SNDSmag 3|2016

SNDSMagazine 2016|3

SNDS16 – full program and speaker presentations 6–13 A clown without a circus 3 The Olympics / Mint / Grimwade 4 Tour de Baltic 14 This is a review: Is it “Berlingish”? 15 Kristeligt Dagblad: This is not a review 18 Collecting wall charts 24 Go ViLD – new design research center 28 28 cartoons on Europe from 28 countries 28 Emigré artifacts in museum 30 The President: Facebook or not 32

SNDS BOARD

SNDS SECRETARIAT

SNDS MAGAZINE

President & Chairman of the Competition Committee Flemming Hvidtfeldt Stentoften 72, DK-9520 Skørping, Denmark +45 20 91 17 52 fhvidtfeldt@yahoo.dk

Secretary for the board Lone Jürgensen Morgenavisen Jyllands-Posten, Grøndalsvej 3, DK-8260 Viby J, Denmark +45 87 38 38 38 / 31 08 lone.jurgensen@jp.dk

Editor, Art Director MD Lars Pryds +45 30 53 87 14 pryds@mac.com

WWW.SNDS.ORG

Vice President Anne Laitinen, Turun Sanomat Länsikaari 15, FIN-20240 Turku, Finland anne.laitinen@ts.fi

Co-editor, Journalist DJ Lisbeth Tolstrup +45 51 32 89 62 tolstrup@pryds.com Web-editor Kartin Hansen Morgenavisen Jyllands-Posten, Grøndalsvej 3, DK-8260 Viby J, Denmark +45 87 38 38 38 / 31 07 kartin.hansen@jp.dk

SUBSTITUTES FOR THE BOARD Business Manager, Treasurer Frank Stjerne Journalist Suomisvej 1 st th DK-1927 Frederiksberg C Denmark +45 40 10 28 30 frank.stjerne@gmail.com

Björn Heselius, KSF Media, Finland John Hällström, Upsala Nya Tidning, Sweden Ingrid Meisingset, Adresseavisen, Norway Søren Nyeland, Politiken, Denmark

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

Print: GraphicCo, graphicco.dk SNDS Magazine is set in Real Text and Museo Slab and designed in Adobe Indesign CC. SNDS Magazine is published quarterly in March, June, September and December.

Editorial and advertising deadlines: February 15, May 15, August 15, and November 15.

Published by SNDS – the Society for News Design Scandinavia

SNDS on Facebook: facebook.com/sndscandinavia

SNDS on twitter: @sndstwit

SNDS Magazine: www.snds.org/magazine

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The Clarion Hotel – venue for the SNDS16 conference – boasts a large collection of international and modern art displayed in the hotel’s public areas. This photo shows the Swedish artist Eva Hild’s white-painted aluminum sculpture “Rubato”, 6 x 7 meter, placed just outside the hotel. (Photo: PR) See more p. 6–13.

THANKS A big thank you to our contributors in this issue:

ISSN 1901-8088

www.snds.org Anders Tapola, Smålandsposten, Linnégatan 2, S-351 70 Växjö, Sweden +46 470 770 686 anders.tapola@smp.se

ON THE COVER

Julie Asmussen julie@julieasmussen.dk Ole Munk ole@ribmunk.dk Michael Stoll mstollde@googlemail.com

SNDSMagazine 2016|3 editorial

A clown without a circus I'm a clown without a circus There's no-one to see my act I can laugh and sing and stand on my head Nobody knows where I'm at – Manfred Mann's Earth Band 1

1 Lyrics by Alan Mark.

“Circles” – From the album: WATCH, 1978 2 www.dn.se/arkiv/ kultur/mittmediasplan-kan-sla-hart-motlokaltidningar/ 3 www.dn.se/kulturnoje/stampenskris-forlangs-narskatteverket-drojer/ 4 Interview, Politiken, 27 August 2016 5 Viktor IV, born 1929 as Walter Carl Glück in New York. Since the early 1960ies he lived and worked as an artist on different ships and rafts on the Amstel River in Amsterdam, where he drowned in 1986.

Thanks to former SNDS President Anders Tapola for contributing to this editorial.

It's no longer breaking news, but many Scandinavian media houses are struggling to survive. In early August, Danish JP/Politikens Hus announced the cut-down of 55 editorial jobs within its flagship publications Politiken, Ekstra Bladet and Jyllands-Posten.

In Sweden, Mittmedia – publisher of 28 daily local newspapers – have been seriously discussing plans to cut 75 % of all journalistic jobs within the next two to three years2 – and since June Stampen Media Group has been subject to a reconstruction process, which may or may not mean the end of the company.3 At JP/Politiken, most staff cuts were transformed into voluntary redundancies, but a number of people were nonetheless asked to leave the building.

It never stops to amaze me how easily life in companies that lay off people returns to “normal” – the staff that stay on surprisingly quickly adopt to the new situation.

It is, of course, quite different for the people who leave the company – whether they go voluntarily or are being regularly laid off.

Those who have the age for it can walk straight into retirement; a few lucky ones find new positions in other media houses; and some look for jobs in places far away from the media they spent half a lifetime specializing to work in. Others face years of unemployment and the risk of “going to ground on a bottle of wine”, as another line goes in the Manfred Mann song above.

It’s my impression that quite many try out life as a freelancer (some even for the company that let them go – but for a considerably lower pay, of course) and thus join what the British economist Guy Standing calls “the precariat” – an inhomogeneous group of workers who jump from one short term job to the other, who have little social insurance and no chance to save a little extra for retirement because they are pressed to work cheap. The precariat workers lead unsafe lives – “They don’t feel like citizens, like part of society, or even part of a community,” Standing says, “they are frustrated individuals, living on the edge of society looking in”.4

The good news, Standing says, is that even though it’s a jungle out there, and even if the workers of the precariat are having a hard time, they are still hanging in there. There’s enough pride and energy to keep on struggling – at least for some time. Standing predicts that the precariat in five years’ time will “rise in progressive rebellion”, but it does take time to establish the feeling of being one class – and to change the mindsets of the official institutions into accepting new ways to organise work. We’re not quite there yet.

As much as a clown needs a circus, visual artists, designers and journalists all need a place to show their act. It is my hope that everyone who has been forced into starting a new chapter in their life will be able to find this place soon.

IN THIS MAG

The SNDS16 design conference is now only a few weeks away. On October 14, international speakers and colleagues from all around the world meet for an action-packed, inspiring day in Malmö, to learn, engage, and connect – and to celebrate this year's winners in the Best of Scandinavian News Design competition. The program is ready, and in this issue we present all the great speakers you will meet.

We also found room to squeeze in other great stuff which we hope you will enjoy: Two Danish national newspapers launched redesigns of their print editions in September – Kristeligt Dagblad and Berlingske, Denmark's oldest newspaper.

We review both. Politiken, another Danish daily, published an activist Sunday supplement on the occasion of the EU summit in Bratislava on September 16 – asking cartoonists in the 28 countries in the EU to illustrate the state of the European Union after Brexit.

We’re a bit heavy on the Danish and on print this time, we admit that – so shape up, sharpen your pencil and let us know what goes on in YOUR country for the next issue of SNDS Magazine.

In another field entirely, Prof. Michael Stoll shares some of the mid-20th century educational charts from his amazing collection, and Emigré, the legendary (but very much alive) type foundry, has donated artifacts from it’s early days to a museum in San Francisco.

And there's more. We hope you will enjoy these bits from the past, present and future – but remember, with the words by artist Viktor IV: “The time is always now”.5 Last but definitely not least: See you in Malmö – there’s still time to join! 

