SNDSMagazine Magazine
2012|2
World’s best portrait 14 & 20 SPACE_2012: We invite you! 6-7 SPACE_2012: The Cod-Father 8-9 SPACE_2012: The speakers speak 10-17 SPACE_2012: The extended programme 17 The most important tool is time 18-19 Photo exhibitions 20 The Shotgun and the Scalpel 21-23 Paper works 24-25 Recent redesigns 26-27 Newsroom of the future 28-29 SND Global: French connections 30 An ordinary Tuesday 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
Secretary Sissel Bigset Sunnmørsposten, Boks 123, sentrum, N-6001 Ålesund, Norway Tel.: +47 70 12 00 00 E-mail: sissel.bigset@smp.no
Web-editor Kartin Hansen Morgenavisen Jyllands-Posten Grøndalsvej 3, DK-8260 Viby J, Denmark Tel.: +45 87 38 38 38 / 31 07 Fax: +45 87 38 31 99 E-mail: kartin.hansen@jp.dk
Seminars Lars Andersson Upsala Nya Tidning, Box 36, S-751 03 Upsala, Sweden Tel.: +46 18-478 16 79 E-mail: lars.andersson@unt.se FINLAND Communication Petri Salmén Helsingin Sanomat PB 71, FI-00089 Sanoma Helsinki, Finland Tel.: +358 91 22 24 02 Fax: +358 91 22 23 88 E-mail: petri.salmen@hs.fi
DENMARK Vice -President/ Treasurer Frank Stjerne JP/Politikens Hus Rådhuspladsen 37, DK-1785 Copenhagen V, Denmark Tel.: +45 33 47 23 99 Fax: +45 33 14 72 17 E-mail: 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 Fax: +45 87 38 31 99 E-mail: lone.jurgensen@jp.dk
SNDS MAGAZINE
BEST oF SCANDINAvIAN NEWS DESIGN Chairman of the Competition Committee Flemming Hvidtfeldt Århus Stiftstidende Banegårdspladsen 11, DK-8000 Århus C, Denmark Tel.: +45 20 91 17 52 E-mail: flhv@stiften.dk SuBSTITuTES FoR THE BoARD Jørn Broch, JydskeVestkysten, Denmark Pieta Forssell-Nieminen, Keskisuomalainen, Finland Kristoffer Nilsen, Morgenbladet, Norway Petra villani, Sydsvenskan, Sweden
SNDSMagazine Magazine
2012|2
Editor, Art Director Lars Pryds Mob.: +45 30 53 87 14 E-mail: pryds@mac.com
SNDSMagazine 2012|2
Co-editor, Journalist DJ Lisbeth Tolstrup Mob.: +45 51 32 89 62 E-mail: mamamanus@mac.com
2
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.
World’s best portrait 14 & 20 SPACE_2012: We invite you! 6-7 SPACE_2012: The Cod-Father 8-9 SPACE_2012: The speakers speak 10-17 SPACE_2012: The extended programme 17 The most important tool is time 18-19 Photo exhibitions 20 The Shotgun and the Scalpel 21-23 Paper works 24-25 Recent redesigns 26-27 Newsroom of the future 28-29 SND Global: French connections 30 An ordinary Tuesday 32
The front page shows Lærke Posselt’s World Press Photo award winning portrait of actress Mellica Mehraban. More on pages 14 and 20.
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 2012|2 Editorial
In Space no one can hear you scream n Welcome
to another issue of SNDS Magazine, the last before summer. As you may have guessed from the headlines on the front page, this issue will give you a heavy preview of what is awaiting you in September, when Copenhagen and Politiken will host the SNDS SPACE_2012 seminar and workshop. We have devoted a massive 12 pages to present the speakers who have already signed up as well as practical details for the event. The best part is that on the snds.org website registration for the seminar is already open – so log into snds.org/space2012 and sign up for a special treatment in the fall. The final programme and list of speakers will be announced on the website and on SNDS’ social media platforms – our Facebook page facebook.com/ sndscandinavia and on twitter: follow @SNDStwit – as well as in the next magazine, published late August. There’s more In this issue, there are other great things for you as well. We have a minitheme on photography and the use of photos with the portrait of a young Swedish photographer Tor Johnsson, who has thoughtful ambitions for himself and for the trade (p.18); we bring the first chapter from a new book in the making by Maj Ribergård and Ole Munk (p.21); we have had the pleasure
of reading a right-out-of-the-press copy of a new book about newspaper design by Dutch designer Koos Staal (p.24); and the SND Global series this time visits France, where a new centre for news and journalism is being built. The Recent Redesigns story on (p.26) deserves a special mention here – as we would like to make it a regular column in the future. So if you have redesigned your publication or know someone who has, be it online or printed, let us know. This issue’s projects are from Denmark and Sweden, and we have three projects lined up for next issue already – all from Sweden, but we’d like to hear from Norway and Finland as well. We were nominated Do you remember the article in SNDS Magazine issue 3, 2011 about the terror attack on Norway on 22 July 2011? In the Danish competition for magazine design, MDID-02, this article was among the three finalists to win the award in the category ‘Trade or Special Magazine of the Year’. The ten pages, entitled ‘Norway under attack’, show examples of Scandinavian newspapers’ coverage of the tragedy in the first few days after the event. ‘Journalisten’, published by the Danish organization for journalists, beat us in the final, but being a runner-up makes us proud. MDID – Magazine Designers
in Denmark – aim to “focus on and develop knowledge, skills, and understanding of the necessity of editorial design”. These words sound like they match the aims of SNDS as well – so maybe we can learn from each other. See all the winners in the 21 categories on grafiskkollegium.dk/mdid Back in Space The headline above is, of course, a rip-off: It’s the tagline from the original 1977 Ridley Scott movie ‘Alien’ which heavily changed the world of sciencefiction and introduced Sigourney Weaver in her first major film role as Lieutenant Ellen Ripley. *) Our world – the news business – is also threatened, not by aliens but by new and difficult challenges. On SPACE_2012 you will certainly be able to hear people who have just as much dedication and will to survive as Ellen Ripley. So let us stay together and fight the beast – see you in Copenhagen! n Lisbeth Tolstrup & Lars Pryds Editors, SNDS Magazine *) By the time you read this, Ridley Scott’s new movie ‘Prometheus’ has hit cinemas all over the world. It may not be a fifth ‘Alien’ (it’s really close, though), but the Swedish actress Noomi Rapace tops the cast list. Now, that’s what we call Scandinavian star quality!
Best of Scandinavian News Design book and dvd
SNDSMagazine 2012|2
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.
3 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.
Apple by numbers
SNDSMagazine 2012|2
n Did you miss the TYPO Berlin conference in May? Or the TYPO San Fransisco conference last year? Then you have the chance to hear some of the speakers’ presentations at typotalks.com, where the organizers publish full-length videos from the conferences. And it’s high quality, delicately edited presentation videos, including slides and video clips that the speakers show and refer to in their talks. The website itself is also clear and beautifully designed – which, of course, is only to be expected from a FontShop site. Register for a free MyTYPO account and get access to additional videos – watch, for instance, Chip Kidd pulling socks out of his pockets on stage in London. Next live TYPO event is TypoDay in Frankfurt on 22 June, 2012. –pryds E www.typotalks.com
4
SCREENSHoTS The video from Nat Hunter’s presentation: “How did that happen?” at the Berlin 2012 Sustain conference includes her speech as well as her slides and video clips. Nat Hunter is a Design Director at the RSA in London, using design to close the gap between our every day behaviour and the future to which we aspire.
