A good design gives added value to the editorial content. Today, newspaper designers, infographics artists and editors face the challenge of creative design to adapt to the four main news platforms – print, web, mobile and tablet.

WAN-IFRA and the Society for News Design (SND) join hands in this conference to show the participants the “best practices” in creativity, originality, and the efficiency in producing news for all platforms.

In the workshop on day 2, the participants’ works will be analysed and design solutions for the different sections will be discussed.

The participants will then work on those ideas and create design prototypes with the help of the trainer.

http://www.wan-ifra.org/events/news-design-conference

Steve Dorsey, SND President

The Society for News Design president Steve Dorsey was in the UAE to formally open the SND Award Winners Exhibition at the American University of Sharjah.

The group represents news media professionals and visual communicators in the US with regional representation worldwide. It organises an annual competition among global publications to judge the best-designed pages. The UAE has in recent years featured prominently among the top ten countries with the best designed newspapers. During his trip, Dorsey also paid visits to Gulf News and gave presentations to the staff. In an interview he provides an overview on the status of design elements in putting together a newspaper or magazine.

 How do you feel news design has evolved in this region?

Steve Dorsey: There’s clearly been an emphasis shift in recent years with the major titles focusing on serving their readers through a renewed commitment in high-quality storytelling, of which design is a critical component. The recent redesign of some publications has increased the quality of design at both English and Arabic newspapers.

Apart from the glossy paper, what catches your attention about newspapers here?

The glossy paper is tops and hard to miss. I’m very jealous of the incredible print quality, rich colours and consistent clarity. The large broadsheet format it definitely a welcome change to the ever-shrinking page dimensions — and number of pages per edition — you find in the majority of US papers due to the cost of paper. I would love a chance to design a number of pages in Mena editions — covers or interiors — just to get a sense of working in the larger dimensions and different proportions. It would be exhilarating. I also appreciate the clever illustration and information graphic styles. They’re clear and direct, but refreshingly new approaches in many cases I’ve seen.

What are corresponding trends in Western newspapers?

We’ve seen a lot of tightening of space and staff reductions lately. One of the worst trends we’ve seen in the US is the decimation of too many information graphics positions — entire departments in some cases — leaving a number of papers with no one dedicated to this important work. Instead they share the chores with professionals trained in other primary disciplines. Space is getting tighter and tighter in many publications, and the large information graphics and larger display photo pages is rare. Great work is still being done, of course, but it’s more focused around special events and smaller spaces and the biggest news days. The impact of a steep increase in shared design work coming from a number of corporate newspaper chain-based design centres has yet to be fully seen, but is definitely something we’re eagerly watching.

What differences do you see in regional themes or styles of news design around the world?

Although there are definitely stereotypes — Latin American and Spanish papers are considered more colourful, German papers have better typography and design discipline, Scandinavian papers use daring visuals and illustrations — these trends shift more quickly nowadays with the use of the internet to share and comment on work in real-time. I’ve also seen a greater occurrence of viral visual trends in some cases.

What are the challenges of adapting wide-broadsheet newspapers to the space constraints created by mobile and digital platforms?

I don’t think “space” is quite so analogous when you consider broadsheet design versus mobile smartphone and tablet app design. The “space” in those cases should be considered in layers instead. For me, the key to a great app is a great user experience where the designer has anticipated my needs — the kind of information, the depth of detail and the ease of search needed at a given moment. This is different for mobile apps than tablets, and definitely from websites.

Do you have a list of countries that are investing in high quality design?

I’m not sure I can list samples by country; I’ve seen examples of great design all over the world. Design qualities can shift rather quickly depending on so many variables. That aside, I definitely think the UAE and the surrounding region should be proud of the performance of their papers.

For the first time in the Middle East an exhibition will highlight the work behind the pages that make up a daily newspaper. Award-winning examples of news design from the Gulf will be exhibited at The American University of Sharjah in the College of Architecture, Art and Design gallery. The displays are selected from The Best of News Design Creative Competition and the award winners are featured in the 32nd annual book, The Best of News Design.

Over the past decade, Gulf-based newspapers have gained increasing recognition in the areas of news graphics and information design. For the first time, SND president Steve Dorsey, will be visiting the UAE for the Sharjah exhibition, where he will also speak about the evolution of design in UAE newspapers.

Gulf News will present some of the best-designed pages published last year.

