SNDSmag 2013|3

david kordalsky anders tapola Pål A. Berg vanessa wyse philip ytournel mads zacho janne bjergli ole munk miranda mulligan mark porter paul barnes christian valentiner sille bjarnhof Richard turley kyle ellis hugo lindgren javier errea AWARD SHOW

SNDSMagazine

2013|3

The right to be wrong 3 Screen grabs 4 Be wrong as fast as you can 6-9 Speakers and more in Copenhagen 10–14 + 17–19 Wrong programme 15–16 Culture Night in Copenhagen 20-21 Being in the wrong business 22–23 It’s alive! It’s a logo! 24–27 Fully booked and what to do with yesterday’s newspaper 28–29 Web-only type book 29 The Nordic spirit 30 What, Where, When, Who, How and Why 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

Lill Mostad Fredriksstad Blad Stortorvet 3, N-1601 Fredrikstad Norway Tel. +47 932 09 367 E-mail: lill.mostad@f-b.no

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

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

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

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

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

Print: Svendborg Tryk www.svendborgtryk.dk

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

Articles and ideas for SNDS Magazine and snds.org are most welcome. Please contact us if you have any tips or ideas.

SNDSMagazine 2013|3

SNDS Magazine editorial office Østerbrogade 158, 3. TH., DK-2100 Copenhagen Ø, Denmark

2

ISSN 1901-8088

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

Typography: SNDS Magazine is set in Myriad Pro, Myriad Pro Condensed and Adobe Jenson Pro and designed in Adobe Indesign for Macintosh.

SNDS Magazine is published four times a year, in March, June, September and December.

Deadlines are: 15 February, 15 May, 15 August, and 15 November.

david kordalsky

anders tapola SNDSMagazine Pål A. Berg

2013|3

vanessa wyse philip ytournel mads zacho janne bjergli ole munk miranda mulligan mark porter paul barnes christian valentiner sille bjarnhof Richard turley kyle ellis hugo lindgren javier errea AWARD SHOW AND MORE… The right to be wrong 3 Screen grabs 4 Be wrong as fast as you can 6-9 Speakers and more in Copenhagen 10–14 + 17–19 Wrong programme 15–16 Culture Night in Copenhagen 20-21 Being in the wrong business 22–23 It’s alive! It’s a logo! 24–27 Fully booked and what to do with yesterday’s newspaper 28–29 Web-only type book 29 The Nordic spirit 30 What, Where, When, Who, How and Why 32

The front page shows the names of all speakers at the SNDS Wrong conference.

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

SNDS is on Facebook: E facebook.com/sndscandinavia

SNDS is on twitter: E @sndstwit

SNDS Magazine 2013|3 Editorial

The right to be wrong Take the date line off a newspaper and it becomes an exotic surrealist poem – Marshall McLuhan, 1970* n Welcome

to another issue of SNDS Magazine, the last before we all go wrong. The theme of this year’s SNDS conference is an easy target for all kinds of word puns – but this, we promise, will be our last.

Because it is, of course, the right thing to do – attending the annual conference, no matter what the theme might be. It’s the one chance every year to meet colleagues and friends, and a great opportunity to hear speakers from all over the world reveal some of their secrets, show their work or simply tell us all about their experiences. It’s also a way to get away from the daily routines and get new inspiration.

Exactly what kind of inspiration will you find in Copenhagen? Well, this magazine should give you a pretty good idea about that. We have the complete program ready for you, with time schedule and all (page 16–17), and we present some of the speakers who have been added to the list since our previous issue.

One of the main speakers will be Hugo Lindgren, editor of the New York Times Magazine, and with the magazine’s kind permission, we print his very personal essay about how it’s actually a good thing to be wrong, and

why finding out that you’re wrong may take a little time. Hugo Lindgren once dreamed of a more artistic career, rather than appreciating “how naturally suited I am to the job I used to think I never wanted to have”. But the creative process is constantly present and reinforces his magazine work. Recalling the Canadian philosopher of communication theory Marshall McLuhan’s words quoted above, there’s a thin line between art and news. Read Lindgren’s thoughtful words on pages 6–9.

Another essay in the magazine follows similar thoughts. Kartin Hansen, snds.org webmaster and Chief Project Manager at Jyllands-Posten, believes that some of the problems facing the media business are caused by the fact that we think we’re in the – media business.

And we’re not, says Hansen, we’re in the software business (page 22–23).

Both essays are valuable reading even if you are not attending the Wrong conference – as is some of the other great stuff. Edited especially for SNDS Magazine, we bring a very short extract of a paper about dynamic logos.

Katja Bjarnov Lage, graphic designer MD and lecturer at the Danish School of Media and Journalism, has granted us a sneak peak into her master thesis just finished this spring. Things are changing rapidly – and the strategies for building and maintaining a company’s or organisation’s identity changes accordingly. One element is the way the static old logo, logotype, or nameplate

is finding its new place in the world – and how it embraces new functions in the digital era (page 24–29).

Digital as it may be, the world is still very much depending on print in many shapes and forms. This is exactly the topic for the two new books we review on page 28–29. One celebrates the concept of the book, the other celebrates the prolonged life of newspapers – or rather, how your old newspaper can be reused for thousands of different purposes, once you have finished reading it.

Finally, we look at an example of a truely Nordic co-operation – the result of a seminar held at the Copenhagen Photo Festival. Essays, articles and photographic documentation has been collected in a book, nordic now!, published as a co-production by three photo magazines in Denmark, Finland, and Norway. The publication also looks into the discussion of photography as art or as a tool of journalism – which brings us right back to both Hugo Lind­gren’s thoughts and even McLuhan’s statement, from 1970, with which we opened this editorial.

We look forward to continue the discussion, as well as the Nordic cooperation – both on snds.org and on facebook.com/sndscandinavia – but first of all: on the two eventful days of the Wrong conference.

See you in Copenhagen! n

* McLuhan, Marshall: Views, in: The Listener 84, no. 2167 (8 October 1970). Reprinted in: McLuhan, Marshall and David Carson: The Book of Probes.

(Gingko Press, 2003).

Lisbeth Tolstrup & Lars Pryds Editors, SNDS Magazine

Best of Scandinavian News Design book and dvd

Be

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.

C

T

E

I

Y

F

O

R

N

E

W

S

D

E

S

I

G

S

N

C

A

N

D

I

N

A V

I

A

ISBN: 978-87

-99251

ISSN 1902-6 0-5-6 ·

293

S t B e

Online

and mob

n 2013 2 ws Desig vian Neduced and published in 201 pro Scandina Best of ile categories – content

o f i a N a v D i N a N S c w S N e

SNDSMagazine 2013|3

O

S

N S i g D e

ST

3

n 2013 ws Desig vian Neand published in 2012 ed Scandina Best oft categories – content produc Prin

1 3 2 0

293

ISSN 1902-6 0-5-6 ·

-99251

ISBN: 978-87

C

I

E

T

Y

F

O

R

N

E

W

S

D

E

S

I

G

N

S

C

A

N

D

I 1

O

N

g.indd

A V

g-omsla

I

3-katalo

A

Best201

S

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.

02/09/13

08.22

Screen grabs The right tablet?

The awful websites

The good old days

At a time when many news­ papers have no idea where to go with their digital platforms, particularly the tablet, the Evening Pilot team has managed to produce an evening tablet edition that hits the spot, and responds to what the research points us to: tablet readers do not wish to have a replica of their online or newspaper editions. They want to lean back with curated material, access to breaking news and, most importantly, content where the ‘finger is made happy’, as in videos, pop ups and engagement.”

I want you to no­tice one big thing here. Not only are all these web­sites aw­ful, they’re all aw­ful in ex­act­ly the same way. We’ve just seen three sites that pret­ty much have the same pat­tern: a clut­tered tool­bar on the top, and then they’ve got the ban­ner ad, they’ve got the ar­ti­cle on the left side, and then they’ve got more ads and links and oth­er junk in the right column.”

Just like the real world, the media world is suffering from overpopulation. And the scarce resource is our time. I therefore believe that the only way high-quality journalism can become a sustainable product in the future is if the publisher manages to establish such an esteemed brand that we’re willing to pay for it even though we won’t actually read it that often. “

In a series of posts on TheMarioBlog, Dr. Mario R. García has looked into the short but eventful history of the newspaper tablet editions, and found the Virginia Pilot’s recently launched app to be a good example of “the ‘bridge’ between what has been there so far and what we may see more in the future”.

Read the “What’s trending with tablets?” series, including an interview with Virginia Pilot editor Dennis Finley, on: E garciamedia.com/blog Evening Pilot for iPad, on iTunes: E bit.ly/13F2Rn1

Matthew Butterick, renowned type designer, website designer, and lawyer, in a presentation at TYPO San Francisco in April, after having showed three examples of large news websites. Butterick, who designed websites for Internet pi­o­neers like CNET, Netscape, VeriSign, and Wired mag­az­ ine and fonts for Apple, Microsoft, and oth­ers, gave a presentation called “The Bomb in the Garden”, and has some very interesting thoughts about design versus programming.

