Sónia Matos, Art Director at Público since 2006, shares insights on the newspaper’s design philosophy and Portuguese print culture in a conversation with Editorial Director TK Sajeev for newspaperdesign.org. Under her leadership, Público has earned numerous international design awards.

How would you define Público’s visual storytelling philosophy in today’s fast-changing media landscape?

“Mobile first” is our top priority—and also a major challenge. How do we make stories visually engaging on small screens? What resources work best—video, audio, illustration, photography? How should navigation be designed—horizontal or vertical? Most importantly, how can we ensure a smooth and enjoyable reading experience?

On phones, attention is limited. With so many notifications, readers won’t wait long for a page to load. Even the best design won’t matter if it doesn’t function properly—people will quickly move on.

How do you balance clarity with creativity in your design choices?

Creativity is essential for finding clear, effective solutions. Starting with excellent graphic design and working with a focused, talented team makes the process much smoother. 

What role does illustration, photography, and data visualization play in shaping narratives for Público?

They are vital. Público’s audience has always appreciated visual journalism, in both print and digital formats. 

Could you share an example where design decisions transformed a complex story into something more accessible for readers?

Three examples:

1. A story about dyslexia.

2.The first fecal microbiota bank in Portugal.

3.Testimonies from people who, 50 years later, accessed documents collected about them by PIDE—the political police of Portugal’s Estado Novo regime—which had invaded their private lives during the dictatorship.

How do you integrate Portuguese cultural identity into the visual storytelling of Público?

Público has always been a global-minded newspaper, shaped by a strong Anglo-Saxon influence, rather than a purely local approach. 

Do you believe AI tools can enhance creativity, or do they risk diluting the authenticity of journalistic design?

Currently, AI often produces work that feels generic and lacks personality. Good journalism relies on truth, and its visual presentation should be authentic, original, and distinctive.

What ethical concerns do you see when using AI for visuals—such as deep fakes, synthetic photography, or automated infographics?

AI is a tool, and like any tool, it can be used well or poorly. In journalism, it has enormous potential for mistakes and misuse. 

How do you envision a collaboration between designers and AI in the coming years?

Collaboration must be intelligent. Designers need to understand AI’s potential and focus on areas where it adds real value, such as translation, programming, or database management.

Many predict print is fading. Do you see a unique role for Portuguese newspapers in the print format?

Unfortunately in Portugal, reading habits don’t favour the newspaper market, and there has never been a strong tradition of home newspaper subscriptions. Today, with so much information quickly consumed on social media, reading a full newspaper article has become a rare experience.

Despite this, I still believe in the power and legacy of print—especially in a digital world flooded with false information, where AI increases the risk of fabricated content.

I think daily newspapers will gradually shift to weekly or monthly editions, focused on smart, distinctive curation. These editions will cater to curious readers who value the time spent on quality journalism—because it deepens understanding and helps build an informed, democratic society.

How does Público approach print differently compared to digital—are they complementary or competitive?

We maximize the strengths of each format: in print, we combine multiple photos, clear text hierarchy, color, and typography; in digital, we bring stories to life with video, sound, and animations 

In an age of instant updates online, what kind of storytelling still works best in print?

The print edition is best suited for the “noble” genres of journalism: investigation, reporting, analysis, opinion, and interviews. These formats give readers more context and depth. In print, strong design also matters—well-structured spreads with clear hierarchy, thoughtful typography, informative infographics, powerful photography, and, of course, illustration. 

View the digital version

What lessons has the Portuguese print market taught you about adapting design for survival and relevance?

It taught me that there are limits that cannot be crossed. The readers who buy the printed edition are highly demanding—they pay for a quality product. Just as they are willing to visit several locations to get a copy (since there are fewer sales points in Portugal), they will also stop buying if the newspaper fails to meet their expectations. 

Could niche, high-quality print editions become the future rather than mass daily circulation?

Yes, I truly believe in that. I am among those who pay to read high-quality journalism. For me, it’s an investment that makes a difference and adds real value.

How do you nurture innovation among your design team at Público?

I always keep an eye on what’s happening abroad (and locally too). We discuss, share ideas, and invest in training whenever possible. I’m fortunate to work with an extraordinary team who loves learning as much as I do. Working at a newspaper is like being in school—you learn something new every day 

Have international design trends influenced Público, or do you feel Portuguese media has its own unique aesthetic?

It definitely had an influence. I believe that many of Portugal’s most important newspapers were, at some point, designed or redesigned by international designers. 

If you had to reimagine Público for 2035, what would its design identity look like—in print and digital?

2035 is too far ahead to predict. But I hope that by then, Público will have a strong, distinctive identity—immediately recognizable in both print and digital. Excellent design for excellent journalism. Above all, I hope it will still have a loyal readership. 

What first drew you into the world of newspaper and editorial design?

Luck and opportunity played a big role. I started working very early at a regional newspaper, when I was 18 or 19. It was an incredible experience that made me realize that working in newspapers was exactly what I wanted—even before I fully knew it. I was very fortunate. Since then, I’ve never stopped working in newspapers, and every day brings something new to learn. It’s been a constant journey of discovery. 

How has your career journey shaped  your vision as Art Director at Público?

When I arrived at Público, I had already worked at other newspapers, each with its own character and extraordinary people from whom I learned a great deal. This experience was invaluable, giving me a broader perspective on the field of journalism. Having that open-minded approach was essential to work at Público, a leading reference newspaper in Portugal.