Lars Pryds Editor, SNDS Magazine

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It’s all about branding – and sport Sport is the best entertainment, and the Olympic Games is the biggest brand in that business. By the time you read this, the 2016 Olympic and Paralympic Games in Rio will be over. But before results from the games began to fill the pages of newssites and newspapers all over the world, graphic design guru Milton Glaser (b. 1929), sat down to rate – on a scale from 1 to 100 – every single Olympic logo design in history, even logos for future games up to the Beijing Winter Games 2022. His judgements can be read on eyeondesign.aiga.org It’s an interesting read, as the words come from one of the most celebrated graphic designers in the world, and because it’s a chance to relive some of the great moments of games we watched, experienced or maybe even covered as journalists in the past. It all comes back, just from seeing the logos: Who doesn’t remember, in 1976, gymnast Nadia Comăneci of Romania at age 14 (my age too, that year!), to be the first person to score a perfect 10 in Mont­real, Canada? – Or the amazing swimmer Michael Phelps, who in Beijing 2008 captured eight gold medals to break Mark Spitz’ (remember him?) record of seven wins at a single Games, set in 1972 – which will forever be scarred by the memory of the Munich Massacre.

Below is just a few – including two Scandinavian ones – of the many Olym–pryds pic logo designs.  bit.ly/milton-olympics

The history of infographics started 35,000 years ago

Size matters – broadsheet revival?

© MARVEL STUDIOS AND PARAMOUNT PICTURES.

In September, Mint, India’s business daily, switched from Berliner to broadsheet format. For the 10-year-old award winning newspaper, this is what its publisher describes as a “fundamental rethink of a print product,” Mario García says on his website, garciamedia.com.

So, is the broadsheet format – which has almost disappeared in many countries – getting a revival?

Maybe not. Although the move is rather unusual, the explanation has to do with the newspaper culture in the country, García explains: “In India, a large majority of newspapers—especially the serious ones, including the Hindustan Times, published

by Mint’s owner, HT Media Limited, are broadsheets. For Mint and for its advertisers, the switch was necessary.”

That said, Mint has been rethought with care, preserving much of the original design.

“We also know that contemporary print is all about more depth, longer narratives, a true lean back platform,” –pryds García says.

“From cave to supercomputer: Infographics have always been along for the ride. Here’s a (brief) history of information design.”

This is how John Grimwade, infographics guru and specialist, kicks off his new blog at johngrimwade.com.

John Grimwade believes that visual communication “is a powerful way to help people understand, but first we have to get people on our side. Be inclusive, not exclusive. And never forget that a sense of fun is an important component in getting our message across. Infographics for the People!” – as the final words sound in his pretentious mission statement (his own description).

Since its launch on August 22, Grimwade has published – apart from the quick run-through of infographic history – posts about Mega-globes, The Ultimate Pencil (it’s an Eberhard Faber Blackwing 602, in case you wonder), The Hollywood Effect, and quite a few soccer related infographics from Eight

by Eight, a soccer magazine.

John Grimwade is Assistant Professor in the School of Communication at Ohio University, teaching informational graphics to undergraduates and graduates.

Previously he taught infographics to undergraduates at the School of Visual Arts in New York City, freelanced for many major magazines and newspapers, plus several corporate clients. Currently consulting graphics director for Eight by Eight, a soccer magazine that was the 2015 Magazine of the Year for design.

-pryds

More on Inphographics for the People:  johngrimwade.com/blog

Read more on Garciamedia.com:  bit.ly/mint-garcia

Mint’s new logo, a white m on an orange circle

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Useful infographics or empty Hollywood effects? John Grimwade wonders. From the film “The Avengers” (2012).

where strategy meets technology Let our world class publishing solutions accelerate your business strategy.

ccieurope.com

escenic.com

16 The program Friday 14 October 08.30–09.15 Registration and morning coffee 09.15–09.30 Welcome! Opening of the conference Flemming Hvidtfeldt, SNDS President 09.30–10.00 Creating a shared design framework David Bailey, BBC 10.00–10.30 The creation of a future news brand Lea Korsgaard & Katinka Bukh, Zetland 10.30–11.00 What it takes to win gold in print – Photography Pekka Elomaa, freelance 11.00–11.30 Coffee break 11.30–12.00 TBA Tracy Ma, Matter Studio 12.00–13.00 What it takes to win digital gold – Datavisualization Lasse Lambrechts, Bergens Tidende 12.30–13.00 How to master the demands for a functional reading process on different platforms Bengt Engwall & Göran Lundberg

14.00–14.30 Data and truths – Everyone loves talking about “me” Jaime Serra Palou, La Vanguardia 14.30–15.00 TBA Cath Caldwell, Central Saint Martins, University of The Arts London 15.00–15.30 Estonian and Baltic news design Priit Höbemägi, Tallinn University 15.30–16.00 Coffee break 16.00–16.30 From data decoration to data visualization Alan Smith, Financial Times 16.30–17.00 Product development with partners like Google and Facebook Hildegunn Soldal, Aller Media / Dagbladet 17.45–18.30 SNDS General Assembly Everybody’s welcome: If you’ve signed up for the conference, you’re a member and can attend 19.00–00.00 Gala Dinner & Award Party

13.00–14.00 Lunch buffet SNDS16 is proudly sponsored by:

SNDS16 venue: Clarion Hotel & Congress Malmö Live Dag Hammarskjölds Torg 2 21118 Malmö, Sweden

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See you in Malmö!

The SNDS16 conference is now only a few weeks away, and it’s time to register to spend an actionpacked day in Malmö under this year’s motto: ENGAGE. LEARN. CONNECT. Flemming Hvidtfeldt SNDS President Do you know that you are about to miss the SNDS conference this year, to be held in Malmö on 14 October?

I hope you remember the previous SNDS conferences, for many good reasons. Also, I know that you are probably busy and because of that, I’ll keep it short – as we’ve done with this year’s conference:

We have compressed the program into one single Friday – culminating in the award-dinner, where this years SNDS Best of News Design winners will be revealed and celebrated. Check it out here: http:// conference.snds.org/ We have invited 11 great speakers from all over the world to join us on an actionpacked one-day programme – ready to inspire new ideas and solutions for your daily

work. On top of that you’ll meet colleagues from all over Scandinavia, Finland and the Baltic Countries – and other countries as well.

Please, do not miss this chance of providing more value to your organisation!

Register now on http:// bit.ly/2civM6n for only €695 including all meals and the award dinner.

I do hope to see you in Malmö Friday 14th October, as

we need to keep this organisation alive for the sake of all Scandinavians working with news design.

For more information about the speakers, see the next pages where we give you a short introduction to the people you can meet on stage in Malmö on 14 October 2016.

For practical information and to sign up – go to the official conference.snds.org website. See you in Malmö! 

SNDS16 speakers ALAN SMITH

 16.00–16.30 Data Visualisation Editor at the Financial Times Alan Smith is an award-winning Data Visualisation specialist who is passionate about the intelligent and engaging presen-

tation of data on the web. Alan Smith joined Financial Times in 2015. Prior to that he was Head of Digital Content at the Office for National Statistics in UK. He is a hugely experienced presenter and lecturer with many international keynotes.

We are proud and delighted

to have Alan Smith among the speakers.

Examples of the work Alan Smith’s team has done can be seen here: https://www. pinterest.com/financialtimes/ ft-graphics-and-design/ (see below).

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LASSE LAMBRECHTS

 12.00–12.30 News developer, Bergens Tidende Looking for new storytelling methods – loves to work with datavisualizing. Background as a web developer and has a masters degree in bio-informatics. Gold Award winner at the SNDS15 competition in the category “Data projects” for the project “Kommunebygger”.

TRACY MA

 11.30–12.00

Creative Director, Matter Studio.

Hong Kong-born graphic designer Tracy Ma grew up in Toronto after moving there in 1996, and graduated from York University with a bachelor of design with honors in 2010. After graduation she worked briefly at Toronto Life magazine.

In 2011 she joined Bloomberg Businessweek as a guest designer for the “Year In Review” issue, where she worked closely with then creative director Richard Turley and graphics director Jennifer Daniel. She continued to freelance with the magazine for a year and a half until she officially joined as assistant creative director in early 2013. Tracy Ma has was deputy creative director of Bloomberg Businessweek until mid 2016.

At Bloomberg Businessweek she oversaw the weekly production of the magazine from cover to cover. She also lead the art direction for the magazine’s annual Design Conference.