Dr. Mario Garcia, from Garcia Media and the consultant responsible for the first Gulf News redesign, said: “Right now, with so much emphasis placed on digital media, I can see how an exhibit that makes newspapers the protagonist is a very good idea. Many people know newspapers as household items, like they do a chair, a table or a fork. Not much attention is paid to them.”

“An exhibit that presents all the nuances that constitute what goes into the design of a newspaper will be great. And, the fact that it will profile the terrific work by so many of the newspapers of the Middle East will make it even a more desirable type of event,” Garcia said.

“For the newspapers in the region that are still not up to speed in terms of design, the exhibit will be an eye opener to all the possibilities.”

Lucie Lacava, responsible for the redesign of The National and Al Ittihad in Abu Dhabi said: “Newspapers in the Middle East have reasons to celebrate the extraordinary work from the region.”

“This exhibition brings to light the importance of visual journalism in the storytelling process. From page design, to photography, illustration and info-graphics, in just a couple of years these papers managed to reach the highest standards of visual excellence, an accomplishment which often takes decades to reach elsewhere,” she said.

“These newspapers not only raised the quality and design craftsmanship of their pages to international standard, but have surpassed it in many ways. This body of work will serve as inspiration to many others, because there is always room for improvement.”

According to Lacava: “The challenge now is not only to maintain this lead and level of creativity, but to also apply it to other platforms, since newspapers can no longer rely on the print version alone. But in doing so they must remember to maintain and enforce their loyalty to the brand, as they evolve into other mediums.”

The CAAD exhibit will feature award-winning work from the region, including Gulf News, The National, Al Bayan, and the Times of Oman.

The exhibit opens on November 20 at 5 p.m. in the CAAD gallery. The opening will feature a round-table discussion in the CAAD auditorium on the state of news design in the region. “What is most impressive is the degree to which newspapers in the region have plainly made intelligent, innovative design core to their missions,” said Stephen Komives, SND’s executive director.

“It is not seen as a luxury but a central value. And it is not confined to a single paper or country, but continuing to spread throughout the region.”

________________________________________

What: Best of News Design from the Mideast
Where: The American University of Sharjah
When: The exhibit opens Sunday, 20 November at 5:00 in the CAAD gallery. Sunday’s opening will feature a round table discussion in the CAAD auditorium on the state of news design in the MENA region.

Participants will include:
Steve Dorsey, President, Society of News Design
Douglas Okasaki, SND Regional Director, region 20- ME and Africa
Miguel Gomez, Art Director, Gulf News
Laura Koot, Managing Editor, The National
Adonis Durado, Design Director, Times of Oman
Luis Chumpitaz, Information Graphics Director, Al Bayan

For questions or more information contact: snd20@snd20.org

Exhibit dates are 20 November – 1 December at AUS in the CAAD gallery. The round table discussion will take place at 5 p.m. in the CAAD auditorium.

“Chris is uniquely positioned because of his diverse media experience coupled with his extensive travel and connections with visual journalists all over the globe,” said Steve Dorsey, SND president. “He’s been a great contributor in various positions. We’re excited to have him in this new role on the SND board, and on the executive committee.”

The international director helps optimize training and support opportunities for professionals, students and educators across various regions around the globe.

Edwards, 42, has flown just about one million air miles to 48 countries, 30 US states and two Canadian provinces since he first traveled abroad, when he was 3 months old.

Born by chance in Spain, he grew up in Chile, was an exchange student for a year in Washington State, and studied journalism at UC Chile and Northwestern University. He became an SND member in 1996 when he took Susan Mango Curtis’ visual journalism class at the Medill School of Journalism.

READ MORE

Copies of the 32nd annual Best of News Design book are being shipped to members next week (but a small selection will be available for sale at the workshop in St. Louis this weekend). The cover was designed by Adonis Durado, design director of the Times of Oman & Al Shabiba in Muscat, Oman. His entry was chosen from a field of more than 30 candidates in this year’s cover competition.

Adonis studied fine arts at the University of San Carlos (Cebu City, Philippines), and his visual leadership at the Times of Oamn & Al Shabiba resulted in an astounding 45 awards for those publications in the 32nd edition. He’s put his stamp on a number of newspapers and magazines in the Middle East and Asia, and writes poetry on the side.

I asked Adonis how his cover concept came together.

SND: How long did it take you to do the design?
Durado: I did the design in two days. I had two concepts in mind and explored both. I was quite happy with the result and decided to submit the two.

SND: How many variations did you go through?
Durado: I only did one version, but I had my entry resubmitted when the official announcement of SND winners came in. I got few figures wrong so I had them corrected.