Read it in full length here: E typo.la/bitg

Ole Munk, design consultant and former SNDS President, on the occasion of Jeff Bezo buying The Washington Post, remembers the summers of his late childhood “when the newspaper would sometimes be the only thing I’d read in a day, apart from the occasional novel or Marvel comic book. One issue of Politiken could last for an hour, sometimes more. Compare that to now when dozens of e-mailed newsletters, tweets, and Facebook updates keep linking me to must-read stuff (and sometimes just fun stuff ) 24/7.”

Read the full post at E munkytalk.com

The Champions of the World L

O

U

2013

SND

SNDSMagazine 2013|3

sndlou

4

2013 NOVEMBER 7-9 • THE ALI CENTER

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

/sndlou

@sndlou

sndlou

We’re attracting heavyweight speakers from around the globe.

Our sessions hit hard on design, technique, illustration and inspiration across print and digital platforms.”

The language is strong, and the speaker line-up is the same, at the SNDLOU conference site, sndlou.org. And this is no coincidence, as the sessions at this year’s SND seminar and workshop will be held at the Muhammed Ali Center in downtown Louisville, Kentucky.

The names include champions (!) like Jaap Biemans, Art Director, Volks­ krant Magazine, but probably most

known as the founder of Coverjunkie; Steve Duenes, Graphics Director, New York Times; Alberto Cairo, author of the book The Functional Art: An Introduction to Information Graphics and Visualization (see SNDS Magazine 2013/1); Jon Hill, who directs both the print and digital design of The Times of London; Creative Director Michael Renaud, Pitchfork, one of the most respected music news and review sites in the World; and a team from The Onion, a king in the world of satire and the internet’s first comedy site.

See full programme and register at: E sndlou.com

Paying customers?

Are your digital products worth paying for?

Soon, the number of mobile devices will equal the number of inhabitants on our planet.

About 10 percent of the world’s population will be mobile-only internet users.

Explore the new digital solution from CCI, a platform that provides you with the power, the flexibility and the efficiency you need to expand your mobile business - without adding more resources.

www.ccieurope.com

Be Wrong as Fast as You Can Do you know why it is important to be wrong?

Hugo Lindgren, editor of the New York Times Magazine and a main speaker at the SNDS Wrong conference, gives you some of the answers. In this essay, which we print with kind permission, he reflects on how – or if – all our big plans and dreams should be realized.

Hugo Lindgren The New York Times Magazine

SNDSMagazine 2013|3

n Here’s

6

a partial, redacted-for-thesake-of-my-dignity list of stuff I once aspired to write but never did: a “Mamma Mia!”-esque rock opera called “Bastards of Young,” based on the songs of the Replacements. A sitcom set in Brooklyn that inverts “I Love Lucy,” so that the wife plays the stable, amiable breadwinner while her lovable loon of a husband hatches ridiculous schemes, often involving the production of artisanal goods. A thriller about the ultimate rogue trader who concocts a single, diabolical transaction to blow up the financial system. An HBO show, called “Upstate,” about a burned-out corporate raider who returns to his hometown outside Buffalo to save his father’s failing liquor store and ends up trying to rescue the whole town from

the double scourge of unemployment and alcoholism. Too depressing? How about this: A reality show in which retired hockey greats like Wayne Gretzky and Mark Messier compete against each other coaching teams of — ready for the deal clincher? — inner-city kids who’ve never been on ice skates.

If you had the time, believe me, I could flesh out these ideas for you, explain their origins, describe in fine detail my vision of the characters and plots and how it would all coalesce into something awesome.

Or not. For at least 25 years, I’ve been serial daydreaming like this, recording hundreds of ideas in a sequence of little notebooks that I have carried around and then stacked in a shoe box in my closet, a personal encyclopedia of undone to-do’s. Sometimes, when I’m searching for something in my closet and I see the box, I have a flashback to

my first-grade report card: “Hugo has the gift of a rich, active imagination, but needs to work on his follow-through skills.”

My situation, I know, is not unique.

Who doesn’t have big plans they never get around to acting on? Everybody swaps ideas with his friends about the excellent TV show they’d make or the

became mired exclusively in a world of delusional ambition. It’s just that for way too long, I held on to the fantasy of a completely different professional life, and I can’t help wondering why certain creative endeavors just seemed impossible to make happen.

I know, writers have been complaining for eons about the weight of E

SNDSMagazine 2013|3

groundbreaking movie they’d write.

And a couple of my grand schemes got an inch or two off the ground — an agent lunch, a pitch meeting, a trip to L.A., a flurry of e-mail filled with exclamation points — though never much higher than that. And along the way, I also became editor of the magazine you are now reading, so it’s not as if I

Art or Wrong? Being able to see the light it is not always enough – you should also be able to read the right signals. The French artist Pierre Vivant’s sculpture ”Traffic Light Tree” in the Docklands, London, as it appeared at 25 minutes past midnight on the 18 November 2008. Photo: William Warby.

7

their burden, and it’s not attractive.

But I’ve been around it long enough to know that writing anything good that’s longer than a paragraph isn’t easy for anybody, except for maybe J. J. Abrams.

You can’t explain how people do it.

Some of the most successful screenwriters, novelists, television producers and rock-opera librettists I know are about a hundred times lazier than I am.

They take long afternoon naps, play lots of pickup basketball and appear to accomplish little or nothing for months at a time. And let me tell you, their ideas do not all crackle with scintillating originality.

So what am I missing? What is that elusive thing that turns some people’s daydreams into their next novel for F.S.G.?

SNDSMagazine 2013|3

Earlier in my professional life, as I began to do all right as an editor, I naïvely discounted it as something I never intended to stick with. A respectable occupation, I thought, while preparing myself for the Masterwork of Spectacular Brilliance that would eventually define me.

One of my pet theories about why I could never actually produce anything of brilliance was that I was cursed with a comfortable existence. What might have been my creative prime was spent in New York City in the 1990s, a flush time for the young and college-educated. Magazine-editor jobs paid O.K. and were relatively easy to get, especially compared with now. Maybe I would’ve been better off in the 1970s, when a young person with ambitions like mine had to take a hard job as a means to his artistic ends. Would such sacrifice, I wondered, have sharpened my desire to make it as a writer?

All you have to do is read Mark Jacobson’s classic New York magazine

8

depiction of cabdrivers in the 1970s to know that’s a joke. The story is about nighttime cabbies who aspired to be actors or poets or playwrights. Jacobson was one of them. His original plan was to drive three nights a week, write three nights a week and party one night a week. But as he watched his fellow drivers get sucked in to the working life, he realized how the daily grind slowly robbed them of their dreams.

“The Big Fear,” Jacobson writes, “is that times will get so hard that you’ll have to drive five or six nights a week instead of three. The Big Fear is that your play, the one that’s only one draft away from a possible showcase, will stay in your drawer. The Big Fear is thinking about all the poor stiff civil servants who have been sorting letters at the post office ever since the last Depression and all the great plays they could have produced. The Big Fear is that, after 20 years of schooling, they’ll put you on the day shift. The Big Fear is you’re becoming a cabdriver.”

My big fear, of course, was that I was becoming an editor. I won’t lie.

For a long time, I considered this an unacceptable outcome. I don’t know if anyone ever told me, “Those who can’t write, edit,” or if I made that up on my own, but that little aphorism haunted me. Meanwhile, my grandiose writing projects were all going nowhere for the same tedious reason. The minute I tried to commit them to paper, or otherwise turn them into something tangible, my imagination coughed and sputtered like the cheap Renault convertible my girlfriend drove in college. I’d write a bit of dialogue using that miraculous software that automatically formats it into a screenplay for you, and I’d be instantly paralyzed from the neck up. Here was incontrovertible evidence that I wasn’t half as good as I imagined myself

to be. The voices I heard so clearly and powerfully in my head became inert and alien on the page. I was surprised by how mortally embarrassed you can be by writing something nobody else will ever read. Even looking back over those one- sentence descriptions of TV ideas in the first paragraph of this essay, I am humbled by how inadequately they convey the vividness they had as I conjured them. It’s like hearing a recording of my own voice. That can’t be how I sound. Oh, but it is.

I recently saw a Charlie Rose interview with John Lasseter, a founder of Pixar, about the creative process behind his movies. Pixar’s in-house theory is: Be wrong as fast as you can. Mistakes are an inevitable part of the creative process, so get right down to it and start making them. Even great ideas are wrecked on the road to fruition and then have to be painstakingly reconstructed. “Every Pixar film was the worst motion picture ever made at one time or another,” Lasseter said. “People don’t believe that, but it’s true. But we don’t give up on the films.”

Hugely successful people tend to say self-deprecating stuff like this when they go on “Charlie Rose.” But I heard something quite genuine in Lasseter’s remarks, an acknowledgment of just how deep into the muck of mediocrity a creative project can sink as it takes those first vulnerable steps from luxurious abstraction to unforgiving reality.

I could never forge through this. My confidence always collapsed under the weight of my withering self-criticism.