Her work has been recognized by the Type Directors Club, the Society of Print Designers, D&AD,Print magazine’s “20 under 30” and Complex magazine’s “25 Young Designers to Watch”. She lives in Chinatown, New York.

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CATH CALDWELL

PHOTO BY GARY WALLIS

 14.30–15.00 Senior Lecturer in Design and Interaction and Academic Co-ordinator CSM for Careers and Employability, Central Saint Martins, University of The Arts London.

Cath Caldwell is Senior Lecturer at Central Saint Martins (CSM) working to create the next generation of graphic design communicators through teaching design and enterprise. Cath has another role at the University of the Arts, as Academic Coordinator for Enterprise and Employability. Now working for UAL’s Teaching and Learning Exchange, Cath is contributing to UAL research into the pedagogy of employability for the Higher Education Academy. She is also doing research into creative enterprise in art and design and is working with CSM Public on a project for 2017.

Cath is author of two books, one about Editorial Design for Lawrence King, which was exhibited at CSM and the other is Winning Portfolios for Quarto.

She is a former editorial art director, (Conde Nast in NYC and at Hearst as Design Director for ELLE UK) and still supports editorial design through her educational practice. See an interview on MagCulture website ( bit.ly/cath-mag ) and recent shoot for ELLE. She is known as a disabled staff member and here is an interview about that ( bit.ly/cath-int ) Cath co-founded the UK’s Editorial Designers Organisation (a non-profit design network) and has been invited to judge the UK’s BSME Rising Star awards twice and was recently nominated for a CSM teaching award. For more details see Cath Caldwell’s Academic.edu profile ( bit.ly/cath-aca ).

Read the review of Editorial Design in SNDS Magazine 2, 2015:  bit.ly/sndsmag-2-15

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Zetland is a Danish journalistic startup established in 2012 by experienced journalists from traditional news media companies to give their version of what the future news media could look like.

Zetland is a membership based brand. It was relaunched in 2016 as Denmark’s slowest news media that cuts through the news noise with few in-depth stories about the most important events. As they say: All you need to know. No more than you can make.

Lea Korsgaard and Katinka Bukh will give us insight to Zetland from a conceptual and design perspective.

 10.00–10.30

LEA KORSGAARD

Editor-in-Chief, Zetland Lea Korsgaard has worked for major Danish newspapers like Politiken and Berlingske.

KATINKA BUKH

 10.00–10.30

Art Director, Zetland Previously art director at Danish magazines Politiken, Euroman and Ud & Se. Multiple design award winner.

JAIME SERRA PALOU

 14.00–14.30

Multidisciplinary artist and journalist, Director of Infographics for Spanish daily newspaper La Vanguardia since 2007.

In recent years his activity moves on the line between journalism and art through the use of data, as raw material and infographics as his tool. As part of this strategy he combines expositions in art spaces with the steady publication of those same materials, adapted into editorial formats for mass media, like the Spanish daily newspaper La Vanguardia or the French weekly newspaper Courrier International.

On March of 2012, prior to the ceremony of the Malofiej Infographics Awards, the SND-E recognized him as “the most influential infographer of the past twenty years, 1992-2012”.

The topic for his presentation in Malmö is: Data and truths (Everyone loves talking about ‘me’).

Armed with the most modern technologies we pick up, analyze and visualize massive amounts of data that, as individuals, aren’t of any use for us at all, because they are not true. Can we empathize with data? Yes, if they are truthful: applied to a specific person, at a certain moment and facing a particular situation.

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DAVID BAILEY

 09.30–10.00

Creative Director UX&D | GEL, BBC Design & Engineering Since 2013, David Bailey has been Creative Director of User Experience Design at BBC. He oversaw the organisation’s Global Experience Language (GEL), which involves maintaining and developing the look and feel of the corporation’s entire online output.

GEL (Global Experience Language), is the BBC’s shared design framework which enables them to create consistent and great user experiences across all of their Digital Services.

GEL is how BBC design, both practically and philosophically. The GEL Guidelines help BBCs teams assemble online services, be they apps, websites or games, whilst their Design Principles underpin their user-centred approach.

Prior to that, David Bailey had his own flexible design studio, Kiosk with eight successful years creating exciting design, art direction and branding for the music, arts, media and leisure industries. Clients included: BBC / Nike (US) / Coca-Cola / Universal Music / Ministry of Sound / Arts Council England / Nickelodeon (US) / FutureEverything / AEI Media.

In 2012, renowned UK design awards body D&AD included David Bailey in its list of “50 Creative Greats” which included the likes of Quentin Blake, Rankin, Terry Gilliam, Storm Thorgerson and Paul Smith.

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PRIIT HÖBEMÄGI

 15.00–15.30

Lecturer of new media and journalism at Tallinn University Last year the Baltic countries were enrolled into the SNDS family and at the SNDS16 Conference we will have a speaker from Estonia giving us a runthrough of Estonian and Baltic news design.

Priit Höbemägi is a former editor-in-chief of Eesti Ekspress and is currently a lecturer of new media and journalism at Tallinn University.

Eesti Ekspress (Estonian Express) was the first politically independent newspaper in the Estonian Soviet Socialist Republic during the Soviet control of Estonia. The paper was founded in 1989. The first issue was published on 22 September 1989. Today the newspaper remains one of the most popular newspapers in Estonia.

A strong and different story about mentally disabled people, who photographed each other after learning about the renaissance artist Hans Holbein (1497 – 1543) in art class.

Gold Award, Magazines category, Best of Scandinavian News Design 2015.

PEKKA ELOMAA

 10.30–11.00

Freelance photographer, SNDS gold award winner Pekka Elomaa (b. 1954) is a freelance photographer who has worked for several newspapers and magazines in Helsinki.

One of his photo projects with Helsingin Sanomat won a gold medal in Best of Scandinavian News Design print competition in 2015.

Pekka will present this case at the SNDS16 conference under the headline “How to win gold in print”.

The photo serie was in cooperation with the Temporary Housing and Workshop Association Lyhty of Helsinki. The ethical goal of Lyhty is to promote the well-being of developmentally disabled adults.

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PHOTO BY NINA HANSEN / DAGBLADET

HILDEGUNN SOLDAL

 16.30–17.00 VP for Strategic partnerships at Aller Media/Dagbladet Hildegunn Soldal has a long background in Digital Media starting in the UK at The Guardian in various position. Returning to Norway she started as Digital Editor at Dagbladet, Digital Development Director and now VP. She will talk about how Aller Media/Dagbladet works with partners and product development, about how do do projects in cooperation with Googles Digital News Innovation Fund and about experience with Facebook Instant Article and Google AMP.

BENGT ENGWALL

 12.30–13.00

Project leader of staff development, NTM News Corp, Sweden.

GÖRAN LUNDBERG

 12.30–13.00

Media consultant, Fleet Street AB, Sweden Both former prize-winning Swedish news designer and SNDS-member who for decades also have been keen follower of research into the reading process on a biological level. Together, they will present a talk with concrete tips on how to prolong reader engagement through better use of typography and design elements.

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A visit to the Baltics During three days in September, representatives of the SNDS board visited the three Baltic countries in order to get message out that it’s a great idea to join SNDS. The result, so far: We welcome ten new members from Estonia Eight months ago it was decided to include Estonia, Latvia and Lithuania in the SNDS organization, so in the future SND Scandinavia – and, as a consequence, Region 13 of the international SND organisation – will consist of the Nordic countries as well as the Baltic countries.

Kim Bjørn, head of the digital jury in the annual News Design competition, and Flemming Hvidtfeldt, Chairman of SNDS, visited the countries and promoted SNDS at meetings with future members of SNDS. “We had a really good meeting in Tallinn, the capital of Estonia, where we managed to promote SNDS to more than 12 journalist and graphic artists,” Flemming Hvidtfeldt says.

“Risto Mandre, Art Director at the news organization Ohtületh in Tallinn and a member of the jury for this year’s Best of Scandinavian News

Design competition, had helped organize the meeting. That was a great way in for us,” says Hvidtfeldt.