Additionally, working with Mark Porter and Simon Esterson on the first complete redesign of the paper since its founding was a unique opportunity. It allowed me to learn from their extensive experience at top international newspapers like The Guardian and The Sunday Times.

What makes Público unique among Portuguese newspapers in terms of design and editorial approach?

I believe there is great care and attention in how the newspaper is produced—both in the writing of the news and in its presentation. Our readers are highly demanding, and we work hard to meet their expectations.

View the digital version

What has been your most challenging project at Público, and how did you overcome it?

It’s always the next one. We learn from both successes and mistakes, and then focus on the next challenge. 

What are your thoughts on the role of typography in shaping the personality of a newspaper?

Typography can play a leading role. In the case of Público, the newspaper’s identity is closely tied to its typeface. Our font, called Publico, is our trademark—used in the logo, in the printed newspaper, and online. It is instantly recognizable. 

How important is sustainability and eco-conscious printing in the future of Portuguese print media?

Portugal relies heavily on international paper production. Our market is very small, which makes it harder to access competitive prices and increases production costs.

Overall, I think sustainability is easier to address in print editions—through measures like using recycled paper, publishing less frequently, or planting trees—than in digital production. Digital requires significant energy and resources, including water, which is increasingly precious, especially with the growing use of AI.

The post Designing for Readers: Sónia Matos on Público’s Mobile-First Future appeared first on News Paper Design.

Kannan Sundar, National Design Editor of The Hindu, one of India’s leading newspapers, discusses how it shapes reader experience through visual storytelling in a conversation with TK Sajeev , Editorial Director of newspaperdesign.org

What is The Hindu’s guiding philosophy in shaping reader experience through design and storytelling?

The Hindu’s guiding philosophy in shaping reader experience is to combine clarity, credibility, and context. We don’t see design as decoration, but as an essential part of how journalism is received and understood. A well-designed story helps readers engage with complexity without feeling lost or overwhelmed. Our focus is always on making sure that the presentation respects the seriousness of the story while making it accessible to different kinds of readers.

How do you balance editorial integrity with visual appeal in a newspaper known for its credibility and gravitas?

At The Hindu, credibility comes first. Our readers trust us because of the paper’s history of gravitas and editorial independence, and design must never compromise that. At the same time, visual appeal matters because it is what draws the reader in. I believe design should amplify editorial integrity, not overshadow it. For example, using bold colours or dramatic imagery might attract attention in the short term, but if it distorts meaning, it erodes trust. The balance comes from ensuring that every visual choice serves the story’s truth.

What role does design play in The Hindu’s identity compared to other Indian dailies?

Compared to other Indian dailies, The Hindu has always stood apart as a paper of record — serious, analytical, and measured. The design reflects this personality. Where some newspapers might rely heavily on loud visuals or sensational layouts, The Hindu’s design is about restraint, elegance, and function. We consciously maintain a clean aesthetic and typographic discipline, while still pushing visual storytelling to make complex data, cultural issues, and international stories more understandable.

How do you decide when a story needs a visual-led approach—with graphics, photos, or infographics—versus a traditional text format?

We decide to go visual when a story has a level of complexity, scale, or human impact that words alone may not convey effectively. Environmental data, humanitarian crises, election results, or stories involving large datasets often demand visuals. For instance, during the Kallakurichi hooch tragedy (interactive graphics), a visual-led approach allowed us to combine text, illustration and interactive elements that made the scale of the disaster more comprehensible. If a chart, map, or illustration can explain in 10 seconds what text might take 500 words to describe, we choose the visual route.

Can you share an example where design significantly enhanced reader engagement with a complex news story?

The Heat Stress in Chennai interactive is a strong example. The story could have remained a technical report on temperature and humidity, but through design, we turned it into a human story: how heat affects working-class bodies in the city. The interactive structure, illustrations, and colour coding helped readers relate data to their lived experience. The engagement was far higher than text alone could achieve, and it showed how design can bridge science and storytelling.

Go to the interactive graphics

What are the key elements you and your team prioritize to make visual storytelling both aesthetic and functional?

For me and my team, three things are non-negotiable: clarity, narrative flow, and accessibility. Clarity means simplifying data without distorting it. Narrative flow means designing the story so that each section builds on the previous one, guiding the reader like chapters in a book. Accessibility is crucial — our designs must work on mobile first, be mindful of colour blindness, and stay culturally sensitive. Aesthetic value is important, but it always has to serve these three pillars.

In what ways do readers’ habits and expectations shape your design decisions?

Our readers today have multiple habits. Some want to sit with a long-form narrative, while others want to scan headlines in a few seconds. Design has to serve both. We use pull quotes, infographics, and summaries for quick consumption, but we also design layouts that allow for depth and extended reading. In digital, this means layering content so that a casual reader gets the essentials quickly, while a curious reader can dive deeper.

How do you design for different audience segments—from long-form readers to those scanning headlines quickly?

We create layered experiences. For the scanner, we ensure the top takeaway is clear. For the detail-seeker, we embed charts, sidebars, or expandable graphics. And for the long-form reader, we design an immersive flow that rewards their patience. Each audience finds its own level of engagement without feeling excluded.

Do you gather reader feedback on design, and how does it influence your work?