I couldn’t bear the awfulness and keep going. Even as I’m writing this essay, I have to stop myself from scrolling back to previous parts and banging my forehead against the keyboard as I see how short I’ve fallen of my expecta-

creative process has helped me appreciate the difficulties that others go through, while fighting to subdue my own self-criticism has left me open to the possibilities of fledgling ideas that look wobbly out of the gate.

Daydreams, weirdly enough, have made me a better editor.

Plus, if I’d underHugo Lindgren stood this all perfectwill be a keynote speaker ly when I started out, at the Wrong conference. embraced editing See more on page 13 right from the beginning, I’d be ready to move on to something else now. Like maybe I’d open a civilized sports bar that served only bourbon and sold vintage Pendleton shirts —

speaker

But now I must contend with my editor for this story, who just stopped by my office to see when I’ll stop beating my head against the keyboard so he can get this to the copy desk. There’s no chance of backing out now. He insisted it wasn’t as dreadful as I feared, gave me good advice on how to end it, and also remarked that my reality-show idea is not bad, but does it have to be about hockey? Well, no, I said, suddenly diverted into fantasy land, the conceit could be broader, maybe about how to coach amateurs more generally, so that the competition changed season to season — badminton, bobsledding, roller derby, square dancing. Rock operas!

We had a laugh and then got back n to work.

Printed with kind permission.

COPYRIGHT: THE NEW YORK TIMES MAGAZINE

SNDSMagazine 2013|3

tions. My mind goes uncontrollably to whether it might be better to scrap the whole thing and write a different Riff — like, I’ve got a few stray ideas in my notebook here about the glassy office tower they’re building next door to where I live and how it obliterates what’s left of the spirit of Greenwich Village. Or about this ’80s band called Talk Talk that started out making bland pop hits like Duran Duran but then rejected fame and made a couple of crazy, weird, beautiful records until mysteriously vanishing. That Riff will practically write itself, I just know it.

A promiscuous imagination like this is dangerous for writers. As an editor, I can see that clearly. I know that the next brilliant brainstorm is never going to be the one that will just write itself, any more than the last one did. Ideas, in a sense, are overrated. Of course, you need good ones, but at this point in our supersaturated culture, precious few are so novel that nobody else has ever thought of them before. It’s really about where you take the idea, and how committed you are to solving the endless problems that come up in the execution. The more I experienced this frustration firsthand, the more I came to appreciate how naturally suited I am to the job I used to think I never wanted to have when I grew up. Magazines give me a healthy, satisfying amount of creative license, as well as a very defined responsibility. Journalism keeps my imagination from flying off into the ether.

At the core of everything is reporting, a real event. And editing allows me to collaborate with people whose talents make up for my weaknesses, especially writers who don’t seize up at the sight of a blinking cursor.

At the same time, the protracted period of realizing all this has been necessary. Struggling with my own

9

Speakers and more in Copenhagen We’re almost there – ready for the Wrong conference! Over the next pages, meet some of the speakers who will be in Copenhagen (remember, we also presented speakers in our previous issue, no. 2, 2013) – and see the full programme (on page 15–16). We will also introduce you to some of the other possible adventures that await you – for instance, the 11 October is the official Culture Night in Copenhagen, so the city will be bursting with cultural offerings until way past midnight. So after the Award Show on Friday night, join the locals in celebrating, drinking, dancing or visiting cultural sites not normally open to the public. A unique chance! photo: CNN/PR

Kyle Ellis CNN Digital n Kyle

Ellis is a designer at CNN Digital, and digital director for the Society For News Design. At CNN, Kyle is part of a multifunctional team where he contributes to the visual design of inter­active and long-form news stories, as well as branding efforts for CNN television shows.

Previously, Ellis worked as lead designer for the Las Vegas Sun, where he was responsible for the front page and special sections, and as features designer for the New York Post.

His work has been recognized by the Society For News Design and the Nevada Press Association.

His presentation will highlight trends learned from judging long-form stories at the most recent SND Digital Competition, as well as Ellis’s experience as part of the team that creates digital magazines within CNN.

10

speaker

SNDSMagazine 2013|3

E www.cnn.com

Kyle Ellis – will speak about trends learned from judging longform stories at the most recent SND Digital Competition, as well as from creating digital magazines within CNN

photo: pr

Hugo Lindgren speaker

The New York Times Magazine Hugo Lindgren – will speak about why a high tolerance for experimentation and failure is an essential part of the creative process and takes us behind the scenes of The New York Times Magazine.

n Hugo

Lindgren is the editor of The New York Times Magazine. We are very proud to present him as a main speaker at Wrong conference.

The New York Times Magazine first issue was published on September 6, 1896, and the magazine was and is an invaluable asset for its papers and readers around the world. Writers such as Thomas Mann, Tennessee Williams and Gertrude Stein, three Pulitzer Prizes amassed in the last four decades to just mention the obvious. In recent years the magazine also made a complete redesign and started a journey to reinvent itself with Hugo Lindgren as the new editor of The New York Times Magazine.

Biography: Hugo Lindgren is the editor-in-chief of The New York Times Magazine, a dream job he never thought he’d have and still wonders how he ever got.

He started his career at a large-format design magazine called Metropolis, went on to George, the political magazine founded by John F. Kennedy Jr., and has also served as editorial director of New York magazine and executive editor of Bloomberg Businessweek. He loves Dashiell Hammett novels, old factories that somehow stay in business, obituaries and rock bands that don’t believe in rehearsing. He’s @hugolindgren on Twitter.

See also Lindgren’s essay “Be Wrong as Fast as You Can” on page 6–9.

“I’m going to borrow my favourite quote from Peanuts cartoonist Charles Schultz, whose character Lucy van Pelt once yelled: ”If you can’t be right, be wrong at the top of your lungs” Lucy might’ve been wrong about that…” – Hugo Lindgren

SNDSMagazine 2013|3

E www.nytimes.com/magazine

11

The Wrong Tablet Show Get the full picture of the development of newsdesign for tablets! Forty million tablet devices were sold in 2012 and we all see the great potential for the spread of great news and design on this platform.

m

Friday morning Miranda Mulligan and Mark Porter – the M&M’s of newsdesign – will focus on tablets in two double speeches. In the first speech Miranda and Mark discuss the smartest tablet solutions today. In the second speech Miranda and Mark predict the great potential of tomorrow.

photo: PR

We recommend that you book a consultation Friday afternoon with the M&M Tablet Doctors.

See how to book in the M&M’s in the top of the next page.

Miranda Mulligan is Executive Director at Northwestern University Knight Lab, Chicago. The lab is a team of technologists, journalists, designers and educators working to advance news media innovation through exploration and experimentation.

But what Mulligan is known for in the news­ papers world is the one to take the first brave steps into responsive design as the responsible designer at the BostonGlobe.com which was awarded World’s Best Designed in 2011.

SNDSMagazine 2013|3

m

12

“Understanding our medium makes us better storytellers” – Miranda Mulligan

E knightlab.northwestern.edu

m

m

m

m

Consult the M&M tablet doctors Forty million tablet devices were sold in 2012 and we all see the great potential for the spread of great news and design on this platform.

But how do we get started?

m

m

From Friday 13:00 you can present your solution and ideas to the Tablet Doctors Miranda Mulligan and Mark Porter – the M&M’s of newsdesign.

Book 15 minutes now on this mailadress lone.jurgensen@jp.dk and we’ll let you know your exact consultation hour. The doctors welcome no more eight clients all together. Be fast as booking follows the first come, first served principle.

Mark Porter is a world-renowned editorial designer and former creative director of The Guardian, where he was responsible for the ground-breaking relaunch of the newspaper and the design of it’s award-winning website and mobile apps. In 2010 he set up Mark Porter Associates, a design agency working across print, broadcast, and digital media for a high-profile list of international clients. The Guardian on Tablet was awarded World’s Best Design in the SND digital competition 2012.

m

E www.markporter.com

SNDSMagazine 2013|3

“Tablets are magical devices with superpowers, but we can’t work out what to do with them. Interact or passively consume? Always on or delightfully disconnected? Native app or responsive web? All of them are right. And all of them are wrong.” – Mark Porter 13 photo: alisa connan

photo: PR

Janne Bjergli Amedia Utvikling AS Bjergli just started to work as a content developer at Amedia Utvikling AS, where one of her main responsibilities will be helping Amedias 78 newspapers developing their online editions, trying to turn wrongs into rights.

speaker

n Janne

Janne Bjergli will speak about how to transform a printed newspaper from a pupal stage to a tough butterfly, and all that they had to do wrong to get it right.

She previously worked as a technology journalist at Mobilen.no and Teknofil.no (20052007), technology journalist and later online subeditor at Nettavisen (2007-2010), online subeditor and later head of the online edition at Tønsbergs Blad (2011-13).