Photo: tyPotAlkS
Typo talks
Photo: mAcfoRmAt.co.uk
n Britain’s leading magazine for all things Apple, MacFormat (published monthly since March 1993) wonders how Apple became the world’s most valuable company. Across 6 pages in issue 248 we get the story of Apple’s rise to riches – from being the graphic society’s preferred computer company to today’s leading consumer electronics provider. A spread shows number comparisons to let us better understand the immense figures. Did you know, for instance, that today Apple is worth more than 6,000 Mona Lisas, or 2.4 times as much as Microsoft – the company that nearly put Apple out of business in the 1990ies? Useless knowledge, perhaps, but interesting enough, if you’re a Mac fan. –pryds E www.macformat.co.uk
the Newspaper is
ReboRn welcome digital
CCI EuropE A/S . www.ccieurope.com
SPACE_2012 27-29 sept and see +
Welcome
to
o We invite you to a workshop with focus on the digital
SNDSMagazine 2012|2
challenges for old and new newspaper brands. It’s very simple: “There will always be News. There will always be Design. News Design faces a great future”. This workshop will look into the future and the endless space of possibilities.
6
Supurb speakers o We invite you to a workshop that offers the best speakers in our business. One is graphics editor Steve Duenes from New York Times! Another one is the award-winning photographer Lærke Posselt! Yet another is the succesful news brand creator Carles Capdevila from ARA in Barcelona! And art director and master of white space Haika Hinze from Die Zeit! And of course the guru of our business Mark Porter! And from Scandinavia we bring you Arne Edvardsen from Bergens Tidende, Bengt Engwall from Norrköpings Tidningar and Sami Valtere from Helsinki Sanomat! And other inspiring names from regional papers, national papers, international papers and from outer space.
there’s
extended info
on
more
program page
12
SPACE! superb show o We invite you to an Award Show that will celebrate the Best of Scandinavian News Design! In other words – the proven best news design in the world! o We invite you to a workshop that offers the best
facilities ever! The workshop venue is in itself a living proof on what good design does to people. Experience it for yourself! o We invite you to a workshop that offers
the best food ever! The Godfather of Scandinavian food Claus Meyer will talk to you and feed you! o We invite you to meet old friends and make new ones
in the beautiful September weather by the spacious waterfront in wonderful Copenhagen. See you! —Søren Nyeland, SPACE-chairman
PHOTO: LARS PRYDS
register
now
Join the SNDS-seminar and workshop, Space_2012 in Copenhagen, Denmark, September 27-29, 2012. o In Stanley Kubrick’s film ‘2001: A Space Odyssey’ early humans dis-
cover a mysterious black monolith. The monolith gives them the ability to evolve – to use tools, learn languages and conquer the world. Copenhagen Space_2012 takes place in a monolith: The Black Diamond, a building clad in jet-black, shiny Zimbabwean marble that was planted on the waterfront a decade ago by Schmidt, Hammer and Lassen Architects.
But now the monolith has landed. Something new has happened. 500 years of books have been published in a digital format. The new mantra is that sharing is caring. Copenhagen Space_2012 calls attention to media that have been good at sharing – and at devising new business models. We are all standing on paper stilts and peeking into the digital world.
registration
is
open:
www.snds.org/space2012
SNDSMagazine 2012|2
The monolith cuts into The Royal Library, since 1661 the main repository of the most significant books published in Denmark. The old building, which is almost taken out of Harry Potter, was built in 1906, when ownership of the physical copy of a book was what mattered.
7
Photo: JAcoB ehRBAhN
SNDSMagazine 2012|2
SPACE_2012
8
cod_father As an executive and a food entrepreneur, Claus Meyer faces many of the same challenges as the news media. We all need to reinvent our recipes to feed the audience new titbits and getting them engaged in the process. We need to serve society in a new manner while keeping an eye on both ‘the higher purpose’ and the turnover.
n Nine
years ago, he established Noma, which has been ranked the best restaurant in the world for three years in a row by Restaurant Magazine. He masterminded the concept ‘New Nordic Cooking’; he has developed gourmet beer in collaboration with Carlsberg; and his culinary school offers education to children and adults in Denmark, young people in Bolivia and convicts in the high security prison at Vridsløselille. He sells quality coffee, sourdough, and cask-aged vinegar; he dishes out samples of Danish sausages in the City Hall Square in the heart of Copenhagen and serves today’s special to workers in a number of staff canteens. By the way, it all began when he decided to import Valrhôna chocolate to Denmark. “In one sense, I am designing a company that acts strangely according to corporate
"
I
am
lacks
and on
standards, a company that lacks a formal business plan and operates intuitively, based on peculiar criteria. Of course, we keep an eye on the financial aspects when we make decisions, because sound finances are required if we want to maintain an outstanding production”, says Claus Meyer. Just like the media business has to rethink and syndicate news according to new measures and needs, Claus Meyer must constantly rethink the role that food can play in society. “We want to do what is necessary, and not just what is likely to be profitable, and that makes it difficult for us to make fixed long-term plans. We do not plan many steps ahead in time, but looking back on our achievements, I think it is possible to detect a common thread in what we are up to. Kierkegaard might have been right when he said: ‘Life can only be
designing a
formal
operates peculiar
a
understood backwards; but it must be lived forwards’”. He addresses issues such as obesity, unemployment, resocialization of convicts, sustainable methods for production of food. And he works to rediscover the pride of one’s own heritage and roots in New Nordic Cooking. Not all projects are as successful as Noma – occasional setbacks are part of being innovative – but they all carry the same DNA. Necessity, pride and integrity. In a world of change, these values can be of inspiration to modern media workers and executives. Take a bite of Meyer’s World. Enjoy the food that he will present – and let the taste of the future linger somewhere in space. n
company
business
intuitively,
that plan
based
criteria"
Claus Meyer Born 1963. Affiliated professor & gastronomic entrepreneur. Holds an MA in International Business Studies from the Copenhagen Business School. Owner/Co-owner of several companies, employing a total staff of more than 400, including NOMA, the Michelin two-star restaurant named World’s Best Restaurant three years in a row: 2010, 2011 and 2012.
SNDSMagazine 2012|2
Per Munch per.munch@pol.dk
9
SPACE_2012 What the speakers say The Space_2012 workshop brings some of the best speakers in our business on the stage in Copenhagen. Here’s in their own words what they think is important when working with news design today.
“
Looking good
not
is
good
enough
for
Norrköpings Tidningar”
“
We
are
striving
to
develop
that
are
new,
keeping
genuinely
journalism
SNDSMagazine 2012|2
center
10
of
things
at it”
the
Bengt Engwall Bengt Engwall is editorial developer at Norrköpings Tidningar (NT), Sweden. Bengt Engwall has a broad career in media. He has been head of projects, editorial design and news graphics and has worked with development of print and online. He is currently developing a strategic programme for capacity building of the staff in NTM.