Bjørn and Hvidtfeldt told the story about SNDS and the reasons why it can be an advantage for graphic artists as well as journalists and other involved in producing news to become members of SNDS. Among the advantages of SNDS membership are the possibility to meet colleagues from all of the Nordic countries as well as from the the Baltic countries and the chance to share ideas, inspiration and thoughts about news design with fellow coworkers.

They also told about the upcoming conference in Malmö on October 14th, encouraging everyone to attend.

About ten of the people participating in the meeting in Tallinn have

signed up for membership of SNDS for the next year.

While the visit to Estonia was succesful the visits to both Latvia and Lithuania weren’t. It was difficult to set up meetings in the two countries.

“We did not get in touch with news organizations in the two countries although we managed to get an appointment in Riga. But unfortunately it was canceled,” Flemming Hvidtfeldt says.

“But we will continue to work for promoting SNDS in Lithuania and Latvia and I hope that the new members in Estonia will help us in that respect.”  Expanding SNDS:  snds.org/snds-is-expanding/ More about SND regions  snd.org/about/leadership/ PHOTOS BY KIM BJØRN

Above, left: Even in the rain, Lithuanians live out their passion for playing chess – here at a market square in Vilnius. Above, right: The entrance to the Ohtületh headquarters in Tallinn lists some of the publications from the media house.

Left: Newspapers from Ohtületh company.

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Old Berlingske front page.

New Berlingske front page.

Is it ”Berlingish”?

The design of Denmark’s oldest newspaper has changed every time a new boss entered the premises, or new owners took over. Ole Munk sees a lot of visual quality in the latest facelift but can’t help worrying about the health issues of changing your skin so frequently Text by Ole Munk ole@ribmunk.dk There are two fundamentally different approaches to design. One is based on the idea that the product and/or the producer has a clearly defined identity, maybe even some kind of “soul”, which you can expose through design. In that case, design changes will typically be ways to express product developments. And

ideally, they will emanate from the basic qualities of the product , from the aforementioned identity and soul, from the core that “is” the product.

Apple and Citroën are obvious examples (although I know Apple is not what it used to be.

By the way, neither is Citroën).

On the Danish newspaper market, Politiken represents this design philosophy. The Copenhagen daily was redesigned in 1968 and again in

2006. All changes inbetween these two years, and after 2006, have been nothing but adjustments of the given form.

The sails were trimmed, so to speak, but the ship remained the same.

Everyone who has been a Politiken employee will remember discussions, often heated, about whether a planned initiative was “Politikensk” (Politikenish) or not; some would say it was and others might

disagreee, but nobody would question the relevance of the expression. “Politikenish” was a thing.

Less than a mile away, in Pilestræde, Politiken’s main competitor is an exponent of a different design approach.

In recent years, Berlingske Tidende – or, as it now presents itself, Berlingske – has got a new design every time a new boss entered the premises, or  new owners took over.

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Analyses and comments are placed on a coloured background.

A varied palette of fonts have been chosen for the new Berlingske – from workhorse families like Sanomat and Guardian (both in multiple variants) to the very narrow Giorgio and the peculiar CPH Signs, which really was inspired by Copenhagen street signs.

Which has happened quite a few times. And whenever a new captain walked onto the bridge, he or she did not just want to trim the sails. On the contrary, the entire ship was to be turned around and the course radically changed.

And as the visual appearance seems so much easier to change than anything related to content, just about every relaunch has included a complete abandonment of the look-and-feel which had, until then, been Berlingske’s visual

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identity – the face the newspaper had been showing to its readers.

NEW SURROUNDINGS

We don’t know what the very same readers have thought about this abundance of layout revolutions. What we do know is that Berlingske’s readership has gone down from half a million at the turn of the millennium to well below 200,000 today (Politiken’s readership has shrinked as well but not nearly as much).

News spread with a large photo opener.

Sanomat San Sanomat Sans Collection Collection

surroundings don’t sans really Only a fool would put the Sanomat Sans is aand geometric serif with bot feel at home in thedesigned new ones, sole blame for this sad develtext variants, originally for Sami Valter Helsingin Sanomat, Finland’s most respected n however fashionable they opment on the visual zigzagSanomat Sans is a geometric sans serif with both display and since its founding un A large-format broadsheet appear. In-house, if there had ging; what we’re currently text variants, originally designed for Sami Valtere’s redesign of Päivälehti in 1998, the newspaper relaunched in ever been discussions about experiencing are structural Helsingin Sanomat, Finland’s most respected national tabloid format in newspaper.

January 2013. The sharp elegan what was “Berlingish” and changes withinbroadsheet the industry A large-format since its founding under the name Sans helped retain the feeling of a quality news Päivälehti in design 1998, theissues newspaper in the smaller what wasn’t, withSanomat each radical and it is not thatrelaunched smaller format, while Sans Text is a wo tabloid format in January 2013. The sharp elegance of Sanomat clarity and legibility to smaller sizes. redesign such discussions turn off newspaper readers.

Sans helped retain the feeling of a quality newspaper in the must have felt more and more Few of them are even aware smaller format, while Sanomat Sans Text is a workhorse, bringing The display family of Sanomat Sa variant, all with italics. Sanomat S that newspapers being sizes. absurd. also with italics. Both families inc clarity and legibilityare to smaller forms, giving the typeface a cham designed. and personality. To counter the p caused by the many repeating let The display family of Sanomat Sans has nine weights plus a stencilBETTER CHANGES FOR THE Nevertheless, commonvariant, all with italics. Sanomat Sans Text features seven weights, of bowls are subtly asymmetrical, also with italics. Both families include an extensive set of alternate typical geometric.

Anyway, Berlingske has sense would suggest that forms, giving the typeface a chameleon-like ability to change tone and personality. To counter the potentially monotonous texture caused by the many repeating letters in Finnish words, the shapes enjoyed yet another redesign every time the design changes, of bowls are subtly asymmetrical, more like a humanist sans than a typical geometric. which was rolled out in early there will be a pool of readSeptember. And this time, ers who kind of liked the old Published 2015

designed by Christian sChwartz & VinCent Chan stenCil by miguel reyes

Published 2015

designed by Christian sChwartz & VinCent Chan stenCil by miguel reyes

34 styles 2 families

families sanomat sans sanomat sans text

34 styles 2 families

families sanomat sans sanomat sans text

Commercial

PlayTyPe™

Playtype™ | Vesterbrogade 80 B | 1620 Copenhagen V | Denmark The Playtype™ Concept Store | Værnedamsvej 6 | 1619 Copenhag http://www.playtype.com

Opinion pages now starts – with the editorial of the day – on the back page of the A section.

Guardian Egyptian Text

63 of 80

Guardian Egyptian Text

Giorgio Sans

CPH Signs

Rather than drawing Deco influences changes ARE actually for the well-controlled, use of white He also has a first-class giofrom andthe thehigh-fashion body face Art Guardseen in the serif, Giorgio Sans was inspired by more better – at least as long as our space and a rather sophistinetwork, including the ian Text Egyptian (yes, it was everyday focus is purely visual. The new cated grid structure (vintage renowned Americansources type such as French created for The Guardian) arestraightenamel signs and generic Guardian Egyptian Text is a capable workhorse in four Belgian owners, De Persgroep, Mark Porter design), the new designer Christian Schwartz, Christian Schwartz products sided American sign lettering from the early 20th century. weights, tuned for optimal readability at small sizes, have provided editor-in-chief Berlingske has become a very the man behind several of evenas well, while the navigation under quite adverse printing the conditions.

Although it seems Tom Jensen with a budget handsome newspaper. last two decades’ biggest face CPH Signs is the work of like adapting Headline to Text would be asuccess straightforward which allowed him to hire one typographical stories.

Danish type designer Henrik MAGAZINE FEELING of the top guns amongneeds news- in the “Sanomat” is alead typeface drawn Kubel who found inspiration in process, different two sizes the designers The extreme x-height helps to differentiate Giorgio Sans from other straight-sided sans serifs; this and the straight-sided bowls connect the sans back to its serif companion.