E www.amedia.no

p

Registrati

Christian Valentiner & Sille Bjarnhof DR Without taking away too much of the suspension before the Award Show, it would be alright to say that Dr.dk – the online portal for Danmarks Radio (the Danish Broadcasting Corporation) – is one of the major winners in this year’s Best of Scandinavian News Design competition. Creative director for New Media Department Christian Valentiner and UX designer Sille Bjarnhof are two of the people behind the new design of dr.dk, one of Denmark’s largest news sites. They will speak under this title: “When wrong goes right – a journey from random user experience initiatives to a dedicated strategic focus on user needs”.

n

E www.dr.dk

SNDSMagazine 2013|3

photos: PR

14

Round up 18.30-18.45 // R

e m m a r

The WRONG seminar, Copenhagen October 10.-11. 2013

g o pr

thursday 10. 10.

.00 // -17.00 // Registration 14.00-17 .00 14 n tio tra gis Re // .00 -17 n 14.00 ion 14.00-17.00 // Registratio

gistr Registration 14.00-17.00 // Re

14.30 – 15.00

Pink drinks & PlanetStar 15.00 – 15.30

Welcome to WRONG. Opening speak: Anders Tapola, SND/S President David Kordalski Vice President of SND. 15.30 – 16.00

Hugo Lindgren Be wrong as fast as you can.

Editor, NYT Magazine, New York 16.15– 17.15

Super surprise speaker To be announced.

17.30 – 18.30

Richard Turley Let’s get it on.

Creative Director, Bloombergs Business Week, New York

Round up 18.30-18.45 // Round up 18.3018.45 // Round up 18.30-18.45 // Round

up 18.30-18.45 // Round up 18.30-18.45

// Round up 18

Party Buffet, drinks & wrong culture at the bar area 22.00

Slaughterhouse expedition Slaughter house and the red light district by night.

Visit a surprise bar in the wrong neighbourhood.

SNDSMagazine 2013|3

19.30

15

friday 11. 10.

Run around the lakes 07.00-0730 // Run around the lakes

07.00-0730 // Run around the lakes 07.00-0730 // Run arou

nd the lakes 07

09.00-09.45

Kyle Ellis, Long form stories - Doing now what once was wrong.

Cross-Platform designer, CNN Digital. Digital Director, SND, Los Angeles 10.00-10.45

Wrong tablet today? What we do in tablets today. The tablet doctors Miranda Mulligan and Mark Porter discuss the smartest tablet solutions.

Miranda Mulligan: Executive Director, Northwest University Knight Lab, Chicago Mark Porter: Creative Director, Mark Porter Associates, London 11.00-11.45

Wrong tablet tomorrow? What we could be doing.

Miranda and Mark predict the great potential of tomorrow.

Lunch // Lunch // Lunch // Lunch ch // Lunch // Lunch // Lunch // Lunch // Lunch //

ch // L

// Lunch // Lunch // Lunch // Lunch // Lunch // Lun

left

middle

right

13.00- 13.30

13.00-

13.00- 13.30

Creative Director, The Grid, Toronto 13.45-14.15

Christian Valentiner & Sille Bjarnhof Things we did wrong.

Christian Valentiner, Creative Director, DR.dk Sille Bjarnhof, Graphic Designer, DR.dk 14.30- 15.00

Paul Barnes New type for news.

Partner, Commercial Type, London 15.15-15.45

Hugo Lindgren Behind the scenes.

Editor, NYT Magazine, New York

Janne Bjergli How to turn wrongs into better wrongs.

Consult the doctors Mulligan & Porter Bring your own tablet projects and questions only 8 patients fit in for ten minutes each.

Be quick and sign up: lone.jurgensen@jp.dk

Vanessa Wyse Were we crazy?

Content developer, Amedia Utvikling 13.45-14.15

Ole Munk Chronicles from an iceberg.

Design Consultant, Riberg책rd & Munk 14.30- 15.00

Philip Ytournel & Mads Zacko, Reporting on iPad. Philip Ytournel: Cartoonist, Mads Zacko: Multireporter, Politiken.

15.15-15.45

P책l A. Berg Same same but different.

Design Consultant, Berg Media

16.00-16.45 SNDSMagazine 2013|3

Javier Errea Why ugly papers are more fun Founder Erreacom, Pamplona

al assembly 17.00-17.30 // SNDS Genera

16

l assembly 17.00-17.30 // SNDS Genera

l assembly 17.00-17.30 // SNDS Genera

19:00

The Award Gala Dinner Welcome-drink, dinner and presentation of winners. Music by DJ Katrine Ring.

Culture Night in Copenhagen. Dress Code: Wear something pink.

l assembly 17.00-17

All wrong speakers in order of appearance (well, approximately)

David Kordalski, SND Vice President – will give a short speech on the theme The World’s Best Wrong Design.

Hugo Lindgren, New York Times Magazine – will speak about why a high tolerance for experimentation and failure is an essential part of the creative process and takes us behind the scenes of The New York Times Magazine.

?

Super Surprise Speaker TBA Richard Turley, Bloomsberg Business Magazine – will tell us how he pushes the lines of a traditionally newsweekly and a business magazine into one of the world’s most exiting – by doing everything wrong.

Kyle Ellis, CNN Digital – will highlight trends learned from judging long-form stories at the most recent SND Digital Competition, as well as from creating digital magazines within CNN.

Janne Bjergli, Amedia – will speak about how to transform a printed newspaper from a pupal stage to a tough butterfly, and all that they had to do wrong to get it right.

Christian Valentiner & Sille Bjarnhof, DR Dr.dk is one of the major winners in this year’s Best of Scandinavian News Design competition. They will tell us how wrong goes right – a journey from random user experience initiatives to a dedicated strategic focus on user needs.

Ole Munk, Ribergård & Munk – will speak about his most recent and most challenging redesign project, for the Swedish MittMedia corporation.

Paul Barnes, Commercial Type – will talk about how to make typefaces for magazines as well as for World Cup football t-shirts, and why understanding the history of letterforms and type is important.

Philip Ytournel & Mads Zacho, Politiken – will speak about their experimental mission to the muddy Roskilde Festival, equipped only with two iPads – a brave journey into rock’n roll that was bound to go wrong.

Miranda Mulligan, Northwestern University Knight Lab – will speak about her ground breaking responsive web design: The BostonGlobe.com and how it changed the newspaper industry, she will also be a Design Doctor.

Pål A. Berg, Berg Media – will speak about how to create a shared newspaper design and template system for ten newspapers – and about the myth that pages will be much better if you start from scratch.

Mark Porter, Mark Porter Associated – will show you what was his ideas behind the World Best Designed iPad app for The Guardian and explain what magical devices Tablets are, he’ll also be a Design Doctor.

Javier Errea, Errea Comunicación – is going to tell us how it is to redesign small and big newspapers around the globe and why actually the ugly ones are most fun…

Vanessa Wyse, The Grid – will assure us that the team behind The Grid in Toronto were NOT crazy, when they launched a brand new print publication in 2011. The free, weekly combined newspaper and city guide is a hit with its young audience.

Katrine Ring, Vibezone – is going to create the perfect musical background for the Award Gala Dinner evening. Feel the rhythm!

SNDSMagazine 2013|3

Anders Tapola, SNDS President – will bid you all welcome to Wonderful Copenhagen and assure you that you have come to the right place.

17

Run around the lakes with Javier Errea October morning: 7 o’clock at Friday the 11th and get the full experience.

Over the lakes lie four beautiful bridges that take you to different areas of Copenhagen. And for those of you who don’t run I recommend to go for a walk around the lakes. It’s a very graphic way to get a grip of wonderful Copenhagen. n Javier Errea is not only in Copenhagen to run – he will also be a main speaker, wrapping up the conference later on the same day (Friday at 4pm) with his presentation “Why ugly papers are more fun”.

e

rogad

Østerb

Fre d

en

s

Bro rte

s am

Sø

d

So

designer in action Javier Errea (208) running to get his mental vitamins.

rS

te Øs

Dro

nn

. Lo

uis

Bro

Søg

Peb ling

eS

ø

es

e

ad

øg

Gy ld

en

løv

de

evej Gl. Kong

Vester Sø

Sct.

gade

Jørgen

Sø

sga

Hotel Scandic Copenhagen

morning run

Newspaper designer Javier Errea has been a runner for a long time and every time I meet him, in Milan, Rome, Stockholm or somewhere else around the globe, he always has plans for when to take a run.

“Running is where I get my mental vitamins from!” Javier says.

The Wrong conference hotel is situated right at the beautiful setting of the lakes (in Danish: Søerne). Forming a historical landmark of the Copenhagen area, the lakes are three rectangular lakes curving around the western margin of the city centre, forming one of the oldest and most distinctive features of the city’s topography.

It’s no coincidence that the famous TV-series Riget by the famous Danish scriptwriter and film director Lars von

ade

n The

Trier starts with a scene of the two dwarfs at the lakes…

In the middle ages the three lakes were one big lake in the shape of an arch and was then situated just on the outskirts of the city. However, the need for a watermill where the citizens of Copenhagen could do the laundry changed the lakes. A dam was built and The Peblinge Sø was created. The water was also a reservoir for the city and in 1705-1727 it was decided to dig the lakes deeper and that’s when they changed the design of the lakes into more straight lines.