Steven Duenes Steven Duenes is Graphics Director at the New York Times which for decades has set the standard for info graphics. And the New York Times has embraced the new possibilities of animated infographics for digital platforms with great energy.
www.snds.org/space2012
“
In
a
world
where
media,
channels
and
platforms
are
proliferating we
need
design than But
more craft
ever. we
are
getting less”
“
Be
There
and
be
Square”
Sami valtere Straight out of Shanghai comes Design Director Sami Valtere (38). Helsingin Sanomat sent him to the East for a year to meditate on how to revolutionize the newspaper. He will show us the beauty of squarish design and give us a glimpse of his secret square-design-machine even before the new HS is launched. Sami Valtere has studied architecture and graphic design in Helsinki and has many top awards in international design competions.
Mark Porter is one of the world’s most accomplished editorial art directors. His London studio, Mark Porter Associates, handles a broad sweep of international publishing commissions, including news newspapers, magazines, websites and apps. As Creative Director of the Guardian, he orchestrated the newspaper’s relaunch to Berliner format in 2005 and oversaw the design of the Guardian’s award-winning website and mobile apps. Over the years, he has designed a range of critically acclaimed projects including: Wired (UK); Colors (Italy); Público (Portugal); Courrier Interntional (France); NZZ am Sonntag (Switzerland); Het Fianancieele Dagblad (Netherlands); and De Tijd (Belgium). Winner of a.o. World’s Best Designed from SND, a gold medal from SPD, and a black pencil in the D&AD awards, the only editorial design project to have managed it so far.
“
There are
easy
no
ways
or
shortcuts
to
be
on
Bergens
made
Tidende”
Arne Edvardsen Arne Edvardsen (51) is head of graphic and design in Bergens Tidende. 22 years old he started his career as editor-in-chief of local newspaper Askøyværingen. He has also worked as night editor and desk editor at Bergensavisen.
SNDSMagazine 2012|2
Mark Porter
11
SPACE_2012
“
Luckily, in
Scandinavia we
have
some
great
examples that
show
the
way
the
web,
breaking rules
on by the
of
design”
Geir Terje Ruud
“
Relax –
it’s
SNDSMagazine 2012|2
just
12
design”
Kim Pedersen Head of Design, Ekstra Bladet Udvikling. Member of the SNDS Competition Comittee.
Geir Terje Ruud is Editor-in-chief at ekstrabladet.dk, one of Denmark’s most popular news websites. Before joining ekstrabladet.dk, he was a news editor and foreign editor of VG Multimedia in Oslo and one of the key persons behind the success of the VG’s news website VG Nett. “Geir Terje Ruud has the experience, wildness, and knowledge to expand the leadership of ekstrabladet.dk”, as Poul Madsen, editor-in-chief at Ekstra Bladet put it, when Geir Terje Ruud was engaged at EB. And it worked: Today, ekstrabladet.dk is one of the few news websites that are able to actually make a profit.
“
Is
it
HTML
app a
an 5
or
native
app?”
Anna Taws Anna Taws is Mobile Design Manager at Berlingske/Mecom. She has ten years of working experience with communication, web and digital design. At Mecom Anna Taws deals with the challenges of specialized design versus standardized design.
“
You
don’t
have an
offensive
cartoon. the
way,
another
cartoon one
Look
other
find
look
or
draw
yourself”
Anders Jerichow Anders Jerichow is senior correspondent and editorialist at Politiken Daily. President of Danish PEN. Previously editorin-chief of Aktuelt daily. Several books, mostly on human rights, civil society, Middle East. Published exceptional book on political cartoonists in a global minefield (2011), telling the story of cartoonists in South Africa, Jordan, Zimbabwe, India, Hong Kong, the US, France, Britain, Sweden and the controversial prophet affair in his home country.
@sndstwit
“
Would we
our
read
own
newspaper?”
Haika Hinze Haika Hinze has been working for the German weekly DIE ZEIT since 1997. She began as a designer, assisted the relaunch by Mario Garcia and supported at the same time the conversion of the editing system to DTP. After being Art Director for the magazine Zeitpunkte she stayed for three years in Berlin designing the weekly’s department „Leben“. She has been back in Hamburg as Art Director of DIE ZEIT since 2005. She is now responsible for the design of the whole issue and in 2011 was instrumental in the development of the iPad ZEITapp. Die Zeit has won the ‘European Best-Designed Newspaper’ and the SND ‘World’s Best-Designed Newspaper’ several times.
SNDSMagazine 2012|2
at
to
13
SPACE_2012 “
Significantly courage
is
needed
rooms. is
to
Our
“
A
in
freedom
all
–
great not
templates”
portrait
should
not
be
how
a
–
should about that is
about person
looks
it be
how person
feeling”
SNDSMagazine 2012|2
Lærke Posselt
14
Lærke Posselt (28) is still a photojournalist student at the Danish School of Media and Journalism. But she has already won the prestigious 1st Prizes in Portrait Singles in the yearly competitions run by the World Press Photo and Picture of the Year International. Lærke Posselt has also taken many prizes in the SND-competitions for her daring and experimenting news photography while being a student staff photographer at Politiken.
news
mission
create
newspapers fill
and
more
Rickard Frank Head of design, Dagens Nyheter. Began his newspaper career at Svenska Dagbladet’s infographics department and became Head of Design at the same newspaper in 2001. Thereafter, he was one of two founders of the design studio Nordström & Frank, redesigning more than 50 newspapers around Scandinavia. In 2009, Frank became Editorin-Chief at Trelleborgs Allehanda. In 2011 he left to lead the design process at Sweden’s largest morning paper Dagens Nyheter. Its major redesign project was launched in September the same year. In August 2012, Rickard Frank will become Head of Design at the three Swedish newspapers Dagens Nyheter, Dagens Industri and Sydsvenskan.
to
“
Expresso New
same
iPad:
platform,
challenge”
Marco Grieco
facebook.com/sndscandinavia
“
Without photography
we
are
lost”
Staffan Löwstedt Staffan Löwstedt from Svenska Dagbladet is more than a photographer. He is the guarantee for top quality in any part of the process of a photo – from birth to publication. Löwstedt is the Photo Director for the monthly iPad Magazine SvD Insikt and the weekly feature section called K (on print). But he is also an outstanding photographer who brought home images from Afghanistan during war times and recently shot feature photography of celebrities in New York. Furthermore, Löwstedt has been highly awarded by the SND and was appointed judge in SND-competition in 2012.
SNDSMagazine 2012|2
Marco Grieco was born 1973 in Rio de Janeiro, Brazil. He graduated in visual and industrial design in 1996, started his career in “O Dia” newspaper the next year. In 2000 he was invited to assume the Art Editor position in the Portuguese daily “Jornal de Notícias”, in Oporto. In June of 2006, Marco Grieco became the Art Director of the weekly “Expresso”, in Lisbon, Portugal. In 15 years of professional life he has won many prizes and recognitions from the SND, SND-E and the European Newspaper Award. Working with the “Expresso” talented team, he was able to achieve the “Iberian Best-Designed Newspaper” (2009), the “European BestDesigned Newspaper” (2007) and the SND “World’s Best-Designed Newspaper” twice (2008/2009).
