sndsmag 2015|3

SNDSMagazine2015|3

The Editor: Complete graphic control p. 3 A typeface for Copenhagen p. 4The quality of printed and digital communication p. 22–23News on the wrist – a look at some news apps for Apple Watch p. 24–27News Design: From classic writer to multimedia storyteller p. 28–29Your only choice is to be outstanding p. 30In My Humble Opinion: The importance of international cooperation p. 32

Annual News Design ConferenceFinal program p. 6–20

SNDS BOARD

President & Chairman of the Competition CommitteeFlemming HvidtfeldtStentoften 72, DK-9520 Skørping, Denmark+45 20 91 17 [email protected]

Vice PresidentAnne Laitinen, Turun SanomatLänsikaari 15, FIN-20240 Turku, [email protected]

Business Manager, Treasurer Frank StjerneJournalistSuomisvej 1 st thDK-1927 Frederiksberg CDenmark+45 40 10 28 [email protected]

Elisabeth Svendby, AmediaHieronymus H. gate 1, N-0160 Oslo, Norway+47 40 23 76 [email protected]

Anders Tapola, Smålandsposten, Linnégatan 2, S-351 70 Växjö, Sweden+46 470 770 [email protected]

SNDSMagazine2015|3

The Editor: Complete graphic control p. 3 A typeface for Copenhagen p. 4The quality of printed and digital communication p. 22–23News on the wrist – a look at some news apps for Apple Watch p. 24–27News Design: From classic writer to multimedia storyteller p. 28–29Your only choice is to be outstanding p. 30In My Humble Opinion: The importance of international cooperation p. 32

Annual News Design ConferenceFinal program p. 6–20

SNDS SECRETARIAT

Secretary for the boardLone JürgensenMorgenavisen Jyllands-Posten,Grøndalsvej 3, DK-8260 Viby J, Denmark+45 87 38 38 38 / 31 [email protected]

WWW.SNDS.ORG

Web-editorKartin HansenMorgenavisen Jyllands-Posten,Grøndalsvej 3, DK-8260 Viby J, Denmark+45 87 38 38 38 / 31 07 [email protected]

SUBSTITUTES FOR THE BOARD

Ingrid Meisingset, Adresseavisen, NorwayOlli Nurminen, Helsingin Sanomat, FinlandSøren Nyeland, Politiken, DenmarkPetra Villani, Sydsvenskan, Sweden

SNDS MAGAZINE

Editor, Art Director MDLars Pryds +45 30 53 87 [email protected]

Co-editor, Journalist DJLisbeth Tolstrup +45 51 32 89 [email protected]

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

ISSN 1901-8088

Print: GraphicCo, graphicco.dkSNDS 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

www.snds.org

SNDS on Facebook: facebook.com/sndscandinavia

SNDS on twitter: @sndstwit

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

On the cover: SNDS15 – this year’s annual design conference. Design by Lars PrydsSee more p. 6–23

A big thank you to our contributors in this issue:

Kim Bjø[email protected] p. 24–27

Maj RibergårdRibergård & [email protected] p. 28-29

2 SNDSMagazine 2015|3

*In: Typographic Tipping Point, designobserver.com 07.06.2015

**In: Univers Strikes Back, 2007. Quoted from Graphic Design Theory : Readings From the Field. Prin-ceton Architectural Press, 2009.

Type design is […] the last arena

where the graphic designer is still in

charge of his or her own work.”

– Adrian Shaughnessy*

There was an uproar in the Danish media world – among graphic designers especially – when Egmont Publishing in August decided to outsource a series of layout tasks to a company as far away as Vietnam, cutting down in-house staff and pushing 13 designers out of their jobs. Upscale lifestyle magazine Euroman’s Editor-in-Chief resigned in protest and its leading Art Director was fired as a result of the decision. Social media exploded.

Deciding where to have your pages designed involves the question of control, and one way of keeping con-trol over long-distance work is by using templates. The most ‘important’ Euroman pages will still be designed at home, close to editors and writers, whereas the Viet-nam-produced pages will rely heavily on templates.

“The challenge for designers – a group that in-creasingly includes thoughtful users as well as

professional typographers – is to disable the stylistic limitations of templates”, Ellen and Julia Lupton wrote back in 2007**.

While the consensus among designers in the present debate seems to be that

in-house designers are expected to do just that: thoughtfully break the stylistic

limit ations and create art – there is fear that Vietnamese designers on a budget will break the

templates to create disasters. We already know that Danish Art Directors are able

to produce great work, but if the result of the outsourc-ing will be disastrous remains to be seen when the first issues of the ‘new’ Euroman hit the newsstands.

TYPE CONTROL

The unemployed designers now have to look elsewhere to work with the craft they love. Some may start their own company – they can turn to page 30 and our review of a new book that will guide their way.

Others may engage in type design – an area where, according to the opening quote above, it is actually pos-sible to have if not complete then at least a high degree of control over your work.

In an article on Design Observer, London-based graphic designer and writer Adrian Shaughnessy asks the question, “How many typefaces is too many type-faces?” His answer is that there probably is no limit, one

of the reasons being that young designers turn to type design as one of the last arenas of free expression – away from the “templated graphic environments where everything is already designed” and from the “slavish adherence to business strategies that limit creative thinking”.

Designing type is also about dealing strictly with form, it “feels like the exercise of a craft. It feels like proper old-fashioned ‘making’, at a time when huge areas of graphic design practice have become increas-ingly robotic”.

No templates, no interference from picky clients. Maybe that’s what urged three Danish designers to create a font for the City of Copenhagen – without actual ly having the City (or anyone else) as a client. The result was a font free for all to download (see p. 4).

WEARABLE SCREENS

The Apple Watch, on the other hand, is no doubt the result of serious strategic thinking. Owning 75% of the smart watch market, Apple Watch is the place to be for news businesses in the future. Kim Bjørn, designer and co-founder of Cre8o, looks at some of the news apps that have already appeared on the wearable screen, including his own design for Ekstra Bladet (see p. 24–27).

COOPERATION IS KEY

Visuals were not always an integrated part of telling a news story – but cooperation between colleagues with different skills has become an important part of the whole picture. As Maj Ribergård’s interview with a classic-journalist-turned-visual-storyteller shows, journalists can gain a lot from incorporating visuals and graphic tools in the planning of articles (see p. 28–29).

Cooperation is also the subject for SNDS President Flemming Hvidtfeldt’s column on our back page. He reminds us that SNDS is part of the global organisation SND – which gives members the potential to reach far beyond the Scandinavian countries.