The famous fine artist Christen Købke captured the beauty of The lakes in his famous oil painting Autumn morning on lake Sortedam. Købke is one of the leading artist from the Golden age of Danish painting and this painting hangs in Ny Carlsberg Glyptotek.

So take the chance to run with Javier around the lakes in a beautiful

Nør re

Anna W Thurfjell anna@annathurfjelldesign.se

Run around the lakes – with Javier Errea.

Friday, 11 October, 7am.

Meeting place: Hotel lobby.

We will run approximately 4,5 km and it will take about 30 minutes

Tycho Brahe Planetarium

SNDSMagazine 2013|3

Autumn Christen Købke’s (1810–1848) famous painting ”Autumn Morning on Lake Sortedam” (oil on canvas, 33 x 45 cm, Ny Carlsberg Glyptotek) which he painted in 1838 at the age of 28.

In 2007, the painting was included as one of only 12 works of visual art in the Danish Culture Canon.

18 Photo: pr

Photo: Ny Carlsberg glyptotek

Photo: vibezone.dk

DJ Katrine Ring has played for Queens and countrymen. At the Wrong Award show, she will play just for you.

Frank Stjerne frank.stjerne@jppol.dk n It

is very hard to put modern hashtags on Katrine Ring but let me try: #DJ #house #lounge #classical #jazz #photography #books #street #graffiti #shoes #happy #independent #ijustloveher.

I met her for the first time many, many years ago in Aarhus, and we both can’t remember where. Katrine has always been busy and energetically working with music, photography and art in all forms and places.

She plays for the Queen and she supports the young street artist. She IS energy. She never stops exploring. She reinvents herself, and she seldom does anything WRONG. Since 2006 Katrine has filled the Yellow Lounge in the center of Copenhagen with young and older people, who appreciate her amazing mixes. She cuts into the music, rocks the tedium out, and retains the

essence. Almost like in the opera, where we skip the foreplay and step right into the passionate love.

Katrine’s instrument is her laptop, the midikeyboard, her effects and her CD player, preferably a very specific Pioneer model. With these tools she is able to create or enhance a mood in a room, so you sometimes have to gasp for breath.

Katrine never stops. She is looking for new ways and new musicians to play with, new art forms, and she is never afraid of trying something new. She knows her limits, but she is still easily tempted.

Katrine is passionate about street art. She has published books and calendars, and made several ​​ exhibitions of street art.

And when you get an email from Katrine, she always writes “with groovy greetings”. That’s Katrine in a nutshell. Enjoy her Friday night for the Award show.

Find her at Ewww.vibezone.dk

Resident housedj at Honey Ryder Lounge at Hotel 27, Copenhagen. Early residencies at Copenhagen Jazzhouse, the legendary Jazzclub Montmartre and several hotel lounges such as Bar Rouge at Hotel Sct. Petri she sets new standards for lounge and dancefloor music.

In 2012 on Dacapo she released the classical cd A Hand For Holmboe with deconstructions of the chamber concerts by the Danish composer Vagn Holmboe.

She creates impro­visations on the spot at events.

SNDSMagazine 2013|3

The rhythm of the heart

Katrine Ring – began her DJ carreer in 1992. She received the prestigious Kim Schumacher DJ-Award in 2005.

Jazz is the keyword for the eclectic mix of jazzfunk, latin, house, electronica, nujazz and breaks. Plus classical music – as one of the few dj’s worldwide playing classical music.

She performs for squatters and royalty, plays abroad and tours with Danish and Swedish groups.

19

Experience Copenhagen Culture Night at the SNDS 2013 WRONG conference Five exciting cultural events to experience when you head out in the Copenhagen nightlife after the SNDS party on Friday night the 11th of October. It’s all free and lasts until 00:00.

Kim Pedersen kim.pedersen@eb.dk

Colorful light show and art at Thorvaldsen’s Museum n See

young design students transform Thorvaldsens white marble sculptures and museum space with spectacular and colorful light projections! There will be a spectacular lightshow on the facade of the museum.

The Thorvaldsen Museum is a single-artist museum in Copenhagen, Denmark, dedicated to the art of Danish neoclassicisticsculptor Bertel Thorvaldsen, who lived and worked in Rome for most of his life (1796–1838). The museum is located on the small island of Slotsholmen in central Copenhagen next to Christiansborg Palace.

n Experience

the amazing and historical Ny Carlsberg Glyptotek art museum by night. The collection is built around the personal collection of Carl Jacobsen (1842–1914), the son of the founder of the Carlsberg Breweries. It is primarily a sculpture museum and the focal point is antique sculpture from the ancient cultures around the Mediterranean including Egypt, Rome and Greece, as well as more modern sculptures. However, the museum is equally noted for its collection of painting that includes an extensive collection of French impressionists and Post-impressionists as well as Danish Golden Age paintings.

Also, experience the photo exhibition “Hybrid” which explores the formation of identity in the young, by having children assume a sex or nationality other than their own. Together with the actor Morten Nielsen, Henrik Saxgren has investigated and challenged ideas of identity and gender.

Ny Carlsberg Glyptotek Dantes Plads 7, 1556 København V E glyptoteket.com

SNDSMagazine 2013|3

Thorvaldsens Museum Bertel Thorvaldsens Plads 2, 1213 København K E www.thorvaldsensmuseum.dk

Glyptoteket by night

20 thorvaldsens museum – Photo: PR

Ny Carlsberg glyptotek – Photo: Michael Daugaard/PR

Night lights in Rosenborg Castle Gardens n Experience

an enchanting and magical atmosphere in the Royal Gardens.

Let yourself be guided by the glowing trails and discover six cones of light, lighting up the night sky above you.

Established in the early 17th century as the private gardens of King Christian IV’s Rosenborg Castle, the park also contains several other historical buildings, including Rosenborg Barracks, home to the Royal Guards, as well as a high number of statues and monuments. The park also plays host to temporary art exhibitions and other events such as concerts throughout the summer.

Entrance only through Øster Voldgade 4B this evening.

Kongens Have Øster Voldgade 4B, 1350 København K

Alive at night Copenhagen never sleeps! At least not on Culture Night, which this year coincides with the Wrong conference, Friday 11 October. These photos are from previous years’ Culture Night events.

Sound, light and love

Modern Magic Materials

n Very

n In

university of copenhagen – Photo: Michael Daugaard/PR

close to the conference venue, you can experience the sound and light installation created by sound artist Jacob Kirkegaard and others, throughout the night. It happens in the charming Museum of Copenhagen, which is the official museum of Copenhagen and documents the city’s history from the 12th century to the present day.

Københavns Museum Vesterbrogade 59 1658 København V E www.copenhagen.dk

Facts about Cultural Night in Copenhagen

Culture Night 2013 is the evening when Copenhagen bustles with life, entertainment, sense experiences and adventures for children and adults of all ages.

This year Copenhagen celebrates its 21st culture night on October 11th. Museums, libraries, educational establishments, theatres, musical venues, churches and many other art and culture institutions will open their doors to the public. The official Culture Night opening hours are from six o’clock till midnight, some institutions may however open or close a little later or earlier.

With more than 500 events specially arranged for this one evening, Culture Night is bound to give you an exciting experience that is out of the ordinary.

Sources: kulturnatten.dk, wikipedia.org

the building of the Danish Design Society, you can explore a world of exciting new materials and the opportunities they provide for new design, new products, and smart features.

“Material show” is a demonstration and explanation of the 20 Magical Materials – you are allowed to touch and handle them and experience their properties (repeated a number of times during the evening).

The Collection of the Danish Design Centre’s, which is usually only available to designers and companies, is open to the public.

Sustainable clothing: Danish Fashion Institute shows how new materials and processes can make the textile industry sustainable.

INDEX: Design To Improve Life exhibit designs from the final of the world’s biggest design award.

Music in design – Design Society Cafe pampers guests with good live music while enjoying some good from the café’s kitchen.

Design Society H. C. Andersens Boulevard 27, 1553 København V E ddc.dk

SNDSMagazine 2013|3

Photo: Nicolai perjesi/PR

21

0111010100001010101010001010101011100 0000010011011100011010101011100011000 0101000010101010100010101010111001100 0100110111000110101010111000110001100 0000101010101000101010101110011000100 101110001101010101110001 100011000110 1010101010001010101011100110001000010 1000110101010111000110001100011011011 0101000101010101110011000100001000111 101010101110001100011000110110 110000 0010101010111001100010000100011111010 0101110001100011000110110110000011000 0101011100110001000010001111101010100 1000110001100011011011000001100010000 111001100010000100011 111010101000101 0011000110001101101100000110001000101 0011000100001000111101010100010101101 0110001101101100000110001000010101011

Being in the wrong business Kartin Hansen kartin.hansen@jp.dk

We are not in the media business.

We are in the software business, guys.