15
SPACE_2012
“
Ara
is
paper
paper The
with
a
paper
version
should
build
brand!
Because
key
SNDSMagazine 2012|2
digital
version.
brand
16
a
is
to
the
the
the the
real
future”
“
Please touch”
Carles Capdevila
Karen-Margrethe Österlin
Carles Capdevila is director and publisher of the Catalan newspaper ARA (meaning ‘now’). He has a degree in philosophy, has a long experience as a journalist and is a former television star. The Catalan daily newspaper ARA began publication on November 28, 2010. Since then this beautiful news brand with the unique business model has improved day by day. The thinking is unconventional and of course ARA has an integrated editorial team: all journalists work on Web, video, paper and social media. And of course, Ara has a fulltime Facebook and Twitter manager.
Associated professor, Head of Interactive Design and Photographic Design at the Danish School of Media and Journalism. Teaches interactive design students and photography students. The focus is on the aesthetics of the graphic design in interactive new media and how to use design to motivate the behavior of the users. Karen-Margrethe Österlin is graphic designer since 1995 (The Graphic Arts Institute of Denmark) and has a diploma in Eye Tracking 2006 (Lund University) and a Master in Design 2009 (Danish Center for Design Research).
extended
program
1_When 27 - 29 September 2012
SPACE_2012 cordially invites you to prolong your stay and take advantage of our extended program:
2_Where Diamanten, Søren Kierkegaards Plads 1, Copenhagen, Denmark
1_Get a Friend Arrive early noon Thursday in Copenhagen and have lunch with a colleague at JP/Politikens Hus at Rådhuspladsen. Have a first hand view on the Danish media arena through your new friend. We will patch you up with a relevant colleague – a fellow designer, a digital project manager or and editor-in-chief and make sure you get a good first impression of our town and worklife perspectives.
3_How much Registration fee is € 895 / DKK 6.675 + VAT (25%) 4_Register Registration is open at snds.org/space2012
Sponsor
organizors
2_Get a (night)Life Thursday and Friday right after the official programme has ended we will provide you with the best picks of Copenhagen by night, whether you are into lounge jazz, a late night snack, disco or maybe an urban techno trance event with lots of artificial additives. 3_Get around Please stay on Saturday for our custom made excursions – hosted by local journalists and editors who will give you an insight on the city, the lifestyle and the subjects they cover on a daily basis. For example: – a walk visiting the hotspots of the New Nordic Kitchen – a bike-ride though one of the worlds most bicycle friendly innercities – a boatride that will take you through the architecture along the harbour of Copenhagen and the transition from labourbased industries to modern city. You will get more details after applying for the SPACE_2012 seminar and workshop. We will customize the content according to the participants desires via direct requests and dialogue on our Facebook-page facebook.com/sndscandinavia
SNDSMagazine 2012|2
info
17
The most important tool is time Artist was what he promised his Grandma, his Granddad and his parent that he would become when he grew up. Photographer was what he became. Meet Tor Johnsson from Uppsala, Sweden.
uNDERWATER ATMoSPHERE Holidays in Bohuslän. A man takes a naked swim in the ocean.
Lars Andersson lars.andersson@unt.se
SNDSMagazine 2012|2
n Some twenty years have passed
18
between Tor Johnsson’s promise to become an artist and the daily routines as photo journalist at Upsala Nya Tidning. Tor Johnssons visual language is personal, empatheticand and varied. It bears testimony of thorough education and strong passion for his work. Five years in Nordens Fotoskola (The Nordic School of Photography) in Biskops Arnö were interspersed by periods of practice in the ‘real life’. “Everything was photography and discussions about photography in school, 24 hours a day. It was incredibly stimulating and gave me a invaluable network of people, says Tor Johnsson. But how does Tor Johnsson see the editorial photo? What is most important, aesthetics or journalism? “Actually, both are equally important. Journalism is of course the objective, to give the readers a visual
LovE Gustaf Seppelin Solli is hospitalized after a work accident in a lime kiln. His girlfriend Pernilla Lövgren cheers him up with a kiss.
documentation, but aesthetics it the tool to make it happen. An aesthetically good photo catches the reader and emphasizes the journalism,” says Tor Johnsson. The jobs have changed in his short career, but most important besides Upsala Nya Tidning were Svenska Dagbladet and Dagens Industri. “The three are very different places to work. At Dagens Industri it was mostly shooting portraits and make them good enough for a whole page or spread. Upsala Nya Tidning and Svenska Dagbladet have more space for documentary photography, for visual journalism. What is real? Documentary photography is important to Tor Johnsson. He talks about his tools, for example wide-angle lens and tilted camera to emphasize drama – or a normal lens and straight horizon for harmony, but always just as tools to show the real life, never to twist or obscure it.
“Documentary photography must show reality. But what is real? People’s lives have physical objects and events, but also feelings and thoughts. Therefore a good documentary photo must show both the physical as well as the emotional aspect,” says Tor Johnsson. Heroes and role models Among Tor Johnsson’s role models are James Nachtway and Lars Tunbjörk, two photographers with entirely different fields of work and photographic manners, but with one common denominator: They have found a photographic language that strongly enforce the contents of their pictures and the stories they’re telling. But perhaps the most important tool for Tor Jonsson is – time. Time to wait for the right picture, the right atmosphere to give justice to the motive, whether it is a portrait or a situation. Therefore, he dedicates all available free time to his own photo projects – and here he’s in charge. “Then I have all the time in the
oNSHoRE ATMoSPHERE Whether it is a portrait, a landscape or a situation it is important to have time to wait for the right moment to give justice to the motive. This photo is from a reportage about fishing in the North Sea. An old worn-out fishing boat is left amongst other scrap in Grenaa, Denmark. Photos: Tor Johnsson
Tor Johnsson Freelance photojournalist, working in Uppsala and Stockholm. Has worked for Svenska Dagbladet, Dagens Industri, Upsala Nya Tidning, Norrköpings Tidning, Scanpix, Östgöta Correspondenten, Året runt, Talentum. Eduation: 2009-2012: Photojournalist, Nordens Fotoskola Biskops-Arnö 2006-2007: Journalistik 30 hp, Karlstad’s University. E www.torjohnsson.se
SNDSMagazine 2012|2
world and I can wait maybe a whole day for a photo, but at work it is naturally different,” he says. The future as a photographer is hard to predict, but there seems to be a tendency towards more planned jobs in all media houses, according to Tor Johnsson. “You often know what kind of photo the editor wants when you go out to take the picture. This way, you are forced to edit reality,” he says.
What are your plans for the future? “I have no specific plans for the future. All I’m sure of is that I will continue to take photos and explore the world by photographing it.” n foto: emmA eRIkSSoN
PARTy TIME The night club ’Slakthuset’ in Stockholm. Photographed for a lifestysle reportage in Svenska Dagbladet.