This international focus is also reflected in the line-up at the big event of the year in SNDS:

SNDS15 NEWS DESIGN CONFERENCE

We’re proud to devote the majority of this magazine to presenting the final program for two inspiring days in Copenhagen. And there is still time to take a quick decision not to miss out: Check out the speakers and the program on page 6–18, then register online on conference.snds.org – or fill in the form on page 19-20.

See you in Copenhagen on 1–2 October!

Lars Pryds Editor, SNDS Magazine

Complete graphic control

SNDSMagazine 2015|3 editorial

PHOTO BY LARS AARØ

3SNDSMagazine 2015|3

A typeface for CopenhagenWhy not brand a city by designing and using a dedicated typeface? This was the idea behind the development of the typeface KBH (short for Copenhagen).

Text by Lars [email protected]

Three designers have created a font to the Danish capital. The typeface is specially de-signed for Copenhagen and is meant to contribute to a visual profiling of the capital, aimed at both visiting tourists to the city and its citizens.

The typeface KBH is the re-sult of collaboration between the designers Morten Rost-gaard Olsen (initiator), Henrik Birkvig and Ole Søndergaard.

The designers hope that this unique Copenhagen font will become an original and unifying part of the city’s profile, both nationally and internationally.

“We have no specific plans for the usage of the typeface,

but hope that many different people will use it for almost anything possible,” says one of the designers, Henrik Birkvig, Head of Dept at Danish School of Media and Journalism.

The development of the font has been made possible through financial support from Bergiafonden and Etatsråd Georg Bestle og Hustru’s Mindelegat, and everybody can download the font for free.

“The project began when we worked together for an exhibition about type design, “ABse – fra form til font” which was shown at Mediemuseet in Odense and at the Royal Dan-ish Library in Copenhagen in 2010/2011. Morten suggested that we made a font for the city, and this led to a lot of meetings with the design department of

the City of Copenhagen and the organisation Wonderful Copenhagen,” Birkvig says.

“We found inspiration in existing signage in the city, research in the archives at the City Hall, the city’s culture and the Danish typeface culture during the 20th century.”

The design manual for the City of Copenhagen will be updated in the near future, ac-cording to Anders Ferdal, head of the city’s designteam. But whether Copenhagen (the city) will adopt Copenhagen (the font) for its official documents and branding material is still to be decided upon, he told journalisten.dk: “We cannot simply say yes, thank you, just because it’s free. Maybe other [designers] would like to have a try at it as well”.

The three weights of the KBH font: Regular, Semibold, and Black + corresponding Italics and a set of specially designed symbols (“Pictos”) can be downloaded for free for twelve months from the Fontpartners website (see link below). After this time you will need to buy a license to aquire the KBH font.

Fontpartners are current-ly working on more weights to make KBH a full-fledged super-family with enough vari-ants to satisfy even the most demanding customer, from the “the local café” to large corpo-rations and organisations.

Download Copenhagen:× copenhagen.fontpartners.com

Inspiration for KBH came from existent street signs and research in the graphic history of the city. Photos by Morten Rostgaard Olsen.

KøbenhavnItalic.12345! KøbenhavnItalic,678KøbenhavnItalic&KBjMeGbhavPnItafiLwRegular, SemiBold, Black (+ italics) and a set of symbols despicting historic buildings (e.g. City Hall, Tivoli, and prominent churches) or decorative elements from the city’s history is the current range of the KBH font family.


Try it at www.maps4news.com

Add data to your mapsMarkers, routes, polygons

Create raster and vector mapsPrint-ready, interactive web maps

.EPS .JPG .PDF

Customise your map designColors, fonts, labels, layers

The perfect mapping tool for Journalists and EditorsCreate custom styled maps for web and print in just seconds

CONFERENCE START-UP WITH STYLE

We kickstart the conference with a wel-come drink, world-known keynote speak-ers and cosy networking in the breaks.

And don’t worry: We’ll set up a nice buffet, just to get you fueled for the rest of the evening.

GREAT LINE-UP OF SPEAKERS

We have engaged a long list of speakers that we want you to learn from and get inspiration from. To keep you focused and because we will have such great speakers from all around the world, we have only one track in the program on Friday.

There will be nine speakers lined up, talking for about 30 minutes each and you even get a break every full hour to exchange ideas and network with col-leagues, speakers, new and old friends.

Over the next pages, we present the complete list of speakers to make you pre-pared for some great talks from the stage.

LIGHTING THE FUSE WITH 20×20×10

In true Pecha Kucha spirit we light the fuse Thursday evening with ten speakers pre-senting each an idea, concept or project with 20 slides each in 20 seconds!

This is ensured to get your attention as each one races through their presentaion in about 6-7 minutes. Sharp, focused to-the-point presentations that will leave you inspired!

NIGHT OUT IN COPENHAGEN

As the city lights turn on, so do we. Thurs-day night the SNDS expedition will be heading out in the Copenhagen Nightlife on a guided tour to a fancy bar or two. Or three… That’s all we need to keep the fuse lit and the talk going.

THE AWARD SHOW & GALA DINNER

No conference without the award show where we celebrate the winners and share a fancy dinner in good company. You will have a good look at the winning entries while enjoying an excellent DJ mix of nice vibes. This year we even keep the bar open much longer – just to extend the joy and love!

Register now Head over to the registration form on page 19–20 and fill in your details to sign up for this to-be-unforgettable event – or go to conference.snds.org and register online.

See you in Copenhagen!

SNDS15 is now only a few weeks awayThe SNDS15 design conference will be held in Copenhagen, Denmark on Thursday and Friday, October 1–2, 2015. Here is a short overview of all the great sessions you can enjoy.

SNDS15 IS PROUDLY SPONSORED BY


DATA VISUALISING FOR BEGINNERS

Charts and maps are quickly becoming essential ingredients for digital storytelling. Join this master class to get useful hands-on experience visualising data and crafting maps ready to be published online.

In this master class we look at the basic chart types and learn how to draw and style them using a custom data set. We’ll also look at different mapping tools, and how to use them to design maps. We will discuss common pitfalls, best practices, and potential when using data to tell stories.Masters: Anders Bergmann and Rune MadsenLocation: TBA – check conference.snds.orgDate and time: October 1, 2015, at 10am–1pm

BRANDING OF CONCEPTUAL CONTENT

How hard can it be? Create value for your users. Smart services with cleverly bundled content are popular, but why has no media yet developed products and services that are tailored to the users’ behavior?

