The most obvious changes for the readers of the print paper will come in the shape of a new font for headlines and body texts, as those behind the venture have sought above all to improve clarity and readability.

 

The familiar sections of the paper – Domestic News and Metro in A, Foreign News, Business, and Sport in B, Culture in C, and so on, including special sections on different days of the week – will remain, but there will be a few moments when a reader wonders where something is: the weather page, for instance, has moved from its former spot at the back of section A to a more prominent position on A4, immediately after the editorials and main headlines.

One thing remains steadfastly unchanged, however: the front cover of the newspaper is still given over to advertising, with the exception of the Christmas Eve issue.

It is almost certain, too, that one of the biggest talking-points will be the increased use of colour in the layout, with the masthead pages of the different sections given a band of colour to distinguish them.

 

Thanks to Petri Salmén and Heikki Hankimo for the images.

The Garcia Media redesign signifies a milestone in German press, as the publication is the first quality German newspaper to make the decision to switch from the broadsheet to the compact size. As Garcia himself points out, other publishers will now be watching and gauging reactions, and asking themselves whether they should now take a similar step.

 

The awards for best design and concept got in category local newspaper Smålandsposten, Sweden, in category regional newspaper Stuttgarter Zeitung, Germany, in category nationwide newspaper I informação, Portugal. Judges’ Special Recognition got newspaper 24sata, Croatia.

 

More information you cad read in the European Newspaper Award webpage.

Estonian newspapers got three awards in this contest, all for the front pages. These newspapers are Postimees, Tartu Postimees and Äripäev.

 

The art director of SvD Anna W Thurfjell write about this in the SNDS webpage:

The strengths of the newspaper are different from the online. On the web it’s breaking news, reports in ‘real time’, and the materials that are unique for the web, the strengths of the newspaper is to give ‘orderly’ to give a clear picture of the news, storytelling and the experience of reading the paper with a good layout.

 

I have concentrated the redesign on three different areas that we wanted to improve. We wanted to make a bigger difference between the experience of the newspaper on the weekend and on weekdays. The design of the weekdays newspaper is aimed to feel more compact, fast and a guiding and the design of the weekend paper is more inspired by magazine layout with more space, more colour and visual journalism like photography and info graphics.

Next big area within the redesign has been to look threw the typography in all levels on the pages. To me that has been like the engine threw this whole project. Sure the old typeface Poynter was working for SvD but it started to feel dated. To develop a new typeface for SvD has been a fantastic journey, thrilling, learning and I think we reached far above my expectations. Mario Feliciano is the typeface designer behind the new typeface for SvD called Sueca. A customized typeface strengthens what’s unique about SvD and a more modern, contemporary look as well as a higher readability.

Sueca is a family of serif, slab, sans serif, text typeface and typeface for listing.

The idea behind Sueca is to be able to talk with the same clear voice but be able to change the tone of voice in different section. During the work with developing Sueca, SvD had help from the design consultants Palmer Watson from Edinburgh, Scotland as the second opinion.

The third area has to do with modernizing the newspaper. Take new steps, improve the structure, the articles, how to present the opinion, critics and analyzes, how to present different kinds of content. To design it I have used colour, more different grids for the layout and developed the page folios. Maybe the most obvious is that the colour system is updated with more different colours and the way we used colour in the page folios.

In all steps, of the redesign, I have safeguarded what we consider is ‘the soul of Svenska Dagbladet’, I call it the DNA. I do hope this change is perceived self evident and not like a some cosmetic change. I don’t think that we can ever lean back and relax in our business. The development of the experience of reading news in different channels is the next big challenge for us.

Järva Teataja

 

Niimoodi kirjutasin Järva Teatajas uut kujundust tutvustades:
«Iga asja tegemisel on eesmärk, nii ka Järva Teataja kujunduse muutmisel. Eesmärk oli võtta pealkirjadest jõudu ja tugevust maha, et ajalehekujunduse muud elemendid (eelkõige fotod, aga ka infokastid ja väljavõtted, ka tekst) paremini esile pääseksid, et pealkiri liialt ei domineeriks. Et lugeja neid teisi elemente veelgi paremini märkaks. Seepärast on Järva Teataja nägu nüüd mõnevõrra heledam ja pehmem kui varem. Sedasama eesmärki kannab ka Järva Teataja logo muutmine. Nüüd, kus ajaleht ilmub täisvärvis, oli paras aeg ka logo värviliseks tegemine. Maailm meie ümber on ju värviline. Miks need värvid, seda vastust tuleb otsida Järvamaa vapist, kus on just need sinine ja hall toon. Logo on alati tervik, on märk, mitte lihtsalt tekst ajalehe esiküljel. Neid võtteid, mida nüüd on kasutatud uues Järva Teataja logos – väikesed tähed ja kokku kirjutatud sõnad, mida eristab erinev värv – kasutatakse üle maailma paljudes logodes. Vaadakem enda ümber ja me näeme. Mitte ainult ajalehekujunduses, vaid ka mujal, aga näiteks ajalehemaailmas kasutab niisugust logostiili üks maailma paremini kujundatud ajalehti, Inglismaa The Guardian. Ka Eestis on ajalehti, kelle logo ja selle kujundus on nii ajalooline, et seda ei taheta muuta (näiteks Viljandimaa Sakala). Järva ajalehel sellist ajaloolist logo ei ole, mis pole aga üldsegi mitte miinus. Nii ollakse valmis muutuma, mis on ju selge pluss.»