Feedback comes in different ways. Analytics tell us where readers spend time, drop off, or share stories. Direct comments tell us if something feels confusing or too dense. Internally, editors often bring in feedback from the field. Sometimes, small changes — like adjusting font size for better legibility on mobile, or tweaking chart labelling — come directly from such feedback. Over time, this loop has helped us make design decisions that are reader-first, not just newsroom-driven.

How is The Hindu adapting visual storytelling for digital and mobile platforms while retaining its print legacy?

The Hindu is adapting with a mobile-first mindset while retaining its print DNA. For digital stories like Gaza or Kallakurichi, we design for scrolling, responsiveness, and visual pacing. But we also ensure that these projects translate back into print as full-page features. That continuity between print and digital is part of our identity — it allows us to be modern without abandoning our legacy.

What new tools, technologies, or storytelling formats are you experimenting with?

We are experimenting with Figma, scroll-driven storytelling, D3.js data visualisations, and parallax effects for depth. We also use lightweight motion graphics and SVG animations to enhance storytelling. These tools allow us to move beyond static infographics into interactive experiences — but always with the constraint of speed, bandwidth, and accessibility in mind.

How do you see AI and automation influencing the role of design editors in the near future?  

AI is beginning to reshape workflows, but I see it as an assistant, not a replacement. For example, AI can resize, crop, or suggest chart styles automatically. It can also help clean or parse datasets quickly. But the human role is to apply editorial judgment: knowing when a chart is misleading, when colours imply bias, or when simplicity is more powerful than complexity. Design editors will remain the gatekeepers of nuance and responsibility.

What are the biggest challenges in leading a national design team for a legacy newspaper?

The biggest challenge is balancing creativity with consistency across multiple editions and platforms. Another challenge is resources — for example, we often need dedicated developers within the design team to execute ambitious ideas. But the cultural challenge is even bigger: helping colleagues in traditional news structures understand that design is not cosmetic, but core to storytelling.

How do you nurture creativity and consistency across multiple editions and platforms?

We use style guides and visual frameworks to maintain consistency, but we encourage experimentation within those boundaries. Weekly design reviews and open discussions allow the team to test ideas and learn from each other. I believe creativity thrives in a system that has enough structure to avoid chaos, but enough freedom to avoid rigidity.

The Hindu has a reputation beyond India. How do you ensure its design and visual storytelling meet global benchmarks of quality?

We constantly measure ourselves against global leaders — NYT, Reuters, The Guardian. Projects like our Gaza interactive or the Heat Stress in Chennai story show that Indian newsrooms can match global standards in clarity, innovation, and reader engagement.

Over the years, our design team has won 11 international awards, including recognitions from the Society for News Design (SND), WAN-IFRA Digital Media Awards, and the NewspaperDesign.org. These recognitions are important, but our ultimate benchmark is always the reader — making sure the design elevates the story and builds trust.

Do you look to international newspapers or design trends for inspiration, or do you prefer to develop a distinctly Indian visual language?

We draw inspiration from international design but adapt it for Indian contexts. This means multilingual layouts, culturally resonant colour palettes, and narrative styles that make sense to our audience. Our goal is to be globally comprehensible but locally meaningful.

How do you adapt universal principles of design—like clarity, hierarchy, and storytelling—to an Indian cultural and linguistic context?

Universal principles like clarity, hierarchy, and storytelling are the foundation of good design, but in India they need to be translated into a multicultural and resource-diverse environment. For example, clarity is not just about typography or whitespace — it’s also about ensuring a story works for readers who may encounter it in print, on desktop, or on mobile devices. Hierarchy has to account for how Indian readers scan pages — many look for numbers, quotes, or visuals before diving into text. Storytelling must be sensitive to cultural nuance: colour choices, symbols, and imagery that carry one meaning in the West may be interpreted very differently here.

So, while we follow global best practices, we adapt them with local empathy. A good example is election coverage — we use colours and iconography that are culturally familiar, maps that reflect regional boundaries readers recognise, and layouts that can compress large amounts of information without overwhelming first-time voters or casual readers. This blend of universal design values with Indian context is what keeps The Hindu’s design both globally benchmarked and locally resonant.

When covering international stories, how does your team approach visuals to ensure they resonate with readers across cultures?

For international stories, we keep visuals universal — clear charts, human-centric imagery, minimal jargon. But we also add explanatory notes or cultural context so that our readers in India can relate to events unfolding far away. In Gaza, for example, we used charts to show humanitarian impact in a way that transcends political boundaries.

Go to the interactive graphics

What lessons can international design editors learn from The Hindu’s approach to balancing tradition with innovation?

I think The Hindu offers a lesson in balance: how to respect tradition while still innovating. We protect editorial seriousness, but we are not afraid to experiment with interactives, data stories, or digital-first design. That balance is valuable in a media environment where attention spans are shrinking but credibility is more important than ever.

How do you see The Hindu’s visual storytelling evolving to remain globally competitive in the next five years?

I see The Hindu’s visual storytelling becoming more immersive, interactive, and multimedia-driven. We will experiment with hybrid formats that bridge print and digital, and we will use AI to speed up processes without losing human editorial control. The goal is to keep readers engaged while staying true to The Hindu’s reputation for gravitas.

As design becomes increasingly central to journalism worldwide, what role can Indian editors like yourself play in shaping the global discourse on visual journalism?

Indian design editors bring something unique to the global conversation: we design for multilingual, resource-constrained, mobile-first audiences. Our solutions are creative, frugal, and deeply human. As journalism becomes more global, these lessons — of clarity under constraint, of storytelling for diversity — can shape the way design is practiced worldwide.