SNDSMagazine 2013|3

nI

22

shall never forget these words. It was at an IFRA Symposium in December 2000 just before Christmas. Zurich was decorated by Christmas lights and garnish. The temperature was below zero degrees. Almost pitch dark outside. But on the stage these word echoed in my head and have followed me ever since.

We are not in the media business.

We are in the software business.

We are actually in the WRONG business!

The words were spoken by whom I would describe to be the most traditional journalist you can think of.

Eugene Lacey, the then editor of ZDNet UK, the UK branch of the news

site of the Ziff Davies publishing family that covers business technology news.

Eugene tried to make us understand that we had to take an orginaizational shift in mindset and accept that we were in the IT business. All the things we do in the media business are based on software services and have to live up to the given standard in this business.

We use all kinds of software to produce and present the news we make no matter which platform it is aimed at. We therefore have to have a software focus, argued Eugene.

These words have followed me since – I would not say they have haunted me, but they have followed me and given me an insight that I think is ever more proven today than they were more than ten years ago.

No need to argue You could argue that the above assumption has come to be the norm of our so-called news business. Or you could on the other hand argue that it was easy for Eugene to put forward this argument because his publication covered the IT business. But in my point of view it brings me back to his point.

There should be no need to argue any of this. We should accept it.

So we are in the WRONG busi-

ness. But you could easily say that this is the case for all other business sectors – not only the media sector. I would actually argue that all sectors are in the WRONG business. What would the consumer market be without the internet, social media, marketing on digital platforms, smarts apps on smart phones that attach the consumer to the product?

During the last 10-20 years there has been what I call an ever growing “mediafication” of all business sectors.

You have to be able to tell your story if you want to be in business. Products are no longer bought only based on price and quality. Emotion might have overcome those two factors as the main reason for buying one product over the other. And where does emotion come from? It does come from storytelling and engagement into the product. This engagement can stem from the mere usability of the product. You are in need of a loaf of bread because you are hungry and you buy it. But maybe you buy a specific loaf because there is a story attached to this loaf that is better than other breads. Marketing has been aware of this for a long time but with the growing access to the infinity of media platforms this has become ever important for all businesses.

011000100001000111110101010001010110 011000110110110000011000100001010101 001000010001111101010100010101101000 001101101100000110001000010101011011 000100011111010101000101011010000101 011011000001100010000101010110110110 00011111010101000101011010000101010 10000011000100 001010101101101101010 111010101000101011010000101010 11011 001100010000101010110110110101010111 0101000101011010000101010 1101100000 010000101010110110110101010111010100 001010110100001010101101100000100110 010101011011011010101011101010000101 101 1010000101010 110110000010011011 101011011011010101011101010000101010 10000101010 110110000010011011100011 101101101010101110101000010101010100 Illustration: all-free-download.com

Growing demand for digital solutions Where does that lead the media business? I think that we are one of the businesses that are most in the WRONG business. We believe we are in the news business – take behold the newspaper business. And yes we are, but the news business is nothing without the IT business. If we are not able to tell our stories through new platforms, utilize them to bring forward top journalistic work that users really would like to engage into, not to mention PAY for, then we are – well – doomed. The media consumption is growing on digital platforms and declining heavily on analog platforms.

But all this is soooo obvious you might say. Come to the point. I will, I will, by giving you one concrete

example from the place where I work – Jyllands-Posten – a traditional daily newspaper in Denmark. Jyllands-Posten was the first Danish newspaper on the Internet in the eve of 1996 and in that sense a first mover. During the last five years we have established a professional development department, going from a handful to approximately 30 people.

This was of course done because the demand for digital services and solu­ tions was growing rapidly. We had to meet the challenges on the analog platform by being strong on the digital platform.

Building a development department brings in other kinds of people than journalists, graphical designers, etc. We now have programmers, testers, web­ developers and project managers in the organization. But more important, we organize our work around the scrum framework which is an agile process for developing software. We had no clue what this was five years ago but – if I may say so – we have come really good at it. So good, that we are now able to deliver first class services to the digital media market in a transparent and pro­ fessional way and not the ad hoc way we used to prior to this. We have actu­ ally adopted an IT mindset and more than ever, we think of our services, our

journalism, in IT terms. What we do, and how we do it, is very often based on an IT analysis on parameters like value for the business, complexity, usability, time to market, etc.

Furthermore, our news staff is now used to think in terms like sprint, dist (distribution of code), scrum, data­ bases, cache, usability, etc. and not only in headlines and sentences. I believe this transformation is essential, not only for the future journalism but also the current one. This is the reality.

What the future will bring we all look forward to in excitement – to see what WRONG can lead to by accepting it. n Kartin L. Hansen is Chief Project Manager at Jyllands-Posten, which is part of JP/Politikens Hus, the largest media company in Denmark. He has worked with online media since the mid-nineties when he joined Jyllands-Posten to help launch their first website. He is also the webeditor of SNDS.org.

E www.jyllands-posten.dk E www.jppol.dk

SNDSMagazine 2013|3

Banks are now not only considered by consumers due to their interest rates and costs but also on what services they provide. And here, service does not mean a polite clerk behind the desk but the quality of online banking system, smartphone apps, etc. In that sense, companies in the financial sector find themselves not only in the financial business but in the IT business. They have to know what works on digital platforms and not.

23

It’s alive!

It’s a logo!

One of the recent trends within corporate branding is the move towards a more holistic aproach, a cross-disciplinary and network-based branding process that involves both end users, producers and others. Parallel to this trend a lot of dynamic logos have surfaced – logos, that are not just a static symbol in the top corner of a website or on the products. By embracing the new technological possibilities the dynamic logo gives life and variation to the brand and is a refreshing element that also matches the intentions in network-based branding.

Katja Bjarnov Lage, graphic designer and lecturer at DMJX Copenhagen, explains some of the different types of dynamic logos. inspired by the book Dynamic Identities – How to Create a Living Brand by Irene van Nes. In her book, van Nes describes the systems behind the living identities and which elements in the dynamic logo differ from those of the traditional, static logo.

In her book van Nes operates with more subgroups, but I have chosen to work with three groups which I think cover the range of different kinds of dynamic logos: The container/wallpaper – the DNA/system, and the generative logo.

Katja Bjarnov Lage kb@dmjx.dk

SNDSMagazine 2013|3

n The

24

position and role of the logo is rapidly changing. From being the center of the brand, the symbol through which a corporation or a product differentiates itself from its competitors, today’s trend in corporate branding is moving towards a holistic, multi-disciplinary, and network-oriented approach.

Focus is on the company as a whole and its many different stakeholders, rather than on the logo itself. Today, the brand is a platform, a place for exchange, dialogue, and experience. The brand must be alive and dynamic, just like the times we live in, and just like the company or organisation it represents. But at the same time the brand must signal stability and authenticity.

In the following, I have examined three subgroups of the dynamic logo, identifying their characteristics. Common to them all is that they are built from recognizable elements which are constant, and variables which make the logos transform and adapt.

In the beginning, the dynamic identities were few and dispersed, but the isolated examples have grown in numbers and are developing into a regular discipline. My research into the world of the dynamic logo is a.o.

Container The wellknown MTV logo (the first known dynamic logo) and the New York City logo are both examples of the ”container” type of dynamic logo, where the content of fixed shapes can be changed when needed for different occasions and contexts.

Container/wallpaper In August 1981 MTV was born, with a logo designed by Manhattan Design. It is one of the very first known dynamic logos, and is of the container type. The “M” and the “TV” are static components that can be filled with colours and patterns, textures and animations.

This kind of filling is among the most used approaches to creating a dynamic identity. By having one component that is fixed (here, the shape of the logo) and leaving room to play with the other variables, like colour or image, it is possible to create great variation and at the same time keep the recognizability.

City branding has become a phenomenen that is spreading. Metaphorically, the city is seen as a personality – or as multiple personalities. In 2007

same time developing their individual personalities.

behind the scenes Ringling College of Art + Design lets its students influence the artwork behind the fixed shape of the logo.

DNA/System The small hairdresser’s ”GET UP” in Barcelona has stamps to make individual cards for registering appointments.

music The geometric shapes in the logo for ”Banjo Music” change to reflect rhythm and can be combined infinitely.

DNA/system Dynamic identiteties can also be developed from core ingredienses from the DNA of the company. A set of rules is created in which the rules can be combined.

A good-humoured example is GET UP – a small hairdresser in Barcelona.

They have developed a small set of stamps with different faces and hairstyles, so customers and employees can create individual cards for registering appointments. This kind of DIY-identity results in a vast variety from a very simple hand-made principle.

TwoPoints.Net from Barcelona have made it their specialty to design alphabeths and identities based on geometric systems and have been a source of inspiration for graphic designers in recent years. In 2008 they created the identity for Banjo Music, who write music for commercials, movies, and TV. The geometric shapes are combined in any thinkable way making abstract references to music and rhythm.

In the identity of Dutch production company IDTV (Integrated Digital Television) the pixels from any screen are used as the visual DNA. Four unique pixels to be used in endless combinations and different sizes.

IDTV can then change appearance for different activities without losing its familiarity.