During this master class you will learn different models that guide the user from awareness of the product to becoming loyal customers. You learn to create a brand, to design interface, content and presentation according to your users – and to deliver relevant products and services enhancing the user experience.Master: Rickard FrankLocation: TBA – check conference.snds.orgDate and time: October 1, 2015, at 10am–1pm

For those who arrive early on Thursday and want extra knowledge, we offer two exclusive master classes that will teach you skills in printed newsdesign, the latest technologies and best practices in digital cross-platform design.

Get wise: Join a Master Class

Join one of the master classes before the conference. Photos from last year’s master classes by Søren Nyeland.


SNDS15 speakersAt the SNDS15 conference you will meet amazing design professionals. In these short introductions you will get an idea of what you can look forward to see and hear about in Copenhagen.

ARNE DEPUYDT

De Morgen won The World Best Designed Newspaper SND award earlier this year. We are proud to have De Morgen on the program for the SNDS15 confer-ence giving us insight about their award winning print design. Arne Depuydt joined De Morgen after graduating from the Design School in 2007. He started as a sport pages designer. In 2010 he was appointed assistant Art Director and in 2014 as the general Art Director. The same year he started the process of redesigning De Morgen with design consultant Jacek Utko.

Website: www.demorgen.be

PHOTO PR

PÅL NEDREGOTTEN

Pål Nedregotten is Chief Innovation Officer/CIO at Amedia AS, Oslo, Norway. He is responsible for technical development and design in the crossfield between editorial needs and business needs. He has worked with online devel-opment and digital editorial questions since 1994, and been in several different cen-tral positions in the norwegian online news market in almost 20 years.

Website: amedia.no

PHOTO PR


LIV HÅKER

Liv Håker is an awarded designer and part of the editorial development team at Sunnmørsposten. She co-redesigned the print paper in 2013 and has worked on web design, data journalism and data visualization since – pushing for better digital visual storytelling. Tech junkie – code rookie. Member of the SNDS Best of Scandinavian News Design digital jury 2014–2015.

Website: www.smp.noTwitter: @livhaker

PHOTO PR

BJARKE MYRTHU

41 years old, born Danish, global citizen in spirit.Bjarke is the CEO and founder of Blind Spot, a social story-telling app. He is an often used speaker and jurymember at conferences, events and by organisations like Harvard, MIT, SXSW and World Press Photo. As a producer and consultant Bjarke is behind several award winning interactive documen-taries. Bjarke also founded Storyplanet.com and co-founded Magnum In Motion at Magnum Photos.

Website: blindspotapp.comTwitter: @myrthu

PHOTO: LARS PRYDS

The soul of the Internet is

links. We just made them

a little more interesting by

giving them a graphical

interface and calling them

spots.

blindspotapp.com


EMILY GOLIGOSKI

Emily Goligoski advocates for reader-centric news products in her role as user experience research lead at The New York

Times. She previously spent her days at Mozilla talking to people about their needs and designing educational tools to empower them. Emily has taught needfinding at the Stanford Design Institute (“d.school”) and UX design at General Assembly. She completed her Master’s in Learning, Design & Technology at Stanford while conducting user research at Intel Labs. Before working in the Bay Area she reported for Chicago Pub-

lic Radio (WBEZ) and studied journalism at Northwestern. An avid yoga practitioner, she has taught with the Art of Yoga Project and is a Youth Radio board member.

Website: www.nytimes.comTwitter: @emgollie

HENRIK HATT

Henrik Hatt is administrative manag-er at Moesgaard Museum (MoMu) in Aarhus, Denmark. He has an academic background in media science and archaeology.

Henrik has worked with exhibitions in international contexts since 2003 as well as senior consultant within the field of experience economy.

In 2012 he started at Moesgaard Museum establishing the creative team and methodology for the new exhibi-tions at the new museum building that opened in the Fall of 2014. Moesgaard has won awards both for their exhibi-tions and architecture.

Henrik will give a talk on design seen from a different perspective – the museum experience. The new museum started a new creative process – in-cluding the creation of a fully manned design studio. Moesgaard has succeed-ed in attracting new audiences using modern and traditional communication channels.

Henrik Hatt will present the methods used to reinvent the museum communi-cation and draw parallels to the news business.

Website: moesgaardmuseum.dk

PHOTO PR

We placed researchers, designers,

scenographers and other creative

people in the same room so that

they together could find out what

the good story is. The result is a

brand new exhibition experience.

Henrik Hatt

PHOTO: FOTO/MEDIEAFDELINGEN - MOESGAARD MUSEUM

PHOTO PR


MARI RANDSBORG

Managing director & Partner, e-Types. Rands-borg heads e-Types group with 50 employees and is managing director in the two e-Types Group companies e-Types (Brand development) and Playtype (Type foundry). At e-Types she has worked with a long range of large corporate identity, branding and design projects for a. o. Mærsk, Danish National Police, Danish Confed-eration of Industries, Jordan Dental, Portman USA, Sanoma, Grundfos, Berlingske Media, Coop, The Royal Danish Theater, DR, Nordisk Film, Statens Museum for Kunst and Carlsberg.

Mari Randsborg was educated at the Royal Academy of Fine Arts School of Architecture as an architect and graphic designer.

Website: www.e-types.com

PHOTO PR

We crystallize big ideas

to build strong brands.

Brands that stand out and

clearly communicate what

they are all about.

Brands that move the

world forward.

e-types.com


JON HILL

Jon Hill joined The Telegraph as Creative Direc-tor in May 2014. Prior to that Hill worked seven years as Design Editor at The Times.

In his early career he was mentored by legendary Simon Esterson, one of the most famous editorial designers in the UK, working six years for him at the Esterson Associates. Hill redesigned The Times with Neville Brody, one of the world’s leading graphic designers of his generation. Learning from these masters Hill has worked his way through leading positions in the News Design area in the UK.

He believes that designers have to work hard to earn their place in the organization. It’s not about making things pretty but helping people to understand the world we live in.

Jon Hill will in his presentation give insight on the upcoming and at the time ongoing redesign of The Telegraph newspaper and its digital platforms.

Website: www.telegraph.co.ukTwitter: @jonhilldesign

MATTHEW BALL

Matthew Ball is Art Director for Think Scotland Publishing which works predominantly with membership organisa-tions magazines.

He specialises in editorial design, magazine production, web design, and training from his own design consultancy, which he launched in 2005, based in London and Edin-burgh.