The post Design with Integrity: Kannan Sundar on How The Hindu Shapes Reader Experience Through Visual Storytelling appeared first on News Paper Design.

In his recent conversation with TK Sajeev, design maestro Mario Garcia offered a candid perspective on the evolving role of print. He emphasized that the printed newspaper can no longer compete with the speed of digital platforms in delivering breaking news. Instead, its true value lies in providing depth, context, and analysis—serving as a thoughtful follow-up to the immediacy of online updates. Acknowledging that this shift may be difficult for traditional editors to accept, Mario explains in detail why adapting to this new reality is essential for the survival and continued relevance of print journalism.

Dive deeper into Mario Garcia’s insights…

In the digital era, the role of printed newspapers has fundamentally shifted, requiring a strategic reimagining to remain relevant. The notion that print serves as the primary source for breaking news is obsolete—a reality that, though challenging for editors to accept, is indisputable. Studies, such as those from the Pew Research Center, indicate that over 60% of U.S. adults now primarily consume news via digital platforms, with mobile devices alone accounting for a significant portion of news traffic. This trend underscores that immediacy and real-time updates, hallmarks of digital media, have largely supplanted print’s capacity to deliver breaking news.

Rather than advocating for the demise of printed newspapers, I propose a recalibration of their purpose. Print editions are uniquely positioned to complement digital platforms by offering in-depth analysis, contextual clarity, and a reflective reading experience. Unlike the frenetic pace of online news cycles, print provides a curated, tactile medium for readers seeking to engage deeply with complex stories. It serves as a platform for nuanced storytelling, where editors can distill intricate events, provide historical context, and present authoritative perspectives. For instance, long-form investigative pieces or analytical features in print can augment the fragmented, often superficial updates found online.

This complementary role positions the printed newspaper not as the protagonist of news delivery but as a vital enhancer of understanding. It offers a moment of intellectual respite, appealing to readers who value a deliberate, distraction-free engagement with information. The editor of a print edition, in essence, acts as a trusted guide, acknowledging the reader’s existing knowledge while inviting them to explore a story’s deeper dimensions. By embracing this role—leveraging print’s strengths in analysis and reflection—newsrooms can ensure its enduring relevance in a digital-first world.

 The editor of a print edition puts his arm around the reader and says: I know that you know this, but I am going to tell you more.

The post Editors Must Accept the Shift: Print Is for Context, Not Urgency appeared first on News Paper Design.

Gil Dicelli, Editor-in-Chief of the editorial design department at the Brazilian newspaper O Povo, speaks with TK Sajeev, Editorial Director at newspaperdesign.org, about creating bold and impactful covers.

An award-winning editorial designer and journalist, Dicelli has spent 26 years at O Povo, Ceará’s longest-running newspaper, leading its design team. His accolades include five ExxonMobil Journalism Awards, multiple Society for News Design Awards (including three in 2025), three European Newspaper Awards in 2016, and several ÑH/SND-E honors, including medals in 2019. In 2018, he redesigned O Povo for its 90th anniversary, earning international acclaim.

Can you share the story of how you began your career in editorial design and how you came to lead the design team at O POVO?

I became interested in editorial design while still in journalism school, through courses focused on visual communication, photography, semiotics, and everything related to visual literacy and the art of writing through images.

Which personal experiences or influences have most shaped your design philosophy ?

I believe my human experiences have shaped both who I am and all my work. From Brazilian culture and the place where I live to all artistic influences—music, theater, and other human expressions—I see every life experience as raw material for design.

How do you balance artistic freedom with the constraints of a daily newsroom schedule?

That comes with time and experience. It’s natural for someone starting out to feel anxious about this, but over time we become wiser at finding the balance between deadlines and creative freedom.

Can you walk us through your creative workflow—from receiving a story to finalizing the cover?

In a newsroom, there are many workflows. Typically, it goes like this: editorial meeting; assigning stories to members of my team; creative meeting with the entire design team, illustrators, and infographic artists; cover meeting and cover development with the editor-in-chief, photo editor, and cover editor. I usually present one proposal, and if it’s approved, I move to finalization. If not, I create a new proposal—or several—until the cover is approved.

How do you collaborate with editors and reporters to ensure design complements and elevates the narrative?

Very closely. Both my team and I have a strong relationship with editors and reporters, maintaining constant dialogue throughout the process to ensure we’re aligned.

Can you recall a moment when the initial editorial concept completely changed after you started designing?

Yes, it happens quite often. In a newspaper, change is natural—we’re working with a product that is dynamic and constantly evolving.

Several of your covers have won international awards from the Society for News Design. Which one holds the deepest personal meaning for you, and why?

They are all important, but the cover THE ABSURD OF WARS touches me deeply—both as a journalist and as a human being.

The recent covers about Brazil–US tensions and Trump’s tariff decision are striking. How do you approach politically sensitive topics while maintaining visual impact? What was your guiding concept when designing them?

For me, the priority is always to follow journalistic ethics—in image use, colors, and typography—and to be as impartial as possible (which is always a challenge). The guiding concept was to create a poster-like cover, given the importance of the topic. Trump’s silhouette references coins, which often depict important figures in profile. Rendering him in black made perfect sense for the subject matter. The large, bold “tariff” blends with his profile, as they are intrinsically linked.