Another method for creating a dynamic identity is through the use of

SNDSMagazine 2013|3

New York City launched a new identity program, and the City of Melbourne followed in 2009.

New York City’s identity is built by two container layers using coloured or photographic elements to create endless variations, in an attempt to capture the constantly changing metropolis.

The City of Melbourne’s identity is, like the typography of NYC, also shaped as bricks. Visualizing Melbourne as a multi-faceted city, the construction of the “M” is based on a geometrical grid system of little triangles which are varied indefinitely by lines and coloured fields.

Ringling College of Art+Design’s new dynamic identity was launched in 2007. The logo is a constant, but the illustration behind it is continuously changed by students, and in this way it directly reflects the school’s core services while staying open for further development. ◆ Charactersitic for this group is that the logos do not have a predefined, fixed appearance. This leaves room for users of the logo to expand on it and adapt colours and images to fit in a given context. Either by placing elements behind the fixed components or filling the logoshape itself.

The basic shape preserves recognition, but the user gives meaning to the logo. In this way the logo carries elements of open-source and co-creation.

The idea is social and participatory – involving customers, users and employees as constructors of the company or organsation while at the

25 E

SNDSMagazine 2013|3

text messages that can be elaborated upon, like New Museum in New York.

“New” and “Museum” are the frames for a message that can be changed, depending of content and colour contrast. ◆ The characteristics of the DNA/system are sets of rules developed from the DNA of the company, making the logo appear in endless different shapes and combinations without losing identification. This kind of dynamic identity is suitable for both print and digital platforms and the familiar DNA coding encures a clear visual expression.

26

Generative logos have their own life The generative category is the most groundbreaking one. It builds on algorithms and rules, is highly technological and can generate results we could not even imagine only ten years ago.

When data has been entered, the computer does the rest – whether the data comes from humans, sounds, movements, the wind, or weather conditions.

The Walker Art Center in Minneapolis were in 2005 among the first to develop their own type software for creating a new and flexible identity.

Instead of letters, Walker Expanded (as the identity is called) writes with words related to the museum, patterns, or textures – which like a roll of tape will go on and on and can be applied to anything. The software was developed as a tool for creatives.

Another early example and a role model for many designers is Casa da Música i Porto, designed by Stefan Sagmeister in 2007. The starting point is the hexagonal concert building seen from different angles. Proprietary software register colour values in different illustrations and transfer these to the six edges of the logo. The result is a very harmonic and varied expression, which will constantly change according to context – and reflect the different arts represented by the concert house.

A third, and more advanced, example are logos using socalled evolutionary algorithms. Similar to bigological evolution and natural selection through generations, the designers behind the Lovebytes Festival in 2007 created no less that 20,000 individual, friendly hairy creatures. From a single ‘seed’ that rapidly spreads its genes, and through ‘natural selection’ the logos emerge.

From parameters such as hair length, colour, head shape and names the idea was to create “empathy with soft technology”.

Pixels A set of special symbols – pixels – used in numerous different combinations form the logo of the Dutch television company IDTV.

Type The New Museum in New York use type as a variable element to integrate actuality in the logo.

In 2010, in the northern part of Norway, the cities of Gamvik and Lebesby joined forces behind a new design strategy in order to attract tourists to the Nordkyn region. The result is a dynamic logo that changes with changes in the wind or temperature in the area.

On the website the weather conditions are updated every five minutes. The colour of the logo reflects the temperature and the angle of the logo shows the wind’s direction. “Where nature rules” is the project’s pay-off line – in Nord­ kyn the weather rules and decides how the visual identity looks. ◆ Characteristics of logos belonging to this category are the way they exploit the potential of the digital media, and the way they are all controlled by data. The designers have worked with programmers and other specialists to create logos that mutate, grow, or are sensitive to external conditions – input of real data, algorithms, and sets of rules. Once the data has been uploaded the computer does the rest.

The dynamic logos can move, change and develop from one second to the next, as if having a life of their own.

Or they can appear in a number of variations without losing their recognizability because they were defined within a fixed framework of colour, shape, and typography.

In a virtual reality The logos presented here, and most of the other dynamic logos I have seen, are all related to creative and cultural sectors or to city branding. This gives the impression that companies in this category are more inclined to accept this new kind of visual identity. It can even be a sybol of status for these companies to appear dynamic or flexible.

Surprisingly, my research has shown that a large number of the logos I have seen are not used by the companies, as one could have expected. They are left stranded with the designers, in design literature, and on the internet, where they are shown in a virtual reality. But within the companies, they are reduced to static marks in the top of websites, often in a discreet corner. Many examples drown in all kinds of styles and other branding actions, if they even get that far.

Of course, it may be a conscious choice to display the dynamic logo only in major campaigns, at conferences etc., and use the simple version on the website which should be visible on all

generative 1 The Walker Arts Center has developed its own type software that generates words and patterns.

platforms, including those that do not support Flash.

There is a long way to go for the dynamic logo until it is truely integrated in the companies. My research shows that for companies that are not in the creative or cultural sectors the static logo is still preferred – a logo with a fixed manual for design, which only comes in one variant. Even if the latest corporate branding theories point towards flexibility and involvment.

Reasons to use dynamic logos No matter what, I think that many more companies, brandmanagers, and designers should get to know this phenomenon better. I would like to give some reasons for this.

1. The context for branding has changed, and therefore the visual identities must also develop into more flexible, floating systems that can be applied to different context and different target groups.

2. The dynamic logo can add new meaning and be a tool for visual communication.

3. By expanding on the variables

generative 3 The Lovebyte Festival logo (2007) featured no less than 20.000 hairy little creatures, generated by parameters such as hair length, colour, and head shape.

the dynamic logo has several strings to its bow. Static logos do not have this ability to relate to current themes and will stay the same until it is replaced by a redesign – or until it disappears. Seen from this perspective the dynamic logo will have a longer lifetime.

4. Open source and co-creation creates added value and can increase the sympathy, which will accumulate positive attention and more exposure – not least from designer to designer.

5. Designing logos is no longer a linear process with a clear end – when the designeres are free from the limitations of the past it will mean more design, more lasting design, and more design that creates meaning.

6. We must turn things upside down, get out of our way of thinking conventionally, and involve the digital possibilities first and then develop logos for print, in many variants.

7. We must get the designers into the companies to manage the logos and websites.

8. And finally … we should use the dynamic logo because it is a logo of our times! n

generative 4 Every five minutes the Nordkyn logo changes shape according to temperature and wind conditions in the northern part of Norway – ”Where Nature Rules”.

Katja Bjarnov Lage is a graphic designer MD and a lecturer at DMJX, the Danish School of Media and Journalism in Copenhagen.

This article is a very short extract of a Master in Design thesis, presented at KADK, the Royal Danish Academy of Architecture, Design and Conservation, in June 2013. Translation: Lars Pryds.

SNDSMagazine 2013|3

generative 2 Stefan Sagmeister’s logo for the Casa da Música changes its shape and colour based on data input.

27

Fully booked and what to do with yesterday’s paper Two new books celebrate print – seemingly going against the trend of keeping all things digital. Print may be struggling to survive in some areas, but as a medium, and as a place for creative thinking, it is far from dead yet.

Lars Pryds pryds@mac.com n “The

internet is not dead”.

This reassuring and somewhat ironic statement is printed in large red letters on the cover of a brand new book entitled Fully Booked – Ink on Paper, which is a celebration of all the possibilities of print, focusing on the book.

“The newspaper may be alive only for a day, but it lives on in another shape”. This is the message of De krant van gisteren – another new book, which shows what to do with the old rag of a newspaper.

These two new titles is proof that although print as a medium for communication may be one of the oldest

of its kind, it certainly knows how to reinvent itself.

Let’s first look at Fully Booked.

The book is a collection of innovative solutions for the printed book – from the most remarkable book covers and physical manifestations of conventional told tales to the many untraditional experiments with materials, formats, ways of folding or binding, and production techniques.

The book is divided into five sections: The Storyteller, The Showmaster, The Teacher, The Businessman, and The Collector. Each section has a short introduction written as if the books themselves speak to us – “the most appropriate voices we could imagine”, as the editors say.

And the voices are really worth listening to – if you want to find

inspiration for your own projects, to see what other designers are doing at the moment (most entries in the book are from the years 2010, 2011, and 2012) – or just wish to get reassured that print still has potential. In some cases, print is really the only possible solution – “gloriously non-digital and proud of the fact”, as Andrew Losowsky writes in the introductory wonderfully polemic essay.

Each example is accompanied by a small text giving us a glimpse of the process behind the design and a short introduction to the work of the designer.

At 280 pages, in good quality and hardback, you feel the weight of this physical publication both literally and metaphorically. But, as one of the “voices” say in understated modesty, “I’m only a book. Hold me”.

A spread from Fully Booked – a book about innovative book designs.

SNDSMagazine 2013|3

Robert Klanten et al. (ed.): Fully booked – Ink on Paper.