But this is not new; everybody with experience in press photography can tell stories of staged photos where people are told to hold on to anything from car tyres to Christmas trees? “That’s right, but the demands on the photo have changed. Now we are no longer just photographers, we are visual journalists and this of course makes it a bit more complicated to edit the reality,” says Tor Johnsson. In recent years, there has been animated discussions about photos that have been manipulated or heavily altered in Photoshop. Is it okay to do that? “It is never right to manipulate a photo which you then later calls documentary. That is simply bad journalism, but the discussion has gone weird. All photos are edited in Photoshop, exactly like in earlier times all analogue photos were edited in the darkroom. What you can do in Photoshop was also possible in the darkrooms, only it was more complicated. It is no guarantee for truth if an image has not been ‘photoshopped’.”
19
Lee Miller’s surrealist eye Until 20 June 2012 Øregaard Museum, Denmark E www.oremus.dk
Irving Penn 16 June 2012 - 2 September 2012 Moderna Museet, Malmö E www.moderna museet.se Irving Penn was one of the leading photographers of our time. An innovator in the fields of fashion, portrait, and still life photography, Penn’s prolific career of over 60 years was characterized by his pristine and minimalist approach to the medium. With a selection of close to 100 of Penn’s photographs plus examples of his work in publications, this exhibition presents a broad spectrum of Penn’s oeuvre. Photo shown below is Irving Penn’s ”Balenciaga” ”Little Great Coat” (Lisa Fonssagrives-Penn), Paris, 1950 © Copyright by The Irving Penn Foundation
Works by Lee Miller will also exhibited on Dokumenta 13 in Kassel 9 June - 16 September 2012.
Photo: IRvINg PeNN
The American photographer Lee Miller (19071977) had a special eye for the surreal sides of life. In the image above she has photographed her colleague, David E. Sherman, who during World War II was a war correspondent for Life magazine, while Lee Miller herself reported for Vogue. The image mirrors the essence of the surrealists’ motto, written by poet Lautréamont: ”beautiful as [...] the random meeting at a dissection table between a sewing machine and an umbrella!”
SNDSMagazine 2012|2
20
n The 28-year old Danish photographer Lærke Posselt could hardly believe her own ears, when a fellow student at the Danish School of Media and Journalism called to tell her that she was the winner of the 1st Prize Portraits Singles category of the 2012 World Press Photo (WPP) competition. The portrait – which is shown on this magazine’s cover – shows the Iranian born Danish actress Melisa Mehraban. Lærke Posselt photographed her for Politiken in May 2011. “Melisa was in a hurry and I had only ten minutes to shoot the picture. But she felt safe and wanted it to be a good photo. She did what I asked her to do,” Lærke Posselt told Politiken.dk. “Her hair was caught in the wind. I
asked her to hold it in front of her face, and then quickly photographed her.” Iconic images – including Nick Ut’s photo of children fleeing from the napalm bombs in the Vietnam war (1972) and Eddie Adams’ photo of a South Vietnam national police chief Nguyen Ngoc Loan who executes a suspected Viet Cong member (1968) – have won the most prestigious of all WPP prizes, the World Press Photo of the Year. Winner of the World Press of the Year in 1955, the first year the competition existed, was another Danish photographer, Mogens von Haven. Lærke Posselt will be a speaker on the SNDS Space_2012 seminar and workshop. See page 14. –pryds
World Press Photo Until 17 June 2012: Amsterdam, The Netherlands Until 21 June 2012: Paris, France Until 1 July: Moscow, Russia 8 June - 1 July 2012: Berlin, Germany 5 - 28 July 2012: Edingburgh, United Kingdom See the many other exhibition sites at: E www.worldpressphoto.org With around 100 local exhibitions produced every year, the World Press Photo exhibition tour of prize-winning photographs is the most popular traveling photo event in the world. The tour will not visit Scandinavia, but the Danish winner in the portrait category, Lærke Posselt, will be a speaker at the SNDS SPACE_2012 seminar and workshop in Copenhagen. Her awardwinning portrait of the actress Mellica Mehraban. is on the cover of this magazine. The image shown above is the World Press Photo of the Year 2012, photographed by Samuel Aranda, Spain, for The New York Times. A woman is holding her wounded son in her arms during protests against president Saleh, Sanaa, Yemen, 15 October 2011.
Photo: mAdS gReve
Are you kidding me?
Photo: SAmuel ARANdA
Photo: lee mIlleR ARchIveS, eNglANd. www.leemIlleR.co.uk
Photo exhibitions on show now
WoRDS AND PICTuRES Left: The minister of foreign affairs worries as a UN treaty is at risk. Right: The minister of development is happy because Denmark has been chosen to host a un conference. That is what the captions say. But the photos tell us something else. Which part should we believe? (Politiken 11/09/2009, ekstrabladet.dk 08/02/2010)
The Shotgun and the Scalpel Maj Ribergård maj@ribmunk.dk ole Munk ole@ribmunk.dk n Sure, a picture can say more than a
thousand words. However, conveying an exact message with only images is almost impossible. The most effective kind of visual communication can be achieved by combining visuals and words. Quite often, the emphasis will be on the image; in some cases, the text should convey the main message; and when everything clicks, visuals and words may join together in creative synergy. verbo-visual communication The interrelation between visuals and words is one of the strongest tools at our disposal whenever we wish to communicate quickly and effectively. As human beings, we have been training this ever since we first opened our eyes: Interpreting face and body language while listening to the words that are being said. To a large extent, our faith— or lack of faith—in another person is determined by the degree of accordance between what we hear and what we see.
And, as shown above, the way we perceive the verbo-visual messages of mass media basically follows the same rules. On an ordinary day, the vast majority of all the images we see will be delivered with words of some kind. The living pictures of the television are accompanied by speech—either from the people on the screen, or as voice-over which means that a person is speaking while something else is going on in the pictures. We rarely have trouble understanding talking heads—but as soon as images and words let go of each other, things get more complicated.
The Shotgun and the Scalpel is the first chapter of an upcoming book by Maj Ribergård and Ole Munk on the use of verbo-visual communication. Ribergård & Munk are running courses and workshops on the same subject. E www.ribmunk.dk
Research shows that our comprehension is dramatically reduced if images show one thing and the speak is about something else. The tv viewer is forced to make a choice: Either follow the pictures and forget to hear what is said, or listen to the words and perceive very little of what you see. The problem gets smaller when dealing with still pictures and written text. Unlike the tv viewer, readers can decide for themselves how much time they will devote to encoding the message. This does not, however, leave the field wide open for word/image combinations of any kind. If the connection between the two is unclear, or if they contradict each other, the reader will still get confused. And there is a third pitfall for you to avoid. Sometimes we see visuals which look like attempts to ”translate” the words into pictures. Most likely, these attempts derive from a sympathetic ambition to clarify the message. But that is not the way they work. Verbal metaphors have their unique quality because they are verbal—and they will almost always look stupid and trivial if you try to transform them into images. What the messenger does not always realize is that visuals and words
SNDSMagazine 2012|2
Visuals and words are being processed by different parts of our brain, and combining the two means of expression can help you communicate very effectively—but making the combination work is not always easy and requires full understanding of the qualitative differences between word and image.
21 E
communicate in two entirely different ways. And that utilizing this difference can help you get the overall message across much more effectively than when words and images overlap.