How did you decide on the symbolic use of shapes and colors—particularly the yellow diamond and the silhouette of Trump?

The yellow diamond is part of Brazil’s flag. The idea was to show that our sovereignty is greater than, and above, any external pressure.

How closely did you work with the editorial team to ensure these covers communicated both urgency and clarity?

We work very closely. No cover is approved without the input of a group of journalists. I may often come up with the concept and idea, but it will always go through my editors for approval.

How do you measure the success of a front page—reader feedback, peer recognition, or something else?

All of the above. But as a journalist, I see reader feedback as the ultimate measure of a successful piece of work.

How is the role of editorial design evolving in an age where readers consume most news on screens?

Editorial design is reinventing itself to create visual experiences that combine clarity, impact, and identity, maintaining relevance in both print and digital. On any platform, our work is more alive than ever.

In your opinion, what makes a print cover still relevant and powerful in the digital era?

Its ability to be relevant to the world and to people—to change realities and give voice to the voiceless. Whenever a cover can make a difference, whether for one person or thousands, it has fulfilled its mission.

How do you see the intersection of illustration, photography, and typography shaping the future of newspaper design?

These areas walk hand in hand. A designer must understand they are the conductor of the page, orchestrating all elements into harmony.

Have you ever faced pushback on a design due to its boldness or perceived political stance? How did you navigate that?

Not for political stance that I can recall, but yes for graphic boldness. It’s natural to understand our audience’s boundaries and respect how far we can go without harming the information. A journalist or designer who can’t work with frustration is in the wrong profession.

Where do you draw the line between provocative design and sensationalism?

I don’t work with sensationalism, so it’s hard for me to weigh in on that. Design should be effective, communicative, ethical, and creative. Everything else should be evaluated on a case-by-case basis.

How do you handle last-minute breaking news that disrupts a carefully planned cover design?

I love it. I’m a journalist at heart, and news is what drives me—it’s what drives a newsroom, what makes its heart beat, and the very reason it exists.

If you could redesign one iconic front page in history, which would it be and how would you approach it?

A cover that doesn’t yet exist: one announcing the end of wars worldwide. Perhaps an entirely white cover—white for peace.

The post From Concept to Cover: Gil Dicelli on Turning Headlines into Visual Statements appeared first on News Paper Design.

Dr. Mario García, world-renowned design consultant, Senior Adviser for News Design, and Adjunct Professor at Columbia University’s School of Journalism, speaks exclusively with TK Sajeev, Editorial Director of newspaperdesign.org, on one of the most pressing topics of our time — the future of print media.

As the CEO and founder of García Media, Dr. MarioGarcía has led the redesign of over 750 publications across 120 countries. He is also the author of 15 books, including his latest: “AI: The Next Revolution in Content Creation.”

How do you perceive the current role of print media in an increasingly digital news ecosystem?

Print remains a vital component of the operations for thousands of media houses worldwide, with over 17,000 businesses active in the global newspaper publishing industry as of 2024. 

 I can’t remember the number of times that my clients tell me to take good care of the print product, because it is still the cash cow. Despite the digital shift, print circulation and advertising still account for nearly 45% of publishers’ revenues on average. Just think that global print newspaper and magazine revenues are projected to reach $108.38 billion in 2025. Advertisers, particularly those targeting affluent audiences, are still in love with printed newspapers; for instance, 70% of households earning over $100,000 annually read newspapers, making print a premium channel for high-value brand exposure. Globally, newspaper advertising spending is forecasted to hit $22.66 billion in 2025.  Luxury brands, in particular, leverage print’s tactile appeal and credibility, with examples like Cartier and Louis Vuitton frequently investing in high-end newspaper supplements; in 2024, similar campaigns included collaborations such as Audi’s multi-article features in luxury media titles, which generated substantial revenue through print placements. Just consider the Sunday New York Times print edition, which boasts an average paid circulation of 623,000 copies in 2024 and often arrives wrapped in 4- or 8-page advertising supplements from major global brands. For The New York Times itself, print operations contributed over $750 million in revenue in 2023—about one-third of its total—highlighting how print advertising, despite a 12.4% year-over-year decline in 2024, remains a key pillar for sustaining overall growth. So, as you can see these numbers tell us that it is too early to plan a printed newspaper’s funeral. Quite the contrary.

Is there still a unique value that print brings to journalism that digital cannot fully replace?

First, the permanence of print imposes a heightened sense of accountability on journalists. Knowing their words will be indelibly fixed in ink, reporters and editors exercise greater diligence in verifying facts, refining prose, and ensuring narrative coherence. A 2023 study by the Poynter Institute noted that print editions, due to their fixed nature, undergo more rigorous editorial scrutiny compared to digital articles, which can be amended post-publication with relative ease. This fosters a culture of precision, as errors in print cannot be erased with a quick edit but remain as a lasting testament to the publication’s credibility—or lack thereof. Digital journalism, by contrast, often operates under the pressure of immediacy, where the ability to revise can inadvertently lower the threshold for initial accuracy.

Beyond the production process, print offers a singularly immersive reader experience, which can be described as a “lean-back” ritual. Engaging with a physical newspaper is a tactile, deliberate act—unfolding pages, feeling the texture of newsprint, and inhaling its faint, inky scent. This sensory engagement, as noted in a 2024 study on media consumption habits, enhances reader focus and emotional connection to content, with 68% of print readers reporting deeper comprehension compared to digital formats. Unlike the frenetic, interruptive nature of digital platforms—where notifications, pop-up ads, and social media alerts fragment attention—print invites uninterrupted contemplation. The act of reading a newspaper is a disciplined ritual, free from what I refer to as the “journalism of interruptions” that characterizes digital consumption, where 75% of smartphone users report checking their devices at least once every 10 minutes while reading news online.