Design and Concepts for New Publications 280 pages, hard cover 30.5 x 24.5 cm Text in English Gestalten, Berlin, 2013 ISBN: 978-3-89955-464-9 Price: 44 euro

28 Photo: pr

Photo: LARS PRYDS

design typography Lars Pryds pryds@mac.com

Web-only type book n A web-based

Yesterday’s newspaper Another book published this summer also celebrates the importance of print – but from quite another perspective than Fully booked.

De krant van gisteren – Dutch for “Yesterday’s newspaper” – is a book that, across 128 pages printed on newspaper stock, shows us what you can do with your old newspaper, once you’ve finished reading it.

And the examples are really amazing – from the simple act of drying your wet shoes or carefully storing eggs in strips of paper (as shown on the cover, although those two round shapes do resemble something very female) – to creating clothes, furniture and even building a house out of the cheap reusable material.

The author and designer of the book, Dutch design consultant Koos Staal of Staal & Duiker Designers, has been curious about this “second life of the newspaper” for years, and has collected photos from all over the world for this book, which is – of course – printed on standard newsprint paper.

In the book’s preface Koos Staal acknowledges the fact that news today is not only read on paper, but also on digital screens of varying sizes, threatening to kill the print version. Nevertheless, there are still millions of copies out there printed every day – and a small portion of these find a new life in

fascinating, very different contexts. And when (if ever) the printed paper finally perishes, will we miss only the “daily ritual of opening out a crackling fresh newspaper”, he asks? And promptly answers – NO, we will also miss the sheets as such, as they are “so wellsuited for practical and creative reuse”.

A great contribution to the history of the printed newspaper, Koos Staal’s book is a joy to hold and read (although so far only available in Dutch). SNDS is even in the book: I’m proud to have contributed in a small way with my design for the Best of Scandinavian News Design 2012 competition catalogue, the typography of which is construed from cut-outs and tear-offs from Scandinavian newspapers.

Read more about the book and order your copy at E staalduiker.com/nl/actueel.html

Koos Staal: De krant van gisteren 128 pages, hard cover, 26.5 x 18.5 cm Text in Dutch Staal&Duikers Ontwerpers, 2013.

Price: 15 euro + shipping

Butterick’s Practical Typography E practicaltypography.com

SNDSMagazine 2013|3

De krant van gistern Torn bits of newspaper typography has been used for writing anonymous letters and messages in bank robberies for hundreds of years – but also for creative purposes.

Here, the SNDS cover for last year’s Best of Scandinavian News Design catalogue is in good company.

book about typography – for print and web. Typographer-turned-lawyer Mathew Butterick, who has been at the forefront of developing both type and web design (see also The awful websites on page 4) created Butterick’s Practical Typography as an ex­per­i­ ment in tak­ing the web se­ri­ous­ly as a bookpub­lish­ing medi­um. The book is actually an online version of a book that will never exist in print – but with a lev­el of writ­ing and de­sign qual­i­ty that you’d find in a print­ed book.

And it’s really a pleasant experience to read the book – designed as it is with plenty of white space, beautiful typography, and excellent illustrations – showing examples of bad typography and then the better alternative, and by giving firm advice on how to help people like you and me become better typographers.

Butterick is not one to compromise – for instance, in the chapter Font recommendations, he gives us a comprehensive and very useful list of alternatives to system fonts like Calibri and Verdana. He won’t even mention the name of Comic Sans, and as for Arial, he says: “I try to keep the lit­mus tests to a min­i­ mum, but this must be one: you can­not cre­ate good ty­pog­ra­phy with Arial.”

The book is free, but if you like what you see, you’re asked to contribute. Butterick lists seven ways you can help keep the book online and ad-free – including buying his fonts on the site, or simply sending him some money. But, you’re granted the right to read the book first.

Do it! n

29

The Nordic spirit – to be experienced and to be discussed The discussion is well known when it comes to art, fashion and history – but when it comes to photography, there is still a lot to experience and to develop.

Lisbeth Tolstrup tolstrup@pryds.com n When

three editors from photo magazines in Denmark, Norway and Sweden met at a conference in Riga in 2011, they soon discovered how much they had in common and how much they felt was still to be explored, which led to another seminar during the Copenhagen Photo Festival the following year. Among the most interesting issues was the experience, that many new tendencies and genres had emerged and that “Nordic photography” had gained its own status abroad, while the international influence was being challenged among Nordic photographers.

Another big issue was identification – when do we experience photography as art, and when do we consider it a tool of journalism? Questions like these

are being discussed and illustrated in the huge magazine Nordic Now! – an impressive co-production between the magazines Filter (DK), Photo Raw (Fin) and Objektiv (N). To be honest, it is much more than a magazine of knowledge and illustration – it is also an important book, where editors and curators give us their different points of view and where we get a chance to identify some of the newly defined areas and approaches. In that sense it is a documentation of an artistic field that moves, changes, and develops as I write these lines. Some texts can be seen as a retrospective status and at the same time eye-openers into the digital era, where news is old almost the second it is identified.

Crossovers and narrative tools This book can be experienced as a visual and actual introduction to contempo-

rary photography in the Nordic countries, but – and this is perhaps more important – it is also a challenging presentation of almost fifty photographers, working in areas of e.g. “Everyday Fantasy”, “Documentary”, the rebirth of “Analogue Love” referring to old school analogue photography, and “Hybrids” to be seen as crossovers between photo and architecture, photo and sampling or photo as a narrative tool.

Each of the mentioned groupings is presented by a comprehensive essay or article written by invited authors who give very different introductions based on their individual approaches.

And finally, we also get the opportunity to read interviews with art critics or curators who are concerned about the future of photography. What’s next?

When do we dream, when do we recognize our own reality or even fragments of a never told family drama? n

SNDSMagazine 2013|3

from the book Photo

by Johan Wilner (born 1971, Swedish). From the series Boy Stories, 2012.

30

Nordic Now! – Internordic magazine presenting and discussing contemporary Nordic photography.

English text, 264 pages Further information: www.nordicnow.net Aalto University, Finland, 2013 ISBN: 978-952-292-005-8 Price: 28 euro

Disclaimer No, you only get ONE free book, not two. But this year, it is a special two-in-one edition: Once you’ve finished reading about the online winners, flip the book over and read about the print winners from the other end. Sic!

Pick up your book in Copenhagen The winners will be announced at the WRONG conference, and you can get your copy of the book in Copenhagen.* If you want extra catalogues, it is possible to buy them also.

Why not give your mother one for Christmas? * Look for Lone Jürgensen, who will be ready to give you your free book after the award show – and sell extra copies.

By picking up the book in Copenhagen, you save SNDS the cost of sending it by regular mail. We thank you for this.

SNDSMagazine 2013|3

As a member of SNDS, you get a free copy of the annual catalogue (80 pages, A4), showing all the winning entries in the Best of Scandinavian News Design 2013 competition.

31

SNDS Magazine 2013|3 The President

What, Where, When, Who, How and Why – Find the right answers in Copenhagen SNDS President Anders Tapola anders.tapola@smp.se

What’s wrong with this industry?

Where are the consumers (and that includes the question: Where is the money)?

When will we again become relevant?

Who is responsible for this situation?

How do we get back to business again?

Why am I asking those questions? right answer to the last question of Why is simply that I tried to use the six relevant journalistic questions to narrow down another question: Which way should we go?

n The

answer the first question of What I can only sum it up as I usually do: We all run, all the time, in the same direction – and as usual often too late. The answer also includes something more specific about new technology and younger consumers’ media habits and that we still haven’t really understood their habits. And maybe more peripheral, that many people love to save the forest (which, at least in Sweden, has never been as widespread than right now).

Photo: Lena Gunnarsson

our industry is running in the same direction – usually far too late. We initially gave away the journalism for free in the new platforms. And now suddenly all media companies are trying to repair the damage by introducing a variety of solutions for pay walls.

I can assure that it will be one of the greatest educational challenges to explain why we have to charge for quality journalism in the future. answer the question of When is a hard one. This one requires a lot of work and new ideas. You are welcome with new ideas!

n To

answer to the question of Who I suppose that I’ve already answered.

n The

How question is probably the most tricky one, and even harder to answer than the one of When. Personally, I’m open to trying any suggestions. And if the ideas doesn’t work, you can put them down. But dare to try something new. Before it is too late.

n To

n The

answer to the question of Where has probably also to do with the new technology issue and especially that young consumers like the new technology especially if it’s free.

And also about that thing I mentioned above about that

So which way should we go then?

I promise that you will get a lot of ideas and suggestions on which way to go if you just join us in Copenhagen on 10–11 October.

This year we call our annual workshop WRONG. So come and learn how to do. Let’s get it right this time.

Welcome to Copenhagen! n

n The

Photo: google

Photo: anders tapola

see? The answer to all the questions posed in our industry? A pair of glasses that records everything you see and how long you are looking at ads. The manufacturer also claims that the glasses also knows how you actually feel when you see a particular article or ad. Since I don’t want to do any advertising I can only reveal that the manufacturer’s name starts with a G and ends with oogle.