Gestalterischer Anspruch und Vision. Antworten von den "World's Best"-Preisträgern

Gestalterischer Anspruch und Vision. Antworten von den World's Best-Preisträgern

„Was ist Ihr gestalterischer Anspruch und Ihre Vision bei der täglichen Arbeit?“ Mit der Beantwortung dieser Frage geben uns die Preisträger der Top-Kategorie World's Best-Designed Newspaper Einblicke in ihr Denken und Arbeiten. Herzlichen Dank für die Antworten an ...
 

  • Jördis Guzmán Bulla, Art Director der Welt am Sonntag (Deutschland)
  • Spiros Polikandriotis, Visual Editor von Eleftheros Tipos (Griechenland)
  • Svetlana Maximchenko, Chefredakteurin bei Akzia (Russland)
  • Marco Grieco, Art Director bei Expresso (Portugal)

 
Im Mittelpunkt ihrer Arbeit steht bei allen Preisträgern die Perspektive des Lesers. Das Design vermittelt dabei die Werte der Gegenwart und macht so die Zeitung bedeutungsvoller, glaubwürdiger und authentischer denn je.
 
Viel Spass beim Lesen wünscht
Stefan Knapp

 

 

 
„Zeitungsdesignerin ist der schönste Beruf der Welt: spannend, kreativ und lebendig. Die Zeitung bewegt, sie ist voller kleiner und großer Schicksale, Visionen, Emotionen: ob es ein Wahlsieg ist, eine Pleite, ein Flugzeugabsturz, ein Durchbruch in der Krebsforschung, ein neuer VW-Golf oder ein sterbendes Mädchen. Und ein Designer ist dafür da, all diesen Geschichten ein Gesicht zu geben - immer wieder neue Gesichter für neue Geschichten.

Der Leser will informiert und unterhalten werden. Um ihn bei Laune zu halten, muss das Blatt so abwechslungsreich wie möglich gestaltet sein. Es muss Neugier wecken mit emotionalen Fotos, ironischen Illustrationen, ästhetischen Infografiken und cleveren Layouts. Und wenn die Trickkiste einmal leer ist, sind Erfindergeist, Humor und Liebe zum Detail gefragt.

Ich habe vor genau zehn Jahren als Layouterin bei der Welt am Sonntag angefangen. Seit vier Jahren bin ich Artdirectorin. In den zehn Jahren habe ich mit fünf verschiedenen Chefredakteuren gearbeitet. Mit jedem Chefredakteur änderten sich die Themenpräferenz und der visuelle Geschmack. Mit jedem Chefredakteur habe ich umdenken müssen. Mit jedem Chefredakteur habe ich etwas Neues gelernt.

Was sich hat sich in den zehn Jahren nicht verändert? Mein Ehrgeiz, es nicht nicht nur genauso gut wie meine Kollegen zu machen, sondern vor allen Dingen anders. Was mich überrascht, überrascht wahrscheinlich auch den Leser.“

Jördis Guzmán Bulla, Art Director, Welt am Sonntag

 

 


„We always look for the better way to present the news. It can either be words, images, service boxes, info-graphics or all of these together. This is our main concern every day. So we have to be sure that we have all the resources that are needed available, if a good idea pops up and needs a lot of work. By carefully allocating work and resources you can find time and people to produce state of the art design every day.
 
Our vision is that eventually every one involved in the production of a newspaper will understand the importance of design. Design for the readers not for other designers. This is an every day process. Proving to every one that good design is often better than a thousand words.“

Spiros Polikandriotis, Visual Editor, Eleftheros Tipos 

 

 

 


 
„What are the standards we aspire? I don’t really know. We just try to please our readers. And we want to make something new, interesting, something special in every issue of our paper. Because of the readers, because of ourselves. We make newspaper we want to read. We’re having fun while working on the paper. That’s why – I think – our readers like Akzia, and that’s why the judges liked it too.“

Svetlana Maximchenko, Editor-in-Chief, Akzia

 

 

 


 
„It’s a great pleasure for me to be part of the fantastic team of Expresso. I’ve been working with newspaper design for more than 10 years and can assure that I never saw so many talents working together. Sometimes it’s difficult to handle but it’s always better to have opinions and ideas than to work with narrow or empty minds.
 
When I first came to this weekly, I’ve been involved in the biggest redesign process in its 35 years history. Working side by side with one of the masters of nowadays printed press, Mr. Javier Errea, I could dive into the project and understand the importance of all its rules and, most of all, its spirit. And so did my team.
 
In fact, after September of 2006, when we launched the “new” Expresso, it became very difficult not to do a great newspaper.
 
The bet in huge images, complex and rich infographics and a quality range of illustrations were some of the basis of our paper. The use of colour, in a very soft palette, and the simple but efficient grid helped to organize the pages, sections and books.
 
The new exclusive typeface, developed by the Portuguese font designer Mário Feliciano, based on ancient Iberian typographies, was the final touch of elegance in a classic but modern set.

With all these tools, we just had to use them properly.
 
The standards were – and still are – to do the best for the readers. The standards are to ease the understanding of the news, features and histories. In Expresso, we never try to decorate the page if it’s not necessary. In other words, we work hard to give a lot to read and feel to our consumers.
 
Being a weekly, we try not to use a lot of templates, unless for those pages that rarely change, as the Opinion sections. Good hierarchy, navigation and integration of all the pages elements are some of our aims. Obviously, we want to surprise the reader, to use the design as a hook for the news and, why not, to have a lot of fun doing our job. If we were not happy with the results, it’s hard to please others.
 
Having won many international prizes, I can say that our wilder critic is our own newsroom. It’s very important to be the Iberian’s Best-Designed Newspaper, to be the European’s Best-Designed Newspaper, and to be twice awarded as the World’s Best-Designed Newspaper. It’s a real sign that we are doing a good job and to be recognized for that strengthens our position in the newspaper structure. Today, the journalists tend to respect much more the designers work as far as their opinions and arguments. Today, the newsroom understood that we are in the same boat, rowing for the same side – as we use to say in Portuguese. 
 
With ten photographers, eleven designers and five graphic designers – and just one editor for each group –, having to do 48 pages for the a-section, 32 for the Business section, 56 for Actual – our cultural magazine – and more than 120 for the Única magazine, it’s fundamental to organize the job.
 
The magazines are sent to the print house during Mondays, Tuesdays and Wednesdays, leaving the Thursdays for the Business and the Fridays for the a-section. We use to plan one or two editions in advance, having time to do and refine the work as many times as possible. Single illustrations are always ordered two or three days before the closing time and the most complex ones can be discussed with the artist more than a month before the publication. The same for the photos. The same for the graphics.
 
Nevertheless, I know that we are not perfect. Nobody is. No paper is.
 
Within this imperfection we bring the human side of the printed press, the certainty that we will keep on searching for the best solutions and for the better way to catch the eyes of our real judges, the readers.“

Marco Grieco, Art Director, Expresso