What changes have you observed in reader behavior toward print in recent years?

I think the most noticeable change is how readers come to print with some expectations derived from their digital reading experiences. They wish to find better navigational systems in print as in let me find the content quicker.  They expect more visuals, and bigger photos, since photos on a phone screen tend to be small. In recent years, reader behavior toward print journalism has undergone subtle but significant shifts, largely influenced by the conventions and immediacy of digital media consumption. These changes reflect an adaptation of expectations shaped by digital platforms, as readers increasingly seek a print experience that aligns with the navigational ease and visual richness they encounter online.

One prominent shift is the demand for enhanced navigational efficiency in print publications. Readers, accustomed to the hyperlinked, search-driven interfaces of digital news platforms, now expect print editions to facilitate quicker access to content. A 2024 survey by the World Association of News Publishers found that 65% of print readers desire clearer section demarcations, bolder headlines, and more intuitive layouts to streamline their reading experience, mirroring the ease of digital navigation. This is a departure from the traditional, linear progression of print, as readers now favor designs that allow them to locate stories with the same speed and precision they experience when browsing apps or websites. For instance, newspapers like The Guardian have responded by incorporating more prominent tables of contents and color-coded sections in their print editions since 2023, improving content discoverability.

Additionally, readers increasingly expect print to deliver a visually richer experience, driven by their exposure to the constraints of digital screens. On smartphones, where images are often compressed or limited by screen size, readers crave the expansive, high-impact visuals that print can offer. Print readers value larger, high-resolution photographs and infographics in newspapers, as these elements provide a visual depth often unattainable on smaller digital displays.The New York Times and Le Monde  allocate more space to full-page imagery and data visualizations, for example.

Do you believe print has a sustainable future? Why or why not?

Well, I think the future of print for most media houses will be as a supporting player, but not the protagonist.  There may be weekend print editions, but it may not be financially smart to produce a daily print edition.  Already we see experiments with print editions only a few times a week. If I were to put my money on it, I’d say bank on a rich weekend print edition that readers can enjoy as a lean back experience, relaxing and full of the surprises that a printed newspaper divided into sections can offer.

Print is not the star of the show anymore—digital has claimed that spotlight—but print retains a unique allure that ensures its relevance, particularly in a reimagined, more selective format.

The economics of daily print editions are increasingly untenable for many media houses. Innovative publishers are pivoting to less frequent print cycles. For instance, titles like The Independent in the UK and The Tampa Bay Times in the US have experimented with reduced schedules, publishing print editions only a few days a week, with a focus on high-impact weekend editions.

If I were to wager on print’s future, I’d put my chips on robust weekend editions. These offer a “lean-back” experience—think sinking into a cozy armchair with a cup of coffee, savoring the tactile joy of newsprint. A World Association of News Publishers study in 2025  found that 78% of print readers cherish weekend editions for their immersive, distraction-free quality, with 62% citing the joy of stumbling upon unexpected stories as a key draw. So, yes to print in the future, but in a reduced capacity and definitely not for everyone on your subscribers’ list.

How can editorial design evolve to make print more engaging for modern readers?

I think print is the platform for long reads, so avoid those columns of briefs so popular in the 80s and 90s. And, please, design each page around a large photo. Yes, six columns all the way across the page. Readers crave these visual exploits in print that are NOT possible on the smaller canvases of digital platforms. Let video be the protagonist for digital, but let those big photos dominate print.  Allow for white space, since readers who come with a digital mentality do not take well to pages that are packed with type, butting headlines and many small photos that give the pages a sort of visual rash.  And yet the design of print should also convey that this is a newspaper in the first two seconds when the reader lands on the page.  Color is important, and readers who bring a digital mentality to print celebrate color coding for sections, for example.

What are some innovative design strategies that have helped retain or grow print readership?

I think that this begins with the editors of the print editions writing headlines that advance stories, not those that tell you what you already know.

Today’s printed newspaper needs to be done as a follow up to the news. Nobody comes to a printed newspaper for breaking news. I know that this is hard for editors to accept. But it is a reality.

Can you share examples where design alone significantly influenced the impact of a printed story?

During Covid, we saw many examples, but this one from The New York Times resonates with me, it stays with you years after the story impacted us.

What are some successful strategies you’ve seen (or implemented) to reignite public interest in newspapers or magazines?

I think the best examples here are where the subscription package makes getting print editions, especially weekend, attractive. This is one way to promote the existence of the printed newspaper to a digitally minded audience. More specifically:

A key strategy is designing subscription packages that position print, especially weekend editions, as a premium, high-value component of a broader digital-print bundle. Publications like The New York Times have successfully implemented this, with their “All Access” subscription model combining digital access, mobile apps, and print delivery (notably the robust Sunday edition) to attract readers who value both immediacy and the leisurely “lean-back” experience of print. In 2024, The New York Times reported 10.7 million total subscribers, with print subscriptions still contributing significantly, generating over $750 million in revenue despite a 12.4% decline in print ad revenue.