SNDSMagazine 2012|2
The difference between visuals and words A picture is like a shotgun. It shoots out a bunch of different signals—denotations and connotations—and if it is a good picture, they can hit you with tremendous impact. It is, however, impossible to control exactly where and how they will hit. How we read a particular picture depends on who we are, and on the situation and context in which we see the picture. A text is a much more precise way of expression which can help steering the signals of the picture in a certain direction. In relation to a picture, the text may be used as a scalpel, cutting away possible but unwanted meanings—and thereby giving the messenger better control of the overall message. The two types of information are perceived differently as well. Our first encoding of a picture is a swift, simultaneous process. In a fraction of a second, we will form a rough idea of the
22
HERE’S LooKING AT you, KID 1. First glance at the photo leads to a gist. 2. We read the caption. 3. We look at the photo once more, with more attention to detail, to check if image and words are matching.
contents of the picture and the possible messages it may convey. Text is different. In order to understand it, we have to split it up. How quickly we perceive a text depends on its length and complexity—as well as on the size of the letters. In the Daily Mail example (below), the headline is so big and strong that most people will read it before they see the pictures. This will turn the three small, grainy mug shots, which otherwise would never deserve a place on the front page, into a thought-raising comment to the text. The newspaper makes use of a sophisticated interrelation between visuals and words. At first glance, the words PERFECT SON seem to be in full harmony with the ”perfect” young man on the photograph. But the word KILLED forces us back to the photo one more time: So maybe he wasn’t so perfect after all, and we might even feel that now we are able to look through his artificial smile and see what the guy is really hiding. This kind of commuting back and forth between image and words is typical for how we perceive verbo-visual communication. If we see a photo with
a caption, the photo will be looked at first because of its visual strength, but processed for a very short time. As little as 1/20 of a second, some researchers say. This initial encoding of the image results in a so-called gist. Next thing we read the caption, and as the third—and usually last—step, we will turn back to the photo, with more attention to detail, in order to get confirmation that image and words match each other. If the text is bigger and stronger than a normal caption—like a headline for a news article or an ad—our attention to the two elements will be distributed more equally. In some cases, like the Daily Mail front page, we will read the text before we look at the picture. The headline can be seen as a statement and the illustration can work as either documentation, supporting the assertion, or as a comment—elaborating, dramatizing, humoristic, for instance—to the statement. A ”visual comment” will typically be an illustration rather than a plain photograph. Either in the form of a drawing, or as a photo illustration (a photo which has been arranged or manipulated after it was taken).
MAyBE NoT So PERFECT The Daily Mail uses a sophisticated verbo-visual communication in this front page about a murderous son. 30/06/2005
Three types of image/word relations Basically, a picture and a headline can relate to each other in three different ways:
1
TAuToLoGy. If the two elements say (or try to say) the same thing, the verbo-visual possibilities are not fully exploited. As receivers of the message, we will often feel that we are being patronized. But there are exceptions to this rule. In situations where you will expect that your target group might have trouble reading the words, trying to deliver the same message in image form can make perfect sense. For instance, this could be true for certain types of signage, as well as for educational books such as language courses.
2
CoNTRADICTIoN. If words and images contradict each other, in most cases the reader will get confused and/or annoyed, and the overall message will lose credibility. However, sometimes you can utilize the dynamic energy which may arise from the contradiction between image and words. In 1999, the Danish newspaper Politiken produced a fake ad for a supermarket chain which would not employ hijab-clad cashiers. To propagate against this, Politiken published this opinion piece which looked like a full-page ad, the text saying ”We won’t hire these girls as cashiers because they might scare away our customers”. The headline repeats the statement used by the company to prevent their staffers from wearing scarves—and the images contradict it. The contradiction will force the viewer to draw his or her own conclusions.
3
Adresseavisen 08/12/2002
SNDSMagazine 2012|2
SyNERGy. Image and words can also communicate in a parallel manner in which their differences (the shotgun and the scalpel) can be fully utilized. As this expands the interface between the sender and the receiver, chances will be maximized for the message to come across. An obvious and ”frictionless” image/word relationship is easily perceived. Whether it will make an impression depends on its importance and its relevance to the viewer: ‘Here is the new director of technical operations’ is a piece of information which will be remembered only by those who are already interested … whereas ‘This is the asteroid which will destroy the earth within five days’ is a message few people will forget. But the relationship can also be of a more unconventional, less obvious character. Quite often, this will increase its communicative effect. The two examples on the next page illuminate the difference. In the first example, photo and headline are working frictionlessly together, and people with a relation to the Norwegian city of Trondheim will find this combination relevant and interesting. In the second example, photo and headline match each other as well, but in a surprising way which will make any reader—including those of us not from Trondheim—think, and almost give us the feeling that we are part of the action. This kind of image/word combination can lead you to powerful results. The element of surprise will increase your chance to make an impression … even on people who are not automatically curious to know what you want to tell them. n
Dagbladet 08/12/2002
23
Paper works
It’s a rare occasion to see a new book published about newspaper design. But Koos Staal of Staal&Duiker Designers in Haren/ Berlin nevertheless has done just that. Paperworks NL is a personal monument over a long professional career but also a welcome addition to the bookshelf of anyone interested in the mechanics behind making news look good and communicate well at the same time. And the book even feels good in your hands.
Lars Pryds pryds@mac.com
SNDSMagazine 2012|2
n As
24
the title suggests, Paperworks NL focuses on newspaper design in the Netherlands. From here, and from his office in Berlin Koos Staal travels to Europe and Asia as well as throughout his own country to work as a design consultant. He has conducted more then fifty redesigns so far, and besides being a newspaper specialist is also a designer of corporate identities, exhibitions, magazines and books. The examples in the book are almost entirely Koos Staal’s own work, but the principles behind them are universal, and can therefore easily be useful for people interested in news design everywhere. The introduction is a quick walkthrough of the “forty years’ time [when] newspaper design has evolved from the
mere filling of pages to the functional use of typography and strong visual language” – or in short, how news design became a profession. The years coincide with Koos Staal’s own professional career, and this personal tale of his background forms the basis for the more practical chapters that follow. How it works The major part of the book is a very thorough description of how newspapers are designed and produced – from the basic overall creation of the publication’s identity and experimenting with format to the more practical design decisions about grid, typography, and colours. These elements are, says Koos Staal, actually a rather limited palette to work with every day – but in combination, they “make a rich medium for whispering, talking or shouting”.
SMALL BuT GREAT Every detail has been considered carefully in preparation for Paperworks NL. Here Koos Staal shows some of the miniature dummy books he made to get a feeling of the flow of the pages. Photos: Lars Pryds
NAvIGATIoN One of the first new things designers introduced in newspapers was a consistent organization of content – and a clear way to navigate through the paper.