The key goal of a member magazine is to motivate the membership or community to participate in an activity and feel part of a group or commu-nity, whether it be visiting a Na-tional Trust property or getting involved in an environmental campaign for the Whale and Dolphin Conservation Society.

Print is thriving in the mem-bership organization industry, it’s a great medium for member organisations to communicate with their community. The challenge for a publisher like Think Scotland is to take the organisation’s brand values and messages and convert these into inspiring editorial stories with compelling design.

Website: www.matthewball.co.ukTwitter: @MattBallDesign

NICO MACDONALD

Nico Macdonald is Co-Director of Media Futures, a high-level and hands-on project on media and innovation. Media Futures has collaborated with organisations from the BBC to Bloomberg to understand and demonstrate the future potential of media from publishing to broadcasting.

Nico Macdonald writes on media, design and innovation for publications including the Guard-

ian, BBC News Online, Creative

Review, PRINT, and Eye maga-

zine. He is also author of What is

Web Design? (RotoVision, 2003).At SNDS15 Nico Macdonald

will review innovation in news design — in terms of product and practice — and how this has impacted on analogue and digital design. He will also outline some key directions for innovation, and ways we can be more innovative.

Website: www.spy.co.ukTwitter: @Nico_Macdonald

PHOTO BY MATT LOCKEPHOTO PR

PHOTO PR


TED IRVINE

Ted Irvine is the Senior Design Director at Vox Media, one of the fastest grow-ing online publishers, whose proper-ties include Vox, SB Nation, The Verge, Polygon, Curbed, Eater, and Racked. He helps lead Vox Product, the team of designers, developers, product manag-ers, and support managers who create innovative experiences for the compa-ny’s large monthly audience. In 2012 SB Nation was recognized by SND as one of the World’s Best Designed news sites and apps.Read an interview with Ted on typecast.com: http://bit.ly/ted-i-interview

Website: www.voxmedia.comTwitter: @VoxProduct

PHOTO PR

PHOTO: VOXMEDIA.COM

The challenge is how to bring the brand

and design together effectively. To me,

you need to do that traditional design

work. You need to literally be a designer

– a true craftsman.

Ted Irvine on typecast.com


PHOTO PR

RUNE MADSEN

Rune Madsen is a Danish designer, program-mer, and artist living in New York City. He designs and builds web applications, data visualizations, algorithmic design systems, and many other things involving the artistic uses of computation. A former developer at the New Yorks Times, he is currently Di-rector of Software Development for O’Reilly Media, where he leads a digital design team focused on the transition from print to digital. Rune is also an adjunct professor at ITP, New York University, where he teaches graduate classes on algorithmic design.

Website: runemadsen.comTwitter: @runemadsen

RICKARD FRANK

Rickard Frank is Concept Developer in Digital Business Development, Head of Design, Corporate Brand and Editorial Development at Dagens Ny-

heter in Sweden. He began his newspaper

career at Svenska Dagbla-

det’s infographics department and became Head of Design at the same newspaper in 2001. In 2009, Frank became Editor-in-Chief at Trelleborgs

Allehanda. In 2011 he left to lead the design process at Sweden’s largest morning paper, Dagens Nyheter. It’s major redesign project was launched in September the same year.

Website: www.dn.seTwitter: @rickardfrank

ANDERS BERGMANN NIELSEN

Anders Bergmann Nielsen has headed a small but efficient team towards editorial success on the digital platforms of ek-strabladet.dk. Award winning storytelling by use of graphics, visualization of data and nice programming are some of the tools. Anders recently moved to TV2.dk to help the Danish broadcasting company with editorial development on their digital platforms.

Website: tv2.dkTwitter: @anders_bergmann

PHOTO PR

PHOTO: SØREN NYELAND


The SNDS NewsDesign Conference

October 1–2, 2015Copenhagen DK

The PROGRAM



10:00-13:00 Masterclass: Data visualizing for beginners.Anders Bergmann, TV2 and Rune Madsen, runemadsen.com

10:00-13:00 Masterclass: Branding of conceptual contentRickard Frank, Dagens Nyheter

14:00 Registration and welcome drinks

14:30 Welcome: Opening of the conference Flemming Hvidtfeldt, SNDS President

14:45 The road to become the world’s best designed newspaper Arne Depuydt, DeMorgen

15:30 The new campfire: The world after the death of the printing press Bjarke Myrthu, Blind Spot

16:15 Break

16:45 Design at Scale: Platforms, Process, and People Ted Irvine, Vox Media

17:30 Buffet + drinks

18:30 Infusion 10 speakers, 7 minutes each.

21:00 Evening bar expedition.

Thursday 1 October


08:30 Morning coffee

09:00 Design, type and news Mari Randsborg, e-Types

09:30 Attracting a new audience by reinventing communication Henrik Hatt, MOMU – Moesgaard Museum

10:00 Coffee break

10:30 Finding & Studying Your News Consumers to Serve Their Needs Emily Goligoski, The New York Times

11:15 Where we’re going wrong in designing online newspapers – a diagnosis Pål Nedregotten, Amedia

12:00 Lunch break

13:00 Redesign Now: Reimagining Britain’s oldest newspapersJon Hill, The Telegraph

13:45 Pushing for better digital visual storytelling Liv Håker, Sunnmørsposten

14:15 The art of building digital narratives Rune Madsen, O’Reilly Media

14:45 Coffee break

15:15 Print is not dead Matthew Ball, Think Scotland

16:00 Innovative thinking and practice in news design Nico Macdonald, Media Futures

16:45 Closing

17:00 SNDS General Assembly

19:00 Award Show and Gala Dinner

Friday 2 October


The SNDS NewsDesign Conference

October 1–2, 2015Copenhagen DK

See you in Copenhagen!

Venue: Scandic Copenhagen HotelVester Søgade 6, 1601 Copenhagen V



SNDS15 Design Seminar 1.-2. October, 2015

REGISTRATION FORM

For secretariat use

510

Fill in with block letters or type and return the form together with your payment to: “SNDS”, c/o DIS Congress Service, Herlev Ringvej 2 C, DK-2730 Herlev, Denmark

Tel.: +45 4492 4492 - Fax: +45 4492 5050

Email: [email protected]

PARTICIPANT

Family name: First name(s): Title/Profession: Company/Institution: Address: Postal code: City: Country:

E-Mail:

No. of Pers.