To attract digitally minded audiences, publishers are using digital platforms to promote print subscriptions through targeted campaigns and interactive elements. For instance, The Economist integrates its print edition with its app, offering previews of print-exclusive content to entice digital users, contributing to a 10% growth in print-digital bundle subscriptions in 2024.

Then there are the old marketing strategies, such as adopting flexible pricing models, as discounted trials or tiered bundles. 

How can print media appeal to younger audiences who grew up in a digital-first world?

I believe strongly that this is almost impossible. In my experience, this is a challenge that requires time and effort that is better invested in creating better print editions and targeting readers over 35 years of age. I may be alone in thinking this way, but I base my answer on the many projects in which I have participated globally. This is a no go.

Should print publications reposition themselves as premium, collectible, or niche products?

No, not really. I think that print products should appear proudly as representing history, authenticity and a more lean back, relaxed way of consuming the news. Once we attach collectible to the description, we are implying rare and old, neither which is a good marketing tool.

What role can community-focused content play in strengthening local print editions?

This has nothing to do with the platform itself. Nothing beats local content. Local content reigns supreme in any platform.

How do you see print and digital platforms complementing each other?

Each should try to be what it can do best. Digital and video, great pair; print and large photos, an unbeatable combo. 

Is a hybrid model the way forward, or should publications fully commit to one format?

Each format has its advantages. Today, the digital format is what audiences crave and, in my view, the future. I do not believe in a hybrid model.

How can design teams work cohesively across print and digital without compromising on either?

Design teams need to become experts at what each platform can do best, but there are some design essentials that apply across platforms: legible type, easy to understand story structures, and well defined color palettes,

What skills should future designers and editors develop to succeed in this blended media environment?

The designer of now already needs to be Multiplatform driven and trained. In fact ,the course I teach at Columbia University is precisely that—Multiplatform design and storytelling.

What would be your advice to emerging designers or editors who are passionate about working in print?

Do what I try to do: I don’t romance print, I romance storytelling and today we can tell stories through a variety of platforms. Embrace and celebrate storytelling and visuals across platforms.

What’s one print innovation or project you’re most proud of, and why?

I truly admire The New York Times constant experimentation with its print editions, using larger images and graphics, and sometimes abandoning their front page standard format to surprise the reader with visuals that resonate.  For a title that has been called The Old Gray Lady, the Times continues to surprise with its print edition——the care and attention that still goes into making this great newspaper a real textbook case for how to handle print in  the digital age. Bravo to the Times team.

If you had to reinvent the print newspaper today from scratch, what core elements would you retain—and what would you redesign completely?

I will have a one section newspaper with impeccable navigational tools on page one, only summaries to start, then dance into pages dominated by one page stories and visuals, and forget sectionalizing and simply let the reader turn the pages, lean back and enjoy. I would settle for a 24 page newspaper where each page surprises me with the content and the visuals, all curated by editors who know that nothing beats a printed newspaper for a relaxed experience full of surprises.

Interesting that in 1999 a group of us designers met at the American Press Institute for a seminar to imagine how a printed newspaper be  in 2020. Here are my versions of 1999 and 2020. I still think that this is how I envision an effective printed newspaper today, inspired by digital home pages, but with a newspaper look and feel that is distinctive and reflects legacy and authenticity.

And here is County Highway, a new but very retro looking newspaper that appeared during the Covid era. In their own words:

“County Highway was born during the Covid lockdowns, when many of our friends and acquaintances became disillusioned by large cities. Some of us found new places that we loved. Some of us have always preferred the countryside or wild places. Some of us stayed in cities but began seeing how the ways of living and thinking that they cultivate might be a threat to the basic human pursuit of happiness and pleasure, and our ability to create without crippling self-censorship.

Some of us fear the specter of an incipient totalitarianism emerging from our laptops and iPhones. Some of us are simply allergic to conformity and brand-names. What we share in common is a revulsion at the smugness, sterility, and shitty aesthetics of the culture being forced upon us by monopoly tech platforms and corporate media, and a desire to make something better. We encourage you to think of our publication as a kind of hand-made alternative to the undifferentiated blob of electronic “content” that you scroll through every morning, most of which is produced by robots.”

https://www.countyhighway.com

And finally, one project that I am very proud of—the new print edition look of Germany’s Handelsblatt, the financial daily:

The post Mario Garcia: ‘Too early to plan the printed newspaper’s funeral’ appeared first on News Paper Design.

Koos Jeremiasse, Art Director of the Dutch daily de Volkskrant, speaks exclusively to TK Sajeev, Editorial Director of NewspaperDesign.org, about the creative journey behind their award-winning design.

In an insightful conversation, Jeremiasse reflects on how de Volkskrant secured the prestigious title of World’s Best-Designed Newspaper at the 46th Society for News Design (SND) competition. Notably, this marks the newspaper’s second win, having previously earned the same honour in 2021.

Congratulations on winning the Best Designed Newspaper award! What does this recognition from SND mean to you and your team?

Well, thank you! We are incredibly grateful to receive this award, which we also won in 2021.  It’s a wonderful acknowledgment of our daily efforts and serves as a strong encouragement to keep refining our designs. This recognition is truly special.

What, in your view, were the standout elements in de Volkskrant’s design that clinched this top honour?

We use relatively a lot of white space in our newspaper. Even on news pages where you don’t see it as often. While we stick to a strict grid and rules, we still have plenty of room for creative design.

How would you describe the core visual philosophy of de Volkskrant?