LoGo LoGo! The logo, or nameplate, of a newspaper is the first important visual element that meets the readers’ eyes. The logo is also the paper’s corporate identity and very difficult to redesign. SHIT To PRINT The scandal-focused daily newspaper has never really taken off in the Netherlands like it has in most other European countries. Koos Staal gives his version of an explanation why, as well as shows colourful sketches for a Dutch tabloid that never made it to the newsstand: ”End of exercise – and maybe for the best”. HIDDEN TREASuRES Paperworks NL exploits what you can do with the printed media – the middle section of pages are folded with perforated edges and can be cut open manually to reveal facsimile prints of Koos Staal’s newspaper designs as they were originally published.
knows what he’s talking about. It’s not a lifetime of experience being shown here – Koos Staal is very much alive and experimenting with new projects – but already he’s managed to pick up nearly as much as anyone could expect in a lifetime. The feeling of paper Although one chapter at the end of the book contemplates that new media such as tablets and the web will, perhaps, take over the role of the printed paper, this is a book about print on paper. It’s no surprise then, that the book itself is an experiment with form – in a very delicate and tactile way. The cover is a rough grey cardboard quality and the middle section of the book consists of ‘folded’ and perforated pages, giving the reader the choice of reading as it is – or open the pages at the perforation at the edges, revealing on the ‘inside
pages’ prints of Koos Staal’s actual newspapers. This way, you’re “left with a ‘used book’. Just like an already read newspaper. If that is not newspaperatmosphere … ?” as he says. n
Koos Staal: Paperworks NL – Newspaper design, an inside view [z]oo producties, 2012. 23,5 x 20,5 cm. 120 pages. Price: €32,50 on bol.com – or email to koos@staalduiker.com ISBN 978-90-74009-85-0 (English edition) ISBN 978-90-74009-84-3 (German edition) E www.staalduiker.com
SNDSMagazine 2012|2
And this is where the designer comes in – arranging these elements both creatively and in respect for the written word. Koos Staal describes how the work of a newspaper designer is different from that of many other designers. Once a design concept has been approved, the designer – if he’s an external consultant – exits and leaves the production and daily design of the pages to newspaper staff. Therefore, one of the most important parts of a redesign process is to make way for the interaction between publisher, editors, colleagues, in-house graphic designers and marketing department. This book could be a great inspiration to make this interaction happen and to create a better understanding of the processes in news(paper) design. The very personal approach to explaining the projects gives the reader a hands-on feeling – Koos Staal really
25
New design
24timer
Denmark Free daily newspaper (Mon-Fri) Circulation: 145,172 (2011) Format: Tabloid New design launched: 17 April 2012. Design: Alfredo Triviño E www.24.dk
New design
uNDER CoNSTRuCTIoN: The cover of the final issue in the old 24timer design was turned into a regular construction site: ”We’re rebuilding” – designed by Morten Gorm, www.mortengorm.dk.
old design
Recent redesigns The financial crisis forces print and online media to come up with new ways to present their content, and a side-effect is redesign projects. We picked a few redesigns that have surfaced in Scandinavia recently, and look a little closer at Danish freebie 24timer.
SNDSMagazine 2012|2
Lars Pryds pryds@mac.com
26
n 24timer, the last (except for its owner’s other publication MetroXpress) surviving free newspaper in Denmark was redesigned this year, for the first time since the launch in August 2006. The man behind the new look, Alfredo Trioviño, is Director of Innovation at News Corp., London. He recently also redesigned The Sunday Times and describes the new 24timer this way: “It is accessible, but modern; warm, but strong. Colourful, but controlled
and respectful – and true to the fundamental values of the newspaper’s dna.” With the new look, the main focus – or dna – is still to be “relevant and straightforward, and to deliver – for free – news that are impossible to ignore”, as editor-in-chief Lotte Stensgaard stated in the first issue of the new, updated 24timer. New colours have been added to the palette, resulting in a lighter, more colourful feeling throughout the paper. The new headline typeface is Christian Schwartz’ revival of the good old Neue Haas Grotesk (originally designed by Max Miedinger in 1957-61), which gives
the pages a feel of being both retro and modern at the same time. The modular grid gives way to interesting graphic solutions – like the square ‘floating’ logo on the front page which moves to fit with the images; or the way white rectangles cut into the corner of images to make room for captions or even headlines. For the very last issue in the old design, 24timer used the old trick of imitating a construction site on the front page (see illustration above). Not the most original of ideas, perhaps – but elegantly executed like this, it simply works! n
old design
maaseudun tulevaisuus
New design
Finland News website. Covers agriculture and forestry as well as related businesses, and rural enterprises and life in general in the countryside. New design launched: October 2011 (Corrections being done now) Design: Creative Director: John Bark. AD/Webbdesign: Ivica Prgomet, OneDay Interact; HTML/CSS: Linus Josephson, OneDay Interact E www.maaseuduntulevaisuus.fi The straight translation of Maaseudun Tulevaisuus is ”The Rural Future”.
Bt
Denmark Daily (7 days) tabloid newspaper which offers general news about various subjects such as sports, politics, gossip and current affairs. Circulation: 67.983 (2011) Format: Tabloid New design launched: 29 March 2012. Design: Inhouse team. Logo+typefaces by E-Types E www.bt.dk old design
Did you ? redemseoinegwnho did?
– or know so about it! s Then tell u redesign t any recently ou ab nt hi a website, e, in Give us az ag spaper, m w ne – t ec ic oj bl ation. pr any other pu mobile app or ds@mac.com Email to pry
New design
Information SNDSMagazine 2012|2
Denmark Daily newspaper (Mon-Sat). Denmark’s leftist, intellectual and critical paper. Established in May 1945 as an offspring from the illegal press during World War II. Circulation: 20.932 (2011) Format: Tabloid New design launched: 29 March 2012. Design: Tobias Røder E www.information.dk
27 old design
New design
Newsroom of the future The regional director for SND France, olivier Bourgois, is also the CEO of WAN-IFRA SWE (World Association of Newspapers and News Publishers for French speaking countries). In partnership with the universities of Lyon and Saint-Etienne, WAN-IFRA will open a newsroom of the future at Saint-Etienne in the autumn of 2012. International Rhône-Alpes Medias (IRAM) will aim to train journalists to new organizations and the use of new media but also be a place of research and experiment for media groups. olivier Bourgeois olivier.bourgeois@wan-ifra.org
SNDSMagazine 2012|2
n IRAM
28
is an international platform for training, monitoring and research dedicated to the convergence of media. IRAM will combine editors, media professionals and media, associations, scientific, technological and cultural sector around issues of information and multi-channel convergence. At the heart of IRAM is a futuristic newsroom equipped with the most modern technology: a laboratory where we can form, share, search, discuss, develop and shape the future of media. Here, researchers will experiment with visions for the press and media,
students prepare to be journalists, multimedia professionals will find new ways to manage and design information, publishers work with organizational models and technology partners offer innovative implementations. IRAM: The project The passage of the “mono-media” into “multimedia” has created vast needs in training, consulting, research. Groups and media professionals must adapt their strategies and organization to confront an environment increasingly competitive and dynamic. IRAM is born to meet this challenge by bringing together professionals, multidisciplinary researchers and students in an open space around the
challenges of the digital age as part of an international media network. IFRA (World Association of Newspapers) and Jean Monnet University of Saint Etienne and Université Lumière Lyon II, have teamed with the support of local communities, to achieve: n A prototype newsroom of the future for the training of journalists and information professionals n A platform for monitoring and analysis of new practices and technologies in the media industry n A place of research for the scientific, technological and cultural sectors n A laboratory study to detect and test new business models n A laboratory study to design the content on new devices.