REGISTRATION FEES in Danish kroner (DKK) Only one participant per form

From 1st September DKK

TOTAL DKK

Member 795 5,925 Masterclass: Data visualizing for Beginners, 1,825

Masterclass: Branding of Conseptual Content, 1st

October

1stOctober

1,825

Hotel (total nights) Scandic Copenhagen, DKK 1270/1370

Social Programme Welcome reception, 1st October Yes No Dinner and award show, 2nd October Yes No Dinner and award show only 160 DKK 1,200 Total amount

Please note, all prices will be added Danish VAT of 25%. Please turn over for information on payment and accommodation

PAYMENT All payments must be made in Danish Kroner (DKK) and payable to SNDS, c/o DIS Congress Service. Registration or hotel reservation will be confirmed when DIS Congress Service has received the payment. Payment must be remitted as follows:

by banker’s draft or cheque drawn on Danske Bank, Holmens Kanal 2, 1090 Copenhagen K, Den-mark

by bank transfer to IBAN No. DK2530004180348689 - bank account No. 4180 4180-348689 (SNDS) - Swift code: DABADKKK in Danske Bank, Frederiksberggade 1, DK- 1012 Copenhagen K, Denmark

by credit card. By my signature I authorize DIS to charge my credit card. The total amount must be

written on the front page in the box “Total amount ”.

Dankort Eurocard Master Visa Access AmEx Card No. _ _ _ _ / _ _ _ _ / _ _ _ _ / _ _ _ _ Expiry date _ _ / _ _ Control code* _ _ _ *The three (3) last digits printed on the back of your credit card. Cardholders name: Cardholders signature: Remember to state Participant’s NAME and SNDS on all payments! HOTEL RESERVATION

Arrival date:__________ May - Departure date:____________ May

Hotel

Single room

No. of rooms Double room

No. of rooms

Scandic Copen-hagen

DKK 1,270 per night DKK 1,370 per night

Prices include service charge and taxes. All rooms are with bath or shower. The deposit will be deducted from the final hotel bill when paid by the participant at the hotel. Special wishes:

I herewith confirm by my signature below that I have read and am fully aware and accept the cancel-lation/payment conditions and the liability/insurance conditions stipulated in the announcements

and on the conference website http://fusion14.snds.org/

Date: Signature:

Remember to make a copy of this form for your own file


BTSe

Best of Scandinavian News Design 2013Print categories – content produced and published in 2012

ISBN: 978-87-992510-5-6 · ISSN 1902-6293

S O C I E T Y F O R N E W S D E S I G N S C A N D I N A V I A

SOCIETY FOR NEWS DESIGN SCANDINAVIA

Best of Scandinavian News Design 2013Online and mobile categories – content produced and published in 2012

ISBN: 978-87-992510-5-6 · ISSN 1902-6293

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Back issues of

The BookBest of Scandinavian News DesignIs your collection incomplete? Did you miss out on one or more of the previous years’ catalogs showing all the winners in the SNDS Best of Scandinavian News Design competitions?

Don’t worry. Order your back issue today by sending an e-mail to the SNDS secretariat at:[email protected]

Price € 15,- pr. book + shipping

Each book is A4 format, 72–80 pages, full colour reproductions of all winning entries. Earlier editions than the ones shown here may be available. CD or DVD with photos of the winning pages is available for select years.

2010

2014

2009

2013

2008

2012

2007

2011

Text by Flemming [email protected] Kim Bjø[email protected]

We often forget the quality of printed media in favour of dig-ital media. During the past 10-15 years, more and more focus has been given to the business of online news and publica-tions. It has been correct to do so, nobody questions that. As a print medium, you cannot fight the development that is taking place in the world of news. Had we done so, we would have been long forgotten.

Online news design has contributed greatly to the qual-ity of print over the past ten years. Both in the way of pre-sentation and in the way news is made available to everyone who owns a mobile phone, computer or tablet. The devel-opment of digital media, and the way to present news and stories is clearly shown in this year’s competition catalogue: It has two front pages – one for print, one for digital. The book tells a good story of innovation and creativity in the Scandina-vian media houses. No doubt this trend will continue to the benefit of readers, viewers and media houses.

DEDICATION AND HIGH QUALITY

One part of the book is dedi-cated to print design, which is

also a good story. It’s a story of creativity and innovation in printed media at a time when diversity is growing and read-ers and subscribers become fewer and fewer.

Although we have seen a decline in the number of entries in the competition this year, we did receive some 600 entries, proof of the constant and dedicated work performed within Scandinavia. The entries were of high quality too, and the judges had a hard time deciding which entries should be awarded.

Printed news itself has man-aged to adapt to the changes in the readers’ preferences. Printed news is no longer hard news. It’s more about telling the story behind the hard news and telling about relationships in the community. This is re-flected in the design of printed news. Stories are longer and better prepared than previ-ously, and the printed news is aimed at people who like to study any given story in depth.

In a way it is the very op-posite to online news. Printed news does not “go away” or disappear from a screen. You are not distracted as you are when reading news online. You do not have an endless number of links in printed news. It’s right in front of you all the time. You decide to read, you can touch the paper, you can put it away and return to the story

The quality of printed and digital communicationThe catalogue showing all the winners in this year’s Best of Scandinavian News Design Competition will be presented at the Award Show & Gala Dinner at the SNDS15 Conference, Saturday 2 October. Competition Chairman Flemming Hvidtfeldt and chairman of the digital categories Kim Bjørn sum up the overall impression of the submitted works in the prefaces for the catalogue.

The two “front” pages of this year’s catalogue – one for print (top), one for digital categories. Below: Trophy for the Best of Show winners.

whenever you want – which is one of the advantages of print over online news.

SLOW NEWS

Print news is slow news and continuous reading. In a way, it’s like a book. It gives you comfort and eases your mind, while you, hopefully, get smart-er. And if you fail to grasp a story immediately, you can re-turn to it later. You can turn the pages and you can go back.

In addition, design helps you decide what is important and what’s less important. That’s the main purpose of newspaper design. And that is what the judges found good examples of this year. Exam-ples you’ll find in this part of the book – the quality of print.

DIGITAL RECOGNITION

This year’s digital competition maintained a satisfactory level with 113 entries divided among a total of 9 categories. The jury has worked hard and in great detail to give each individual entry the attention and evalua-tion it deserves.

Not only the jury deserves to be thanked for their good work – we would also like to thank all of you, who – proud of your own work – have sub-mitted entries in the hope of winning or at least receiving recognition for your efforts. The very act of submitting an entry deserves recognition,


as it takes no effort to choose not to be part of the competi-tion and not to contribute to collaboration and the sense of community in the workplace.