In addition to the structural Butandwho did ever buy a newspaper designers.

Mark Porter

by Schwartz 2013 street signs. to find divergent solutions, and not onlyfor inthe the details. Copenhagen proportional similarities, some of the distinctive details from Giorgio were brought into Giorgio Sans in order to allow the two faces to be Helsingin Sanomat redesign. paper because it was pretty? has a proven track record The outcome is a harmomixed in interesting ways. One example is the alternate italic lowercase with more traditional cursive tails, echoing the more extreme tails in the Extremely legible and full of Obviously, the important queswith experience from, among nious yetserif. contrastful An early version of the type face had a set of perfectly circular alternate round caps, which created really interesting rhythms and textures in lines of copy.

Although these weren’t used layouts, they personality at the same time, is whether Berlingske’s others, the innovative Benetcombination which marks a in any of the T tion made their way into the eventual release.

Sanomat asincline wellangle as and huge step forward compared new look is more than just ton magazine COLORS and the Guardian Egyptian Textworks has italicsjust with less counterforms, toeing the fine line between having international media giant Themore open the headline face of the new beautiful. Does it play well with to the fragmented typography enough of a textural change for emphasis without becoming Guardian which he successfulBerlingske. the contents? And with the a distraction in a block of text. The addition of some slabs to that used to characterize Bercharacters that don’t have them in the Headline version evens ly redesigned in 2005.

The narrow sans serif Giorreaders? Is it “Berlingish”?  lingske. With a generous, but out the color of text. Finally, changes in overall proportion and PUBLISHED 2009

DESIGNED BY CHRISTIAN SCHWARTZ 16 STYLES 8 WEIGHTS W/ ITALICS

FEATURES TABULAR LINING FIGURES TITLING CAPITALS PREBUILT FRACTIONS

Published 2009

designed by Paul Barnes & Christian sChwartz 8 styles 4 weights w/ italiCs

features small CaPs ProPortional/taBular lining figures ProPortional/taBular oldstyle figures fraCtions suPersCriPt/suBsCriPt ordinals

spacing ensure easy, comfortable reading. Guardian Egyptian Commercial Text includes a comprehensive set of typographic features, such as small caps, and supports use in a large number of languages.

commercialtype.com

SNDSMagazine 2016|3 17

The Sunday front page has a more compressed feeling, with an inversed logo and visually strong promos.

Front page of Magasin – the longread Sunday supplement.

The good old crest in the masthead of Berlingske has been redrawn to appear more modern.

To be honest, I’m really not sure. The spacious layout with wide columns and big pictures gives you the immediate impression that you’re reading a magazine rather than a daily newspaper. This magazine feeling is not a brand new thing. The old design also contained magazine elements … which were, however, often overshadowed by an overall messiness.

Now everything looks much tighter: The sections are stapled, printing has become

18 SNDSMagazine 2016|3

better, pages appear more elegant and well-organized, the rhythm has more variation.

But paradoxically, this stylish presentation leads to slight confusion as plain news articles end up looking like small feature stories. This may be mainly a question of gettingused-to, yet again: There’s a risk that some “old” readers might feel estranged, and from there, the step to quitting is not a big one (especially not when subscription prices exceed 600 euro a year).

Another potential threat to the magazine finesse comes from the two- and three-column ads which can destroy pages but without which a printed daily can hardly survive. So far, however, these tricky ad formats seem to be successfully contained within vertical or horizontal limits.

REFRESHING COMBO

On the content side, the main change is that Berlingske no longer makes a distinction between domestic and

international news. Spontaneously, I find this new combo quite refreshing. Time will show whether loyal readers appreciate it as well. The opinion pages are promoted with great enthusiasm by the editor-in-chief who highlights the fact that the A section “can now also be read backwards”.

According to Tom Jensen, this is a “groundbreaking concept”. As a kid, I used to read Politiken backwards because sports was on the back pages.

However, I know quite a few

On Sundays, the daily B section shrinks in size and becomes a regular magazine in a handy trimmed format on glossy paper.

other people who did likewise so maybe it is not quite as groundbreaking. More importantly, I find the new opinion pages a bit uninviting in all their rectangular austerity.

In the culture section, which has been reintroduced under the name “B”, the magazine format feels natural – more so than in the news section. The Business section contains rich visual variety with lots of small units, including infographics (by the way, Berlingske’s infographics

is a chapter of its own; a severe case of form over function).

All in all, this new visual concept puts high demands on the execution. Whether Berlingske’s editorial department – which has been cut down more than once in recent years – still contains the amount of talent, and stamina, necessary for long-term production of a newspaper on this level of ambition, remains to be seen. 

 www.b.dk

This review was previously published (in Danish) at kommunikationsforum.dk “Er det Berlingsk?”  bit.ly/b-munk Printed with kind permission.

See also Journalisten.dk: “Berlingskes redesign gør ‘Tanten’ lidt friskere”  bit.ly/b-pryds The history of Berlingske 1731–2016:  berlingskemedia.dk/ vores-historie/

Ole Munk is design director at Kristeligt Dagblad and a partner of Ribergård & Munk communication design, based in Esper­gærde, Denmark.  www.ribmunk.dk

SNDSMagazine 2016|3 19

The Friday and Saturday issues have a B section and the promo box on the front page is expanded.

20 SNDSMagazine 2016|3

Example of a front page on weekdays.

Front page of section 2, “Liv&Sjæl” (Life&Soul).

This is not a review The Danish newspaper Kristeligt Dagblad has been given a facelift. The newspaper appears sharper, more readable and clearer in its visual identity, writes Julie Asmussen about the new design, launched on 2 September 2016

Text by Julie Asmussen julie@julieasmussen.dk This is a confession rather than a review. And actually one of the very embarrassing ones.

But “rather offend your best friend than to miss a joke,” as my mother says, “even if it compromises yourself”.

Mine is a confession similar to the fact that only as an adult did I realize that “Red Barnet”

is not an international English aid organization as in ‘The red banner’ or something similar revolutionary pronounced in English, but yes, “Red Barnet” really does mean what it says in Danish – namely “Please save the child”.

But, the confession – and I say this only because I believe, that as a reviewer I must speak frankly (or rather, in this case where the subject is a Chris-

tian Daily, the better phrase perhaps would be: I must carry my cross) – the confession comes in two parts: A: I always thought that the editorial offices of Kristeligt Dagblad were in Jutland.

B: I’ve never even opened the newspaper. So there, I said it.

But in these post factual times – where even in journalist circles it is fashionable

to be completely blank and without prerequisites, I have to turn it to my advantage that I can see the whole thing with fresh eyes.

ENHANCING GOOD STUFF

And now to the point: In early September, Kristeligt Dagblad relaunched the newspaper according to the motto “If it ain’t broken, why fix it?”  The growing (!) reader-

SNDSMagazine 2016|3 21

Kristeligt Dagblad’s masthead has changed several times during the newspaper’s 120 year history. The 2016 version at the bottom.

The new design on the opinion pages.

Typography used in the new Kristeligt Dagblad:

Headlines and body text.

ship is happy, and the relaunch and the gentle redesign was actually carried out to enhance an already successful product – and to give the readers more of what they love most, including opinion pages, literary and cultural content plus a new tasty back page format, “life and sense.”

As a graphic designer I search in vain for major changes (I have after all had examples of before and after for review) and personally I could do with at bit more graphic punch, but clearly, this

22 SNDSMagazine 2016|3

Used for navigation and the new masthead.

was never the intention for this redesign. Ole Munk has tightened up the pages so the newspaper appears sharper, more readable and clearer in its visual identity (including the use of brighter colors, higher contrast of font weights and a becomingly edgy slab serif in the new masthead).

THE BATTLE FOR WHITE SPACE

The 12-column grid is used more consciously, adding more white space and rhythm to the pages than before, and this

makes the individual articles as well as the newspaper as a whole look better.

