Syracuse University/Society for News Design

In The Best for News Design™ Creative Competition, SND has named i newspaper, launched in Portugal in 2009, the lone World’s Best-Designed Newspaper^TM for the judging year 2010. Above are examples of pages from that publication and below is information about the inside workings of the newspaper through the eyes of staff members. The competition is co-sponsored by SND and the S.I. Newhouse School of Public Communications at Syracuse University.

Five judges select one newspaper for World's Best-Designed Newspaper^TM

The covers appealed to our curiosity, using techniques like thoughtful cropping of images to add intrigue. Color and variety drew us to the publication, providing provocation and an intellectual challenge. The cover featuring the Jose Saramago illustration is amazing,  said one judge.''I just want to eat it. Every page offers up things that you want to devour''

It is smaller than most compacts (250 x 345 mm or 9 3/4'' x 13 5/8'' with the trim) and it is saddle-stitched, so it holds together like a magazine. Readers can easily fold pages back, navigate without difficulty and -- perhaps -- concentrate without the distractions encountered with larger, unbound formats.

Designers are clearly thinking about the way two facing pages work together, whether the stories are related or not. This creates a flow that encourages reading without interruption.

i is composed like a beautiful piece of music. It has the discipline to play only the high notes that matter most. For example, it uses its full bleed capability sparingly. It creates strong impact, even with small things. The surprise of occasional whimsy makes the content inviting.

The publication has a steady grid structure, type and color palette that create a strong platform for difference and surprise. The grid and space look effortless. But there is more complexity than it first appears.

Typography is classic, not trendy. From very large to very small, the principles of scale and contrast apply throughout their type palette. Sans serif feels serious; the serif is more playful. It is a wonderful contrast.

Headlines are relatively small, but pop within the context of the page.

We found color on every page, yet it is used purposefully, with smart pacing. It is as though the designers are using a highlighter to clue the reader in to what is important. One judge called this print search optimization.

The palette is rich. Cyan, magenta and yellow create a base for navigation while richer colors provide depth and contrast.

Details in the informational graphics are lovely. They are efficient, distilling ideas down to their purist form. Icons are very simple, easily discernable.

A minimalist approach allows larger treatments to stand out. One example: a two-page graphic that starts the cover story for the Zoom section.

i has even rethought the ubiquitous weather page, with a smart approach to organization and color. The compact approach communicates lots of information quickly.

Much of the photo play in i is like a mini reportage. Informational photos are used well, often organized in a series. Most of these images are not huge, but they are used proportionally within the design. We were amazed at how compelling we found spreads that did not actually include a dominant image. The structure of the page tied it all together.

Mug shots are set up within a round frame. This balances the very rectangular format. It is a nice trick. It softens the hard edges.

CONCLUSION

What weognized in this winner was its fresh, unique approach. i can inspire visual journalists and publishers anywhere in will not -- and should not -- represent everyone's treatment.

The judges:

Haika Hinze, Die Zeit
Heidi de Laubenfels, The Seattle Times
Svetlana Maximchenko, Akzia (Moscow)
Carl Neustaedter, Ottawa Citizen
Sara Quinn, Poynter Institute