We think that it is com-mendable, brave and inspiring that, as a journalist, photogra-pher, designer, editor, devel-oper or media company, you want to take part in moving the development of ideas and inspiration forward – no matter the amount of resources it takes. Things are moving for-ward – and heading in the right direction, too.

STORIES AND PROJECTS

This year has seen a signifi-cantly high number of entries in the categories of Story-telling and Data projects as compared with the other categories.

This shows us that many editorial offices put a lot of energy into setting priorities,

and that communication of news on digital platforms is finding a form, which is natural for the dynamic reality in which it exists. We have come a long way when words and pictures merge seamlessly in interac-tive longreads that feel natural on a laptop or mobile phone.

The numerous projects using data visualisations to uncover and explain com-plex cases, have led to both smiles and frustrations among the members of the jury, as quantity does not always equal quality.

We have also been pre-sented with TV items, which attempt to use the media in new ways, and there seems to be a budding trend among TV editors towards finally starting to think outside the flow TV bubble, while at the same time creating new and interesting concepts. In addition, we have entered an era of somewhat

revolutionary redesigns of websites – evolution in bits and bytes.

BALANCE AND COLLABORATION

This year, many entries have demonstrated a good balance between the criteria that the jury applied in their assess-ment: Visual design, Interactiv-ity, Usability and structure, and Journalism/editing. Collab-oration between journalists, designers and developers now seems to be far more natu-ral – and in some instances even necessary in the editorial offices.

At a time when competenc-es move closer, it is tempting to think that some of us can do it all. Unfortunately, we have seen examples of this among the submitted entries too. But a lack of professional depth will not go unnoticed by the readers or the jury – and this

may mean that sites will take a long time to load, the text will be illegible, pictures irrelevant or articles superficial.

Key competences are im-portant, especially as the new wearable platforms become part of the readers’ everyday lives – as we live in a time when it is not difficult for the reader to find the news – but rather to find it reliable.

When technical matters, form and content make up a uniform whole, we do not only create the basis for reliability, but also for quality communi-cation and information. And this is precisely what we try to do in this competition.

Flemming Hvidtfeldt is SNDS President and Competition Chairman. Kim Bjørn is Chairman of the digital committee.

The digital jury calls this entry from VG, Norway a “radically new way of telling a long-format story” and gives it an award in the catego-ry Storytelling. Is it a Gold or a Silver? The result will be revealed at the Award Show in Copenhagen, 2 October 2015. Design by VG staff members Sondre Nilsen, Simen Grytøyr, Dan Kåre Engebretsen. Find the story at vg.no/spesial/2014/dodsdykket/



News on the wrist – a look at some news apps for Apple WatchWill readers ever care reading news on their wearables - smartwatches, skin-screens or the like? There is only one way to find out. Put something out there.

By Kim Bjø[email protected]

While many media companies are “trying to work out” how to put news on new mobile wear-able devices such as Apple Watch, some are already doing it. They pave the way for those who hesitate.

In the fast paced digital world where developers are the most sought-after re-sources, it can be difficult for development departments to get the time to dive in. But

there is only one way to know if consumers with wearables will want news on their wrists: Do it. Think it. Develop it. Put it out there. That’s where the real “trying to work out” begins.

As with all digital develop-ment these days, the smartest development is done in small steps, so it’s easy and fast to change direction.

So, instead of doing big projects that we don’t know the impact of (and which are always delayed for some rea-son), it makes sense to build

“minimum viable products” together WITH the users – not FOR the users. This way, instead of guessing, we get knowledge. As Senior Product Manager Andrew Phelps from NY Times has put it:

“When these new devices come out [...] the way people use them changes in a way we can never predict. So I have to think that wearable technology will be another device in that category and it will become very common to be glancing at your wrist to get news.”

Let’s look at some of the products out there that might pave the way for new thinking about bringing news and sto-ries to wearables.

Kim Bjørn is designer and partner in Cre8o, who devel-oped the first Danish news app for Apple Watch for Ekstra

Bladet. He is also head of the SNDS Digital Competition Committee.× www.cre8o.com

CNN does overall a good job. Top story in glance view – obvi-ous and right.

Time stamps below headlines is a nice and informative touch.

In the news lists you get the choice of seeing more stories in each topic – nice and user friendly.

By using the force touch menu, you even get the choice of customizing what kind of sto-ries you want to see in the lists. Maybe a bit too many choices here.

CNN, USA


The Force Touch menu allows for easy access to other news sections.

Disclaimer: Ekstra Bladet's app was designed by the author of this article. That said, we aimed for a simple glance view of the latest published article.

Simple layout in the articles and Force Touch menu to choose between sports, most read and latest news lists.

In News lists the color indicates which section you are in.

EKSTRA BLADET, DENMARK

Danish Ekstra Bladet launched the first Danish news app for Apple Watch with the help of Cre8o: “We have always focused on being present when our users embrace new technologies” as leading Digital Editor, Anders Refnov puts it.


The Huffington Post app opens to a menu. It’s hard to guess the difference between Trending, Most Recent and Top News, so you have to touch again – annoying, but colorful.

Inside the articles the head-lines are big – too big. The brand color works though. The Force Touch menu allows for sharing or bookmarking the article.

The lists are clear and read-able – give a good overview of sections.

The body text of the articles is a bit dark and way too big – annoying reading experience not suited for skimming.

HUFFINGTON POST, USA

NY Times greets you very politely.

Big headlines shout at the user, but are very readable. A little arrow points towards image below.

Image bylines is a nice touch. However, the user only gets a very limited overview of the news.

At the end of the list, you get a friendly message, that you’re all informed – a nice touch. A different and simple approach.

NEW YORK TIMES, USA

The Guardian clearly shows the top story in Glance View - no nonsense here. However, in the app, you only get to see the headlines of the top five stories – not enough.

Uncommon choice of white background for the first story, wise in terms of branding but readers' reactions will tell if it’s wise in terms of readability.

However, you get to read on black background further down – better.

The stories can be saved for later by use of the Force Touch menu – but five is still too few in my opinion.

THE GUARDIAN, GREAT BRITAIN


DAGENS NYHETER, SWEDEN

Dagens Nyheter gives a good overview and allows you to swipe between Latest News, Sports, Economy, Stockholm and Culture, each with ten stories.

The newslists uses DNs font wich in this case does not give the best readability. Swiping horisontally between lists is easy and comfortable.