The major funders of this project are the Rhône-Alpes Region, the General Council of the Loire and SaintEtienne Métropole. The platform will be launched in October 2012 and will house the offices of the WAN-IFRA for Europe Southwest, diploma courses initial and continuing vocational training modules. Newsplex: The future of the newsroom IRAM makes available to its users a space of 500 m2 with modern and innovative high-tech equipment. The futuristic newsroom will be equipped with touch tables, integrated mobile video studio, multimedia tablets, smartphones, editorial systems and applications. Content will be at the center of a process of publishing information that is simultaneously on several media (paper, web, mobile, iPhone, podcast ...). These tools and the expertise of people who will be at the IRAM center, will be used by journalists and information professionals to meet the challenge of an editorial reorganization
that is unavoidable. The newsroom of the future must work with multiple media simultaneously and in real time and must rely on professionals who can master several tools and meet the growing needs of a constantly changing audience. Adplex: The power multi-channel Rhone-Alpes International Media will support media groups and businesses in the training of sales teams and projects, to provide offers multi media and new sources of income. Whether paper, digital (web, graphics tablets, smartphones ....), events, audiovisual (local TV), audio (radio, podcast) advertising agencies and companies that want to grow, must have teams able to offer a strategic media plan and ever more open and efficient. The designers will also be part of this project to be able to design content on new devices. Adplex, room revenues for the future given the tools, training and reflection necessary for this mutation.
Project scope international The concept of International RhoneAlpes Media is unique in the world. The only comparable project is the US Newsplex South Carolina conducted by Columbia University and IFRA in 2001. But the part in situ research is absent. IRAM is located in France, but addresses publishers and media professionals worldwide. Training will be provided in several languages (English, Spanish, French, German, Italian ...) and events and conferences will have participation of world experts in this sector. International partners also provide a window on the issues that are both global and in different cultures and different countries. n
IRAM: Ewww.iramedias.com IRAM Project Video: Ewww.kortlink.dk/ayqn
SNDSMagazine 2012|2
uNIquE Au MoNDE IRAM is a unique place that brings together media professionals, students, researchers and many others to share and develop in one place. "We have the facilities the 14 of May but we need more or less three month to equip it with the newest technology, so we will be ready in October," says Olivier Bourgeois, CEO of WAN-IFRA SWE, President of SND France – and a driving force behind the IRAM project. Photos: From the IRAM Project video, where Bourgeois explains the ideas behind the project. In French, with English subtitles. See the video at www.kortlink.dk/ayqn
29
Olivier Bourgeois, the regional director of Region 18 SND France, works with corporations and universities in the area and with the much larger organization of WAN-IFRA, where he holds the position of CEO and is branch responsible. He knows and values the importance of …
CoNFERENCE Poster for the 2011 design conferences organized by SND France in cooperation with WAN-IFRA.
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.
French connections is SND organized for the moment but when we will q How A Not in France? be in St-Etienne we hope to have a is no SND board. SND France better connection with the school of the A There is driven with volunteers coming from design. the magazine and newspaper industry. Which is the most dynamic part of the q Do you arrange special/regular events news business in your region? q for your members? Most of the Newspapers are now A We organize every year a press design to make money with digital. So A conference. Usually it takes place in they aretrying developing new web sites and new
SNDSMagazine 2012|2
May. In 2012 it will be postponed because of the IRAM project (see page 28-29). But we would like to organized a design event in Saint-Etienne where IRAM is based. Also, I think we will join the 8th Saint-Etienne International Design Biennial which will be held from the 14th to the 31st March 2013. On this occasion Saint-Etienne joins the 8 cities in the UNESCO Creative Cities. (More info: www. citedudesign.com –ed.)
30
do the SND members in your q What region primarily work with? of our members are coming from A Most the printed media (newspapers,
magazines). Some are now working on the web and iPad. there any connection between the q Ismedia and the educational system in
your region –for instance is news design present in design schools?
iPad apllications.
is the biggest challenge for your q What members? content on every existing A Produce devices. are your visions for the future of q What news design? – and how will SND and your members be part of it? would like to train all the designers A We to be able to work on many devices. If
you are working only on print it will be difficult to work now in a media company. So you have to know how to produce content on the web as well as for the iPad, the iPhone and other mobile platforms … So my vision is having designers able to work in all devices, aware about what is the best design for each device. Designers should also be more involved in the content process. n See also: Newsroom of the future (p.28-29).
olivier Bourgeois is the president of SND France and also CEO of the World Association of Newspapers and News Publishers for French speaking countries (WAN-IFRA SWE). He has worked for more than 20 years in the media industry. He works with the most well known French language newspapers, including Le Monde, Le Figaro, L’Express – and has organized conferences all over the world. His specialties are reorganisation, business development and new media. WAN-IFRA represent more than 18,000 publications, 15,000 online sites and over 3000 companies in more than 120 countries. E www.ifra.com E www.media-campus.org
D
DiSpLay TPG TolleOne – a hand written font in five styles: Light, Regular, Medium, Bold, Black
TPG PrydsPensel – a brush font in three styles:
Regular, Medium, Bold
TPG DontBlurry – a soft font in five funky styles: Light, Regular, Bold, Bold Wide, Black
Fonts TPG Katalog – a stencil font in three styles: Light, Regular, Bold
TPG FaceFont – a picture font with mostly faces. Two styles: Left and Right (Left and Right)
regular,
medium,
Bold
Official typeface for the SNDS Space_2012 seminar and workshop
All fonts: OpenType OTF Windows/Mac TTF
Funny fonts from Tolstrup Pryds Graphics
pryds.com/type TPG fonts are available from: myfonts.com · fonts.com · itcfonts.com · linotype.com
SNDSMagazine 2012|2
M
TPG SquareSpace – a square, monospaced font in three styles:
31
SNDS Magazine 2012|2 The President
An ordinary Tuesday SNDS President Anders Tapola anders.tapola@smp.se n A Tuesday. That’s
just an ordinary day. And what happens on an ordinary day? It all started with A day in Sweden in 2003. 3800 photographers where invited to participate to describe what happened in Sweden during a day. A jury assessed the images and the selected photos were published in a book also named A day in Sweden. * On 15 May this year, it was time for A day in The World initiated by the Swedish non-profit foundation Expressions of Humankind. People all
over the world were invited this time. A motto was: ”One Day. Millions of Perspectives. Add Yours.” The result will also this time end up in a book, but also in exhibitions around the world. Pictures from this global project will be displayed at the Museum of World Culture in Gothenburg and The Culture House in Stockholm in November 2012. I don’t know how many people have participated in the project. When this chronicle is written it’s still a few days left to send in pictures. But I think it’s a great project.
Photo: leNA guNNARSSoN
Maybe we can transform it to a World Design Day also? Here, I offer some of the photos I took on May 15. A typical Tuesday. And also a very beautiful day. If you want to know more about the project, and see all the pictures, go to: www.aday.org * Finally, I really hope to see you in Copenhagen during Space_2012. It will be an extraordinary workshop! See the first long line of speakers in this magazine, and register for the workshop at snds.org/space2012 n
PhotoS: ANdeRS tAPolA