SND: Did you do any sketches of the others?
Durado: Yes. It’s my habit to do sketches before I design. I believe that sketching is a form of visual brainstorming.

A picture says more than a thousand words. That is why, on december 18th, 2010, Golden Section Graphics is publishing an independent magazine titled »IN GRAPHICS«. It is released twice a year and on 92 pages it deals with challenging topics from politics and economics to culture and entertainment—solely through graphics.

Jan Schwochow, the chief editor and publisher of »IN GRAPHICS«, manager of Golden Section Graphics and former head of the STERN infographics department, had the idea for a magazine that consist only of graphics. A magazine for visual people came into existence without long texts and large picture galleries. It is based on the experience of the team at Golden Section Graphics, who get worldwide attention with their produced work for renowned media like Die ZEIT, the New York Times Magazine or GEO on a regular basis.

Infographics require not only journalistic intuition but also a lot of time and patience. The editors of »IN GRAPHICS« deliberately take that time to create interesting and fascinating content and show a lot of love for details. Also, current topics like Hartz IV (the German unemployment benefits), piracy off the coast of Somalia, German large scale projects like Stuttgart 21 or the overfishing of tuna in the Mediterranean Sea are shown in a new perspective. Furthermore, this first edition of the magazine includes artworks by outstanding artists Christoph Niemann and Jonathan Meese as guest contributors. »IN GRAPHICS« is released bilingually, in German and in English, and is available for €22 (without shipping, equals $29).

http://www.ingraphics.info/

“Visual Language for Designers” is a smart and beautiful synthesis of cognitive science and visual design.”
– Bill Keaggy, XPLANE

“The fundamental principals of visualization outlined here apply to all ranges of imagery, from the fancy 3D model to a simple idea scribbled on a napkin.”
– Karl Gude, Former Infographics Director at Newsweek

“Your book is awesome. Really beautiful.”
– Garr Reynolds, Author of Presentation Zen

“If you design infographics, by all means buy this book, read it, put its principles into practice, and keep it handy.”
– Stephen Few, Author of Information Dashboard Design

Book Contents

Visual Language For Designers: Principles For Creating Graphics That People Understand presents visual design principles based on the science of how people perceive, process and understand graphics. It includes over 300 graphics contributed by talented artists and designers from around the world. Visual Language For Designers explores these six principles:

1. How to organize graphics for quick perception
2. How to direct the eyes to quickly see essential information
3. How to use visual shorthand for efficient communcation
4. How to make abstract ideas concrete
5. How to express visual complexity
6. How to charge a graphic with energy and emotion

Buy from Amazon US
Buy from Amazon UK
Buy from Amazon Germany

Sajeev Kumar T.K, Visual Editor of Kerala Kaumudi based in Kerala, India, has been named Society for News Design regional director for Asia and South Pacific.

Before his current role, TKsajeev was the sports editor, the editor of the Sunday weekend magazine, and the page one editor. He also runs a very popular website about design in India.

TKsajeev says, “I am excited about working for SND, and assure you my sincere effort towards promoting SND and its activities in Region 19.”

“We’re very excited to welcome TKsajeev to the board,” said Steve Dorsey, SND president. “He’s a proven leader among visual journalists, his passion for bringing people together and facilitating dialogue and sharing ideas will be a huge asset to his region and to SND in general.” Read More

“Visual Language for Designers” is a smart and beautiful synthesis of cognitive science and visual design.”
– Bill Keaggy, XPLANE

“The fundamental principals of visualization outlined here apply to all ranges of imagery, from the fancy 3D model to a simple idea scribbled on a napkin.”
– Karl Gude, Former Infographics Director at Newsweek

“Your book is awesome. Really beautiful.”
– Garr Reynolds, Author of Presentation Zen

“If you design infographics, by all means buy this book, read it, put its principles into practice, and keep it handy.”
– Stephen Few, Author of Information Dashboard Design

Book Contents

Visual Language For Designers: Principles For Creating Graphics That People Understand presents visual design principles based on the science of how people perceive, process and understand graphics. It includes over 300 graphics contributed by talented artists and designers from around the world. Visual Language For Designers explores these six principles:

1. How to organize graphics for quick perception
2. How to direct the eyes to quickly see essential information
3. How to use visual shorthand for efficient communcation
4. How to make abstract ideas concrete
5. How to express visual complexity
6. How to charge a graphic with energy and emotion

Buy from Amazon US
Buy from Amazon UK
Buy from Amazon Germany