As Derek Birdsall 1 says: “White space is the lungs of the layout. It’s not there for aesthetic reasons, it is there for physical reasons.”

Sometimes the battle for white space can be hard in newsrooms out there, for if it was up to me, Ole Munk and his crew should be given a bit more of it – to allow for the main stories to put on a bit more of a show. But then again, it is not the aim of this news-

Captions, bylines and headlines on opinion pages.

paper to shout out loud, so I believe that the soft expression is intentional.

THE CONTENT

My job here is not to review the newspaper in its entirety.

But since this redesign seems primarily to be an optimization of something already in existence, allow me to comment also on the content. What does the reader find in the new Kristeligt Dagblad?

The reader is greeted by an enthusiastic, friendly, open-minded, curious, con-

The new back page format, “Life & sense”.

Fact boxes, infographics and pull quotes.

ciliatory, thoughtful, not event driven and humorous newspaper that dares to wrestle with both the big and small issues.

As the Copenhagen snout I am, I had completely, and with predujice, condemned the newspaper as an evangelical Jutland newspaper – for the simple reason that my grandmother, one evangelical Jutlander of the very prudish kind (as in no TV and no beer), was the only one in my circle, who had this newspaper lying on the coffee table. Her way life terrified me, so I certainly did

not want to copy her spending habits.

Now I am converted and could easily jump in immediately. Even the personal ads are charming and bear the stamp of this newspaper’s open-minded and moderately witty tone rubs off on readers and advertisers. Who would for example not be falling for this guy: “Former landowner looking for a nice, beautiful girl age 30 to 60 years who wants to travel, enjoy nature and a good bottle of red wine”?

Congratulations on the relaunch – from a brand new, enthusiastic reader.   k.dk

This article was previously published on journalisten.dk  bit.ly/kd-redesign Printed with kind permission.

Translation: Lars Pryds Notes: 1. Derek Birdsall (born 1934) is an internationally renowned British graphic designer. The quote is from eye magazine no. 9, 1993, “White space black hat” (bit.ly/derek-eye)

Julie Asmussen is a freelance graphic designer and illustrator and a lecturer at the Danish School of Media and Journalism (DMJX).

She writes reviews, and blogs at journalisten.dk.

Graduated from Denmark’s Design School, Copen­hagen, in 1998.

Follow her work at  www.julieasmussen.dk

SNDSMagazine 2016|3 23

Eschner‘s Anatomical Wall Charts „Composition and Care of the Human Body“ (Leipziger Schulbilderverlag F.E. Wachsmuth, ca. 1916).

24 SNDSMagazine 2016|3

Botanical wall chart by Jung Koch & Quentell. Anemone (1975).

Cockchafer. Chart by Jung Koch & Quentell, 1961.

Collecting educational wall charts Amazed by the didactical and technical efforts undertaken to create wall charts Professor Michael Stoll collects examples of this beautiful hand-crafted material from the nineteenth century Text & photos by Michael Stoll mstollde@googlemail.com As you may know from a previous issue of SNDS Magazine, I am interested a lot in the historic attempts to communicate visually. Although one may find a lot of early infographics online nowadays, it often remains undisclosed, in which context those graphics were published. Were they leading pieces that served as an introduction to an article or did they serve as supportive material to a more elaborated text?

A few years ago, when my

kids started to go to school, i attended a school’s flea market and was shocked to find mid-century-teaching-material on sale: vintage atlases, botanical, zoological and anatomical models, as well as tons of wall charts. Teachers told me, that they throw all these out since pupils are more interested in “laptop/projector-teaching”.

WALL CHART GIANTS

I simply love this material, because the relation between the actual explanatory graphics (wall charts, models) and the way it is communicated differs

a lot from what one will find in textbooks.

If you stumble into a new field, in a first sight you are impressed by the unknown.

Everything seems to be fantastic. The more you collect, learn and discuss with friends, the more you get familiar with the underlying business as well.

For example, there were giants in publishing wall charts, like Paul Pfurtscheller, Jung, Koch & Quentell or Stockholm based Norstedt & Söner, just to name a few. Some companies appeared and disappeared, some had a long lasting career

and still continue to distribute their products.

PERFECT COLOUR

I am constantly amazed by the didactical and technical efforts, that were undertaken to make these wall charts work.

Although sizes differ, many wall charts are about 1 meter wide and about 1.60 meter tall. In other terms: huge!

Despite their size, they were printed perfectly, even if you or a pupil would stand right in front of it.

Charts produced approx imately between 1860

SNDSMagazine 2016|3 25

Bees and ants. Förlag A.-B. P. A. Norstedt & Söner, Stockholm, Sweden.

Bengtsons Litografiska A.-B., Stockholm, Sweden (date unknown).

and 1920 were produced in lithographic print. This means, somebody (mostly) hand drew the motives on a lithographic stone from which the edition was printed. One lithographic stone per color.

Talking about colors. These were spot colors, often more than just the four standard colors, and you won’t find any screen pattern on the printed stock. This technique led to an vibrant color palette.

Talking about didactics it is interesting to see, that most publishers omitted any texts on the charts itself – except for numbering the parts with short annotations. The main explanation was left to the teacher.

Because of this, many charts came with booklets for teachers to teach them the details.

VISUALS THAT WORK

This doesn’t mean, the charts don’t have an inner structure.

26 SNDSMagazine 2016|3

We have to be clear about this: there was always a huge discussion among the publishers and illustrators about how to design the final chart. Which parts to show, which to leave out, how to weigh the different illustrations in size and how to group elements in a meaningful way.

Or to turn it another way: how to cast the information into visuals so that the conveyance works best. Not only with wall charts I have the impression, that the longer a design and production process is thought through, the better and longer lasting the final result is.

So if you visit a flea market soon, keep an eye open on these wall charts. They will soon be gone and only found in a few collections, some museums or as reproductions in catalogues and books. A fate they do not deserve. 

 prof.michael.stoll

More Michael Stoll: Michael Stoll (2014): “Pop it up” – about pop-up graphics.

In: SNDS Magazine 2014/2  bit.ly/stoll-pop John Grimwade (2013): "Looking back: Page through Michael Stoll’s treasure island of infographic textbooks".

On: SND.org  bit.ly/stoll-snd

Michael Stoll studied communication design at the Konstanz University of Applied Sciences, writing his thesis on infographics and their classification.

Since 2005, he has taught at the Augsburg University of Applied Sciences, lecturing in media theory, infographics and information design on bachelor’s and master’s programmes.

Educational Director (intl.

Affairs) of the Society for News Design, US. Member of the International Institute for Information Design in Vienna and of the Editorial Board of the Information Design Journal (John Benjamins Publishing Company).

Michael Stoll collects historic infographics and has amassed one of the largest collections of such material, the highlights of which can be seen in his travelling exhibition “History of Infographics”.

Healthy Teeth – human body wall chart by Deutsches Hygienemuseum, Dresden (date unknown).

Bad Teeth – human body wall chart by Deutsches Hygienemuseum, Dresden (date unknown).

Botanical wall chart by Jung Koch & Quentell.

Wild Carrot (date unknown).

Botanical wall chart by Jung Koch & Quentell. Ergot (1975).

SNDSMagazine 2016|3 27

europæiske Streger ...

Go ViLD – new design research center launched Text by Lisbeth Tolstrup tolstrup@pryds.com The launch of ViLD – Visual Studies and Learning Design was a dream coming true for director Mie Buhl at Aalborg University. Her field of research is communication and information studies combined with visual art in a broader sense.

With a background in art and teaching visual disciplines she has for many years aimed at a more visionary view on the field – and not least the possibility of establishing research with elements from different institutions primarily on a Nordic basis.

A reception on the 13th of September marked the opening of ViLD. Partners so far are KADK – the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation; UCC – University College Copenhagen; and The Animation Workshop at VIA UC, Viborg.

Besides presenting the ideas behind ViLD it was important for professor Mie Buhl to express an open invitation to discuss and participate in research, experiments and a wish to develop creative solutions in the field of visual art, design and education.

