and small pictures.

DYNAMIC CUT. The above double page is devoted to a sports festival in the city of Florø. On the left side you can see two articles and two briefs, the right side shows the photo and the scores of all competitions. The blurredness in the foreground and the cut make for extra depth on the lead photo.

Dagblad de Limburger, “Europe’s Best Designed Newspaper” in the category regional newspaper. Their use of photography and their loving care for typographic detail are outstanding. Dagblad de Limburger is published in the province of Limburg, in the south of the Netherlands. It sells 180,000 copies and produces different local editions.

SYSTEMATIC WORK. Studying all four of the depicted sectional front pages above, you will notice that the editors work systematically, not after a fixed scheme: large photos appear in contrast to small ones, cut-out photos in contrast to framed pictures, consequent use of headlines, opening paragraphs, initials, generous use of white space on all pages.

EXTREME CUT. The extreme vertical format of the photo on the left produces a lively effect. The small cut-out picture on the right forms an extreme contrast to the lead photo. The opening paragraph is inserted in the article at the top so that the whole text gets a relaxed appearance. Breakers, however, are missing.

VISUALIZING I. Only few European newspapers have illustrators on their staff. Dagblad de Limburger is one of them. The front page of the financial section shows an illustration on the rather abstract theme “Gold is sparkling as a means of mortgaging“.

VISUALIZING II. What on earth do all those abbreviations mean that appear in the names of the financial service industry? The lead article on this page is about to tackle this question. The illustration shows those abbreviations chiseled on rocks with a client manoeuvring his boat between them.

Jury-Statement CONTRASTING COLOURS. The newspaper masthead in a dark blue shade is broken up by a stylized globe. Their house colours include yellow and orange which are used in the bar under the head. They make a harmonious contrast of cold and warm, light and dark colours. INNOVATION. Instead of a simple bar under the newspaper head small pictures are set in that occur on inside pages. Barcode, date and names of the regional editions are skilfully integrated.

â&#x20AC;&#x153;Even on days without exciting news the editorial staff is able to find a thrilling photo for the lead article. A characteristic feature of the Dutch newspaper Dagblad de Limburger is the perfect use of visuals on all pages. The illustrations and the layout of the daily supplements are outstanding. Typographic design is done with loving care throughout the paper.â&#x20AC;?

LOVING CARE FOR DETAILS. Credit lines and references to inside pages are printed in small caps. OPTIMAL FUNCTIONALITY. The articles are separated by horizontal and vertical lines. They make for a clear assignment of pictures. TYPEFACE. For headlines and bodycopy Swift is employed. This typeface from the Dutch typeface designer Gerard Unger was especially invented for newspapers. KEY PICTURE. The photo refers to an international skittle tournament in the circulation area of this newspaper. A single picture is absolutely enough for the layout of this page. WHITE SPACE. A white frame around the photo marks its singularity within the page.

PERFECTION ON ALL PAGES. Not only the front pages of the individual sections are carefully styled: The same applies to just normal inside pages: A large photo, placed in the middle of the page, serves as a startingpoint for the reader. As far as the cut, the perspective and the atmosphere are concerned, the photos are outstanding. Each page has a clearly-defined lead article, marked by its position at the top of the page and the size of the headline.

Briefs are not scattered all over the page, but clustered in blocks. Soft-news or features are distinguished from normal articles by their typography. The headlines of such articles are printed in roman type and the text sometimes appears in unjustified print. Vertical and horizontal lines make for a clear relation between texts and photos.

CLEAR SEPARATION. “I can always design pages without ads,” says the critical journalist. In Dutch newspapers ads appear on the left and are put together on a page. Editorial pages appear on the right and very seldom have ads on them.

DESIGNED WITH CARE. The local pages are treated with the same care as the other pages in the Dagblad de Limburger. The photographers take their chances to give the paper a characteristic visual appeal. Extreme perspectives, dynamic cuts and outstanding motifs underline the paper’s high level of design.

DAILY SUPPLEMENT. Scala is a daily supplement of the Dagblad de Limburger. It is devoted to various topics: nature and science consumers health culture are mentioned here as examples. The lead article is always framed by a shadow line which gives it a threedimensional appearance.

The lead articles of the depicted pages deal with: Nature and science: “Waiting for doomsday”, with an apocalyptic illustration. Nature and science: “New worlds from the computer”, with computer-animated pictures. Consumers: “Getting used to more blue in the streets.” The article deals with new headlamps that radiate blue light. At the bottom of the page an infographic show a road

lighted by blue light in comparison to normal light. Health: “The rehabilitation of the peanut”, showing a photo with enlarged peanuts. Culture: “Respect of the ‘blues harp’” – a report about blues-festivals in the Netherlands (blues harp = harmonica).