A strange difference in weight and size between intro and body text – but full articles and via the Force Touch menu the possibility to read on the iPhone – if you are logged in.

Headlines in custom font – not a wise choice considering legibility. Apple’s standard font would be the obvious choice.

Aftonbladet uses ads in the middle of their overview of stories. It will be interesting to see if it works on this kind of personal device.

Aftonbladet makes excellent use of photos and a little arrow guides the user to read more. No ‘Glance View’ feature at the moment though - a bummer.

Aftonbladet has a clear over-view but only provides us with the most read news – I want more.

AFTONBLADET, SWEDEN

Relying on the Handoff feature between iOS devices could be an easy solution for a less in-terrupted reading experience.

BUZZFEED, USA ABOUT THE APPLE WATCH

Buzzfeed wants to engage me with polls - but do I care to answer?

Well, it didn’t take long - but I would prefer their buzzing feed instead.

× The Apple Watch has 75% of the smart watch market.× Apps on the Apple Watch are installed through the iPhone. Users can configure how and where apps appear on the Home Screen and in Glance View.× If an iPhone app has a Watch “companion app” it is vis-ible in the app store. Most watch apps have a simplified user experience or add functionality to the iPhone app.× Version 2.0 of Watch iOS is on its way. A new “Native mode” will allow apps to run without being dependent on the iPhone – and run with better performance and stabil-ity. Developers will get access to using the Taptic Engine, the Digital Crown, the Accelerometer, Heart Rate Sensor, Speaker and Microphone in apps.

Apple Watch:× www.apple.com/watchApple Watch Human Interface Guidelines:× apple.co/1Oai6Jd

Text by Maj Ribergå[email protected]

Graphic designer Ole Munk is teaching “News Design” at DMJX, the Danish School of Media and Journalism. In his class are students from both journalism and media depart-ments. Many have already been trainees in editorial departments with daily tasks of producing content for print, television, radio and the web – sometimes simultaneously.

On a special occasion, Ole Munk invited journalist Morten Mikkelsen from Kristeligt Dag-

blad (the Christian Daily) to talk about his ‘travel’ from being a classic journalist to becoming a multimedia storyteller.

IN THE GOOD OLD DAYS

“I am actually very much a man of words. I was educat-ed with words. 30 years ago, when I rode into Aarhus on my bicycle to study at the School of Journalism, carrying my little

old typewriter in my backpack, we worked with nothing but words on paper. No computers, no internet. No subject called ‘News Design’.

There was one special room at the school with comput-ers, but we were not allowed in there unless there was a teacher to hold our hands. Investments were made in Ap-ple computers but they were left on pallets in the hallway – nobody knew how to install or use them. Years passed before we started using them.

Some years later when I got my first job as a professional journalist, we still wrote our copy – 400 lines would fit nice-ly on a newspaper page – and only afterwards we might start thinking about how to illustrate the article. Either we would write a note to a photographer or we would send the text to an illustrator or artist. Occasion-ally when feelings ran high, we would use a quote to empasize a point.

A lot has happened since then. But from the time when I was hired at Kristeligt Dag-blad in 1998, a few more years passed until we began thinking about the visuals from the upstart of the assignment.”

This is how Morten Mik-kelsen describes the early years of his career. Today, he is part of the Domestic News de-partment at Kristeligt Dagblad (KD). He covers educational topics as well as culture and general education.

THE MAESTRO IS ALIVE

“The part about general education includes stories from schools, universities etc., but also education in a wider sense – where we look at trends in time, the devel-opment of the society, all the things that contribute to form-ing us as human beings. What I write about is sometimes very abstract and illustrating it can be a challenge.

At KD we had an introduc-

tory course to the Maestro concept and we often use this work method. The Maestro concept is all about planning your story together with the other people involved. We will meet with the photographer, the page designer, and the sub-editor in order to discuss and decide what we really want to present on this particular page – in terms of both words and visuals.”

Morten highlights an exam-ple of this approach and how it has affected his workflow and the way to look at the news:

“In Denmark, the recent public school reform has been discussed in all media, also in KD. Now it seems as though there are some who have gotten cold feet. And it has been discussed whether the outcome of the reform is that children now have to spend too many hours at school.

I talked to politicians and experts who all had divergent views on the matter. I decided

News design: From classic writer to multimedia storyteller The clasic craft may be dying, and maybe the days are over when a journalist thinks and writes his story in words. The new term is “thinking in words, visuals and soundbites”.

Modern politics in the shape of a chronicle from the Middle Ages – in a true multimedia production including the use of words, illustrations, photography and soundbites. Screendump from www.kristeligt-dagblad.dk/historier/valgkampen/


to try to find out exactly how the typical schoolday had been expanded. What goes on in the classrooms?

EYE-OPENING EXPERIENCE

Art Director Ole Munk and I did some research and created a visual presentation – a plain pie chart – which clearly shows that we simply don’t know the actual content of a surprisingly large percentage of time spent in schools (4,470 hours in the course of 10 years).

The pie chart and its prom-inent placement on the page visualizes our approach to the story and the headline sup-ports that. It was eye-opening to me how clear the journalis-tic angle became.

The rest of the article is divided into short interviews with experts and specialists. All in all I think this is a visually very well-functioning article.”

Ole Munk joins in:“This presentation also pro-

vides Morten with the oppor-

tunity to ’write up to’ the illus-tration. It feels safe to assume that the reader sees the pie chart and will “commute” back and forth between images and words, a bit like watching TV. On the way, a synergistic effect will appear where the commu-nicative benefits will be higher than the sum of the separate parts.”

THINK DIFFERENT

For the newspaper’s website – k.dk – Morten Mikkelsen works with visuals in an entirely different way.

Work here takes place in a multimedia universe with all the possibilities this includes – e.g. sound and video. Morten Mikkelsen gives an example:

“Inspired by VG in Norway and their way of presenting stories about the election, we created an introduction to the Danish election in the spring: Danish politics presented as a satiric chronicle from the Middle Ages.

We used the TV series ‘Game of Thrones’ as our template for the story which includes highlights from six years of Danish politics. But our intention was that it should also be possible to read and understand the chronicle even if you did not know ‘Game of Thrones’. “

The political parties are presented as royal houses, each with a crest of their own. The story begins in 2009 when ‘The Old King’, Anders Fogh Rasmussen, decides to retire and hands over the throne to ‘Lars The Daring’ or ‘Lars The Depraved’.