Another speaker at the opening, Tine Kjølsen from KADK, emphasized the value of a vision for “a hub of research” based on a visual representation of New Knowledge.

The Nordic perspective was introduced by Mira Kallio-Tavin and Kevin Tavin, both working at the Aalto University of Art and Design in Helsinki and both involved in NoVA, a network of art and design departments at universities and in Finland, Norway, Sweden and – in Denmark – Aalborg University Copenhagen.

The vision for NoVA is to be open to the development of visual culture in the Nordic region, to explore contemporary didactics in art education and to maintain a critical approach to the use of digital technologies. 

ViLD

NoVA

is an independent research unit established at the Department of Communication, Aalborg University Copenhagen.

Director of ViLD – Research Center for Visual Studies and Learning Design is professor MSO Ph.d. Mie Buhl.

is short for Nordic Visual Studies and Art Education based on the best Nordic practices and traditions in art education and visual communication. Among the aims for the project is to give the participants, researchers and students relevant competencies for working in cross-cultural and international based situations.

More info about ViLD:  mib@hum.aau.dk  vild.aau.dk

More info about NoVA:  nova-master.dk

28 SNDSMagazine 2016|3

16

POLITIKEN

PS Søndag 11. september 2016

Finland – drawing by Ville Tietäväinen, Helsingin Sanomat. “A classical European instrument – but one that cannot be played,” he said.

europæiske Streger ...

Tegning/Cartoon: Jochen Schievink

20

POLITIKEN

PS Søndag 11. september 2016

Germany – by Jochen Schievink, Die Zeit.

“More and more countries are trying to fillet the EU into pieces to get the best parts out of it – even if they risk to kill the whole thing,” said Schievink.

...

FINLAND Avis: Helsingin Sanomat. Tegner: Ville Tietäväinen. »Jeg ville vise en europæisk helhed, som er genkendelig, men tydeligvis dysfunktionel, fordi den er et kubistisk virvar«, siger Ville Tietäväinen. »Jeg valgte at bruge et klassisk europæisk musikinstrument, som man ikke kan spille på. Violinen står for mig som indbegrebet af den europæiske tradition for samspil. Hagebrættet er adskilt fra resten af instrumentet, hvilket minder om Storbritannien«.

Helsingin Sanomat er Finlands største avis og en meget stærk fortaler for EU. Avisen er partineutral, men har historisk været kendetegnet ved en socialkonservativ profil.

FINLAND

28 cartoons on Europe from 28 countries Text by Lars Pryds pryds@mac.com

editor-in-chief Christian Jensen, writes in the editorial. Several other European newspapers also printed the drawings – and even the New York Times published some of the drawings and told about the project.

Each cartoon is followed by a short explanation by the artist in both Danish and English, and the presentation on politiken.dk is also bilingual. Check them out on the links below. 

Newspaper: Helsingin Sanomat. Cartoonist: Ville Tietäväinen. »I wanted to show a European wholeness that is recognisable, but clearly inoperative because it is a cubist jumble«, said Ville Tietäväinen. »I decided to use a classical European instrument – but one that cannot be played. The violin represents the most classical European tradition of playing together. The chin rest is detached from the instrument so as to resemble Great Britain«.

Helsingin Sanomat, Finland’s largest newspaper, is strongly pro-EU. Officially, it is neutral in terms of ideology, but historically the newspaper has been known for its social-conservative profile.

Tegning/Cartoon: Ville Tietäväinen

Søndag 11. september 2016 PS POLITIKEN 17

...

On Sunday 11 September 2016 (9/11 – probably no coincidence?)

Danish newspaper Poliken published an ambitious edition of its Sunday supplement PS: The result of having asked 28 leading newspapers from the (still) 28 EU countries to let one of their cartoonists solve this task: Give us your interpretation of the European Community at this moment — and in the light of Brexit.

Encouraged by Politiken’s design editor, Søren Nyeland, cartoonists from all over the continent were asked to contribute to the special edition of PS, which was also distributed in Brussels and at the summit in Bratislava where EU leaders met on September 16.

The project is a way to “appeal to the 28 European leaders, urging them to work for unity in a time of division,” as Politiken’s

Søndag

Drawing Europe:  bit.ly/28-english Se 28 europæiske tegneres fortolkning af Europa lige nu:  bit.ly/28-dansk

11. sept. 2016 Årgang 131. Nr. 347 Pris 37,00 Kundecenter Politiken 70 15 01 01 1. udgave www.politiken.dk

TYSKLAND Avis: Die Zeit. Tegner: Jochen Schievink.

»Illustrationen er lavet under indtryk af, at flere og flere lande forsøger at skære Unionen i småstykker for at få de bedste bidder – selv om de risikerer at tage livet af den«, siger Jochen Schievink.

Die Zeit er en af Tysklands største og mest toneangivende aviser. Politisk har avisen flyttet sig fra at være liberal-konservativ til en mere socialliberal redaktionel linje. Avisen er overvejende proeuropæisk.

Tegning: Mandor/SME, Slovakiet

Europa – så er det nu Flygtningekrise. Arbejdsløshed. Gældskrise.

Terrorisme. Politiken har samlet 28 førende europæiske aviser og bedt deres bladtegnere fortolke det europæiske fællesskab her og nu – og i lyset af Brexit.

Se resultatet i særudgave af PS.

Newspaper: Die Zeit. Cartoonist: Jochen Schievink. »The illustration was made

under the impression that more and more countries are trying to fillet the EU into pieces to get the best parts out of it – even if they risk to kill the whole thing«, said Jochen Schievink.

Die Zeit is one of Germany’s largest newspapers. Over the years, Die Zeit has moved from a liberal-conservative stance to its present social-liberal and largely pro-European focus.

Søndag 11. september 2016 PS POLITIKEN 21

V

i ved, hvad der adskiller de europæiske lande. Vi ved, at nationalismen er på sin voldsomste fremmarch i Europa siden 1930’erne. Og vi ved, at drømmen om et fredeligt Europa gennem et stadig tættere EU-samarbejde er under pres.

Europa står ikke bare i en forbigående krise.

Men også i en skæbneCHRISTIAN stund.

JENSEN, ANSVARSPræcis den erkendelHAVENDE se har fået EU’s nye forCHEFREDAKTØR mandskabsland, Slovakiet, til at indkalde EU’s stats- og regeringschefer til et uformelt topmøde i Bratislava på fredag, hvor de skal debattere noget så fundamentalt som EU’s fremtid.

For at give inspiration til arbejdet i

Forbehold for trykfejl.

GERMANY

Europæiske streger Politiken mener

Bratislava har Politiken samlet førende medier fra alle de nuværende 28 EU-lande og stillet deres bladtegnere denne opgave: Fortolk det europæiske fællesskab her og nu – og i lyset af Brexit.

Det er en alvorlig sag, og resultatet er blevet en morsom og morbid paneuropæisk fortælling om den politiske virkelighed. Netop lyst, begejstring og en smule selvironi må EU’s stats- og regeringschefer – og alle vi andre europæere – ikke glemme, mens de står midt i de historiske skel.

Vi bringer alle tegningerne som en særudgave af PS i dagens avis, ligesom bladtegningerne i disse dage publiceres rundt i de 28 EU-lande.

I PS kan du fordybe dig i alle bidragene fra bl.a. tyske Die Zeit, spanske El Mundo, portugisiske Expresso, finske Helsinki Sanomat, svenske Dagens Nyheter, østrigske Kurier, hollandske Volkskrant, britiske The Guardian og slovakiske SME, hvis tegning bærer denne forside. Tegningerne er ledsaget af en replik fra deres ophavsmænd og -kvinder.

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MED BREXIT vil EU for første gang i sin historie blive mindre, ikke større. Dynamik er blevet afløst af tilbageslag. Udsyn af selvtilstrækkelighed. Styrken ved samarbejde svækket af opbrud, terrorfrygt og mental undtagelsestilstand.