COMMON FEATURES. On the one hand, these supplements always show a different design, on the other hand, they follow a characteristic scheme: The topic is always opened by means of a vigorous picture. Even abstract themes like ‘doomsday’ are presented by a pregnant visual. The headlines are always printed in capital letters. Bodycopy appears in unjustified print, balanced by vertical lines.

Initials with large indents make for a more relaxed look of lengthy articles. Short articles are placed on the right-hand side with small inserted photos.

Die Welt, “Europe’s Best Designed Newspaper” in the category national newspaper. Their use of photography and informational graphics is outstanding. Die Welt sells 250,000 copies per day and is published by the Axel-Springer-Verlag in Berlin. Hamburg and Berlin have each got their own local sections.

EXTREME VERTICAL FORMAT. The attraction of this political page is the extreme vertical format of the lead photo. The articles are organized in a hierarchical fashion with the lead article in a top position, the normal articles in the middle part, and a flat article closing the page at the bottom. Briefs are clustered in a column on the lefthand side. Simple, but perfect.

VISUAL CLARITY. The infographics show a simple, but clear design, without being boring. The information is put in the foreground, the decoration in the background. The above shown business page serves as a good example of this style. The reader need not read the article to understand the diagram. It is self-explanatory. What is more, the diagram is wellpositioned: being in the centre of the page it breaks up the otherwise strict pattern. Another visual is not necessary.

LOCAL PAGE OF HAMBURG. Also in local sections, as can be seen on this page from Hamburg, the use of photos is outstanding. Again, the extreme cut is striking, as well as the depth gained here by the row of coffee cups. The cut allows a concentration on the essentials of the depicted scene.

LOCAL SPORTS PAGE. Local sports pages are treated with equal care up to the tiniest details. A very good solution is the contrast between the lead photo and the smaller ones, showing the reader at once which are the more or less important news. Like on all the other pages, briefs are clustered in one clear block.

DECENT USE OF COLOUR. Blue is their favourite. The decent use of a dark blue is apt to underline their seriousness. INTERNET ACCESSIBILITY. In the top right-hand corner, next to the newspaper head, the reader can find the access to the Internet copy of Die Welt. The same applies to a number of articles which provide more details on the Internet. SPECTACULAR PERSPECTIVE. The picture of the baby is a true eye-catcher. CLEAR HIERARCHY. The page features a single picture, two coloured infographics stay in the background – a clear orientation for the reader.

Jury-Statement “The German newspaper Die Welt shows a very high standard in all relevant fields – visuals, layout, informational graphics, and typography. They are continuously used on all pages and thus create an impression of solidity and reliability. An outstanding feature is the consequent connection between the newspaper and the Internet.”

TYPEFACE. For headlines the unspectacular Times is employed. The bodycopy is easily legible. PLEASANT CONTRASTS. The teasers on the left are completely printed in Franklin Gothic. The use of unjustified print and the wider columnwidth create a pleasant contrast to the remaining page. OPTIMAL FUNCTIONALITY. The articles are separated by horizontal and vertical lines. EFFECTIVE INFOGRAPHICS. They are simple, easily legible and not overcharged with additional elements.

DIZZY PERSPECTIVE. The effect of this front page of the travel section relies on the extreme perspective of the lead photo which is contrasted by smaller ones. At the bottom of the page you can find additional tips and information together with a map that shows the destination of the journey.

A BOOKCASE CUT IN HALVES. This front page of the literature section is most captivating because of the bookcase cut in halves. The article has been inserted between its two halves. A single, centrally-placed quotation from the article is completely sufficient to make it appear shorter for the reader than it actually is. The quotation can also entice the reader to become engrossed in the article.

CIRCULAR SHAPE. This front page of the literature section is devoted to the solar eclipse. In the columns on the left the headline and the photo have been assembled. The text appears within the circle formed by the sun. A perfect solution that has never been seen before.

A SEQUENCE BREAKING UP THE PAGE. The contrast between the large cut-out photo and the sequence arranged in a vertical line, gives the page a most lively look. The lengthy article is structured by a centrally-placed servicebox. An interesting detail: In the subheads functioning as an opening paragraph, the keywords are pointed out in such a way that they help the reader to classify the topic.

PORTIONED INFORMATION. The report about an earthquake in Turkey is broken up by a quotation and infographics which are placed in the middle of the article. Below, donations accounts are listed up. In a second article background information is offered. In this way, the topic is not dealt with in one article, but divided into two parts.

INTERNATIONAL STYLE. This commentary page corresponds to an international style. Although the design consists almost only of typographic details, the page does not seem to be overcharged with text. This has to do with the generous white space in the areas around the headlines and with the wider columns that are used for comments.