This story demanded a lot of reseach, and illustrator Morten Voigt and I began working in early spring when election rumours first started appearing. We were ready to launch the chronicle online on the day the election was declared. It received massive attention – or ‘Play’ as they call it today.”

KRISTELIGT DAGBLAD

Kristeligt Dagblad writes about faith, ethics and existence. The newspaper is based on a Chris-tian foundation, but according to the editors it is a ‘newspa-per for all Danes, about life’s big questions’.The newspaper is known for its thorough research and a seri-ous provocative journalism.Kristeligt Dagblad is one of the few Danish newspapers with a growing circulation.

Kristeligt Dagblad’s website× www.k.dkThe election chronicle× www.kristeligt-dagblad.dk/historier/valgkampen/

Maj Ribergaard is a design and communication consultant, graphic designer, and illus-trator, owner of Ribergård & Munk Graphic Design Studio, Espergærde since 1990.× www.ribmunk.dk

Morten Mikkelsen presenting a pie chart visualization of a complex problem mto students at DMJX. The synergistic effect of combining words and visuals strenghtens the communicative benefits of the page. Photo by Maj Ribergård.


Text by Lars [email protected]

In a time when more and more regular jobs in the media busi-ness disappear, staff is laid off and a growing number of tasks are carried out on a freelance basis, it is tempting – and for some maybe the only way out – to start up your own one-man or one-woman business.

Work for Money, Design

for Love is a book about exactly that – about how to take the big step from secure employment in a big (or small) company to being your own company of one.

DAMN GOOD ADVICE

David Airey is a self-employed graphic designer from North-ern Ireland and writes three of the most popular graphic design blogs on the internet. In the book he shares his person-al experiences and gives the advice he would have wanted to read when he started out – “teachings that would’ve put me years ahead of where I am now” as he says.

Airey’s advice – intertwined with a lot of excellent stories from other designers to illustrate his points – covers

rather practical issues such as designing your brand identity, setting up your own website, managing projects, how to market yourself (even for free) to get noticed by possible future clients, how to present your work, and how to price your work.

He also gives the advice that you should prepare your-self to entering a completely new state of mind when you’re suddenly the manager of your own company. One thing you need to have is confidence – which means believing in yourself: “If you don’t believe that what you have to offer is of any value, well, no one’s going to pay for it”.

You will also need to accept that you’re in charge of every single step in the process – from finding the clients, landing a contract, delivering the design and the product, to invoicing and following up on clients for new jobs in the fu-ture. You’re not ‘only’ a graphic designer anymore, you’re a ‘business’ – and this thought might take a little time to settle in your mind. Also, you must be prepared to take all the credit for great work as well as bad: “…in a company of one, there

are no coworkers to shield poor performance. Your only choice is to be outstanding. You are completely in control of quality control.”

THE PROS AND CONS

A chapter entitled “Choose Clients Wisely” is both import-ant and entertaining. It gives examples of signs – “Red flags” – to look for to avoid engaging with clients that will be a pain in the behind and actually make you lose money.

Throughout the book Airey

weighs the pros and cons of working alone as opposed to working in a larger com-pany, and although there are downsides to being small, his decision to becoming self-em-ployed was “the best business decision [he] ever made”. The strength of this book is the way he convinces us that we can do the same – even though it means hard work, little sleep, and constant focus on keeping the balance between work and all the other things you need to do with your friends and loved ones to stay a healthy, whole person.

So, in a few words: If you’re thinking about going solo, or have just taken the big leap – buy this book. It’ll give you confidence – and a lot of good advice. Probably, it can help your one-person company become a success.

The book’s website:× workformoneydesignforlove.com

David Airey’s graphic design blogs:× logodesignlove.com× davidairey.com× identitydesigned.com

David Airey (2013):Work for Money, Design for Love

New RidersPaperback, 21.5×14 cm 280 pages, 19 b/w illustrationsISBN 978-0-321-84427-9List price: $34.99E-book: $27.99www.newriders.com

Your only choice is to be outstandingGoing solo? Starting your own company? Buy this book. It will help you understand and succeed.

PHOTO BY LARS PRYDS


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Flemming Hvidtfeldt [email protected]

In only a few weeks the Scandinavian confer-ence for news design, SNDS15, will take off. A year ago we at the same time had the SND conference in Germany and the SNDS con-ference in Copenhagen. It wasn’t the best combination. In my opinion neither SNDS nor SND gained anything form the clash. On the contrary.

The number of participants both in Germany and in Copenhagen was average. It was a pity. But luckily time has changed. SND held the SND conference in April this year, in Washing-ton DC. With a great program and with more than 500 participants – the highest number in many years. It truly was a success.

I do not imagine that the number of partici-pants in the SNDS conference will have as high

a number as the SND conference. But the great interest in the SND

conference in April might tell the story of growing interest

in design. I hope we will see a rise in the number of participants in Copenhagen in three weeks. Not for the

benefit of SNDS but for the benefit of the participants and

the media houses they work for. The program is inspiring and on

top of that there are two masterclass-es to consider. You’ll find the program in this copy of the magazine. And a registration form as well if you haven’t already signed up for the conference.

The decision to move the SND conference from autumn to spring was made right after the conference in Germany. In my opinion it was a good decision. The number of participants in the conference in Washington almost skyrock-eted and the SNDS conference, which will be in autumn for the coming years, will gain from it. And everyone who wants to participate in both the SND and the SNDS conference have the possibility now.

The decision of moving the SND conference was made after several talks between the SND board and the SNDS board. And the discussion on the subject has – as I see it – paved the way for a better and more fruitful cooperation between SNDS and SND. We will all benefit from that. Cooperation between the two is a condi-tion if we both want to prosper in the years to come.

Furthermore efforts are made to make the SND more international than ever. The SND board has decided to reach out to Africa, Latin Ameri-ca, South America as well as Southeast Asia to make the organization truly international. We will all benefit from that move because it will broaden our perspective on news design all over the world. And it will – I hope – give more inspiration to us all.

The work has just started. And there’s a long way before we will see results. But by learning from each other in the news business we will only be stronger and better. For the benefit of our readers, viewers and users.

The decision to broaden the view in SND is a result of cooperation between SND and SNDS. It began a year ago, when we had two confer-ences to choose from. One in Copenhagen and one in Germany. We didn’t agree at that time. But the clash of conferences has started a dialogue which I hope will make both SND and SNDS even more interesting for people in the news business.

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

The importance of international cooperation

SNDSMagazine 2015|3 in my honest opinion

PHOTO BY LARS AARØ

sndsmag 2015|3

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