I en globaliseret tid kan intet land alene magte de problemer, vi står over for. Vi løser ikke flygtningekrisen ved at opføre

hegn og opsætte pigtråd ved hinandens grænser. Vi kan ikke bekæmpe terrorisme med grænsebomme. Vi får aldrig multinationale selskaber, der er på størrelse med hele nationer, til at opgive skattely og skatteunddragelse ved at optræde hver for sig. Vi imødegår ikke russisk ekspansionisme ved at lade os spille ud mod hinanden. Vi løser kun klimaforandringer internationalt.

Det var præcis den erkendelse, statsmænd og tænkere som tyske Konrad Adenauer, franske Robert Schumann og Jean Monnet samt italienske Altiero Spinelli tog på sig, da de i de svære år efter Anden Verdenskrig satte sig for at lægge krig og

Europas fællesskab er ikke længere givet. Givet er det til gengæld, at vi står med et sammenfald af kriser, der hver for sig antager historiske dimensioner

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En stribe europæiske aviser trykker sammen med Politiken stregerne, og flere lader dem ledsage af en fælles appel til EU’s 28 stats- og regeringschefer om at skabe samling i en tid med splittelse.

Om at tro på, at fællesskabets kraft er stærkere end nationalisme og populisme. Og om at holde op med ensidigt at fokusere på det, der skiller os, i stedet for det, der samler os.

Europas fællesskab er ikke længere givet. Givet er det til gengæld, at vi står med et sammenfald af kriser, der hver for sig antager historiske dimensioner: Brexit.

Flygtningekrise.

Terrorisme.

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splittelse bag Europa og bygge en ny fremtid op omkring det projekt, der blev EU. Det EU, der nu har sin fremtid på spil.

Det er netop denne europæiske skillevej, Politiken i disse dage rapporterer fra, når vi i en autocamper kører igennem syv EU-lande. Vi startede i Angela Merkels hjemby, besøgte i går ungdommen i Polen, og i morgen er vi på besøg hos den nye østeuropæiske overklasse i Bratislava.

Læs de tidligere kapitler i den europæiske fortælling på politiken.dk, og fortsæt rejsen i avisen i morgen.

Hvis du har lyst til at se de 28 europæiske bladtegninger i virkeligheden, vil de fra 12. september være udstillet i Politikens Forhal. Særsektionen af PS vil blive uddelt i både Bruxelles og til EU-topmødet i Bratislava på fredag. Vi håber, at stats- og regeringscheferne – og alle andre – vil søge inspiration til at styrke det europæiske samarbejde og få et smil på læben.

Begge dele trænger vi til.

God fornøjelse med særudgaven af PS og med resten af dagens avis.

POLITIKEN

3

Søndag 11. september 2016

ps

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Left to right: Politiken’s front page, cover of the PS section, and the English version of the online presentation of all 28 drawings.

28 TEGNINGER OM EUROPA FRA 28 LANDE 28 CARTOONS ON EUROPE FROM 28 COUNTRIES

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SNDSMagazine 2016|3 29

Above: The original paste-up for the Emigre logo.

Right, top: Cover of Emigre magazine #2, 1984.

Right, bottom: Flyer announcing Emigre magazine #10, 1988.

Photos: letterformarchive.org

Early Emigré artifacts now in San Francisco museum Innovators in digital typography, Emigre magazine and type foundry, have donated their complete archive to Letterform Archive in San Francisco, a non-profit library and museum for letter arts Text by Lars Pryds pryds@mac.com “A year before the introduction of the Apple Macintosh computer in 1983, Rudy VanderLans and Zuzana Licko founded Emigre magazine. Within a few years it developed into the clarion and experimental wellspring of digital typography and design.

As pioneer users of early Macintosh, Licko designed custom bit-mapped typefaces for the magazine, which VanderLans used in layouts that rejected Modernist rigidity in favor of Postmodern improvisation. By exploiting the quirks and defaults of the computer they developed a

30 SNDSMagazine 2016|3

typograophic language that challenged many other sacred tenets of legibility.”

This is how the early years of groundbreaking magazine Emigre is described by Steven Heller in the book Stylepedia (Chronicle Books, 2006).

MORE THAN A MAG

Emigre, however, was and is much more than a magazine – most notably it is also a type foundry and as such published some of the iconic typefaces of the nineties, with Barry Deck’s Template Gothic (1990) and Jonathan Barnbrook’s Manson aka Mason (1992) as prime examples of postmodern fonts that still have a large audience even today.

In June 2016, Emigre announced that they have donated their archive of artifacts from the to Letterform Archive in San Francisco.

“Our donation includes original paste-up boards for Emigre magazine and a complete run of the publication, plus press sheets, audio tapes of interviews, merchandise, ephemera, correspondence, typeface development files, and type catalogs,” Emigre says on their website.

Even digital innovators leave physical traces behind, and these remnants are now accessible to the public from Letterform Archive, who will incorporate the donation into their programs and services

and thus introduce a broader audience to Emigre’s history.

In other words – we type aficionadi now have one more good reason to visit the great city of San Francisco.  Letterform Archive is a nonprofit library and museum dedicated to inspiration and education in the letter arts.

Opened to the public in February 2015, the Archive offers visitors hands-on access to its curated collection of 30,000 items related to lettering, typography, calligraphy, and graphic design spanning 2,000 years of history. × letterformarchive.org × emigre.com

SNDSMagazine 2016|3 in my honest opinion

Facebook or not Text by Flemming Hvidtfeldt fhvidtfeldt@yahoo.dk On April 11, 2015 SND, the Society for News Design, announced Facebook as the World’s Best-Designed News website at its Best of Digital Design competition.

Reaction was wide ranging — mostly critical.

But is was clear that Facebook was described as a news website whether you liked it or not.

A couple of weeks ago the Norwegian daily, Dagbladet, posted on Facebook the iconic picture of the nine year old vietnamese girl, Kim Phuc, fleeing naked from napalm bombing on June 8, 1972 during the war in Vietnam.

Minutes after the photo was published it was censored for nudity. Dagbladet was asked to remove the image, after it had been deemed inappropriate by underpayed Facebook staff who have less than one second (0.9 second, to be exact) per image to judge its quality. This shows the reasoning Facebook have, when it comes to news. And you could argue pro or con. I do not believe it is editing.

News should be edited by editorial staff with enough time on their hands to make qualified decisions.

ON THE OTHER SIDE

But there is another side to the story. Dagbladet protestPH ed against the censored picture OT OB Y LA RS A A R Ø and so did a lot of Scandinavian colleagues, editors, commentators and others. And in the end the decision to censor the picture was revoked by Facebook.

Now you could argue that it was the end of the story. I do not think so. For centuries news have consisted of gathering information, evaluate information, editing information and presenting news. What Facebook is doing is only gathering

and presenting information. Delivered by news oganizations all over the world. And for free.

If, as a news organization, you choose to use Facebook you should also accept the conditions that Facebook have. And these conditions include not showing nudity. So in fact Facebook is not doing anything wrong. They are only playing by their own rules. And you as a news organization should know.

PLAY BY THE RULES

All news organizations have their own rules.

When it comes to what you, as a news organization, publish of letters to the editor you have your rules and you decide what to publish, how and when. The same way as Facebook do.

I find it quite entertaining, that news organizations do not accept to play by the rules of Facebook and still defend their own right to publish, what they think is the right to publish.

And “censor” other opinions.

In this example Dagbladet in fact wanted to – and managed to – edit another digital news site.

In other words Facebook.

Then you could ask, if Facebook is a news site or just a provider of news. I think they are merely a distributor of news that others create. But Facebook still have their rules of which you have to accept.

And you as a news organization can choose not to use Facebook as a distributor of news that you do not get paid for.

In the end it might be a better deal – and it might pave the road to better revenue – for your company and not for Facebook. 

Flemming Hvidtfeldt is SNDS President and chairman of the committee for the Best of Scandinavian News Design competition.

He is a freelance journalist.

BECOME A MEMBER OF SNDS

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R educed price for participating in the annual seminar and workshop.  Invitations to events organized by SNDS. F ound out how to join: www.snds.org/member