De Volkskrant strives for a visual identity that is both contemporary and timeless, featuring a modern, sleek, and often minimalist aesthetic. This design choice highlights the excellence of our journalism.

What role does tradition play versus experimentation in your design process?

Tough question. There’s no master plan. The current design has been an evolutionary process. We occasionally experiment with typography and visual storytelling. And what works well, we keep and reuse. Over the years, there have been several restyling’s that led to the current design.

Is there a particular aesthetic or emotion you want your pages to evoke for readers?

Our news page design prioritizes navigation and hierarchy, acknowledging the modern reader’s limited time. We aim to guide readers effectively, using layout accents to differentiate between main and secondary topics. For daily background stories, featured in a dedicated section in de Volkskrant, we playfully deviate from the grid and increase white space. When appropriate, we also incorporate surprising original visual concepts, such as special photography and illustrations. Our weekend supplements demonstrate an even greater advancement across all these areas. We are in a good mood. A touch of humour and surprises are allowed, if appropriate.

Can you tell us about your design team – how is it structured, and how do you collaborate with editors, photographers, and illustrators?

Designers are organized into daily clusters, focusing on the newspaper and the V section (art, culture, and society). The Studio handles the design of daily and long-term background stories, with a strong emphasis on digital design. From the latter half of the week, a dedicated team of designers is assigned to our weekend supplements.

How do you manage the creative process on tight daily deadlines without compromising quality?

News pages adhere to fixed agreements and a clear grid, facilitating rapid responses. Background stories from the Studio and the production of weekend supplements are prepared and discussed in advance. Collaboration among art directors, photo editors, infographic editors and other team members allows for increased creative expression.

de Volkskrant employs three Art Directors. Jaap Biemans, also known as Coverjunkie, oversees the Magazine. Lucas van Esch is responsible for the V section and the weekend supplements “Sunday” and “Science.” My responsibilities include the front page and news section, the in-depth news and background section “Saturday,” and the website.

Were there any specific innovations or risks taken in the past year that you believe made a difference?

I believe separating the compact news pages from the longer background stories on a daily basis, has significantly improved the newspaper’s structure and rhythm. This change allows us to better guide readers and also to better prepare those longer background stories for both print and online formats.

Can you share an example of a page or project that you feel truly represents the design values of de Volkskrant?

These include the playful pages about the Fatbike and the article on the image of the domestic cat. But also the story about the dark side of health guru Wim Hof (where we had his image sculpted from ice). And   certainly also the special supplement with interviews with the last eyewitnesses of World War II.

The first examples demonstrate the cheerful approach, yet sleek and thorough.

The interview-special highlights the contrasts in typography, the use of white space, and the powerful photography that characterize our projects.

How much do reader feedback and usability factor into your design decisions?

We strive to offer a unique atmosphere in both form and content. We don’t want to be interchangeable. Readability will always remain our top priority. So, for example, if we receive many complaints from readers who find text difficult to read on a gray background, we’ll take that into account. But at the same time, we also look for ways to pleasantly stimulate and surprise our minds and eyes.

Do you design differently for print versus digital, or is there a unified visual language?

Digital design takes a different approach, as there are clearly more possibilities online. Think of more images, animations, audio, and video. We employ a “mobile-first” approach with vertical storytelling, using text and images to pull the reader or viewer down the page or screen.

In my opinion, print should increasingly focus on what it is unique in: providing an overview through a smart hierarchy, accentuating with large-scale photography or illustrations, and taking the reader by the hand through a sophisticated rhythm.

De Volkskrant maintains a consistent typographic identity across its online and print editions. While innovative design is employed when a story necessitates it, preserving the brand’s recognizable sender identity is paramount. This consistency is crucial in an environment increasingly saturated with misinformation and AI-generated content, where a trustworthy and familiar source is highly valued.

These are also the biggest challenges that art directors and media makers face in today’s rapidly changing media landscape.

How do you stay inspired and informed about design trends globally?

I enjoy observing design trends on Instagram and drawing inspiration from them. I also like to browse digitally through both print and digital publications around the world.

Are there newspapers or publications (past or present) that have influenced your approach?

There are many. But if I had to highlight a few, they would be The Guardian (I especially love their supplements) and the weekend supplements and digital productions of the New York Times. The work of the Canadian Studio Wyse is also very inspiring.

What advice would you offer to younger art directors and team members on cultivating a team culture of creativity and excellence?

Look closely and draw inspiration from the publications you admire. Don’t copy anything, but try to create your own version/signature. Also, try to get everyone on board with the changes and steps you’re taking as much as possible, and recognize good ideas from other people on your team and organisation.

And keep things cheerful among yourselves. Having dinner or drinks outside of work hours every now and then helps you understand each other better.

What keeps you passionate about news design day after day?

New challenges arise daily. From  rapidly changing news requiring design changes, to presentations on multiple platforms.

While news consumption is increasingly moving online, I believe print still holds significant value, especially for in-depth background and research pieces. Weekends, in particular, offer an opportunity for print to thrive as people seek to disconnect from the digital realm. Therefore, creative presentation will be more crucial than ever, using the large and unique canvas of paper to its fullest potential.

The post What Makes a Newspaper Beautiful? Koos Jeremiasse Reveals de Volkskrant’s Secrets appeared first on News Paper Design.

In this candid conversation, Deepak Harichandan—one of India’s leading newspaper design editors and currently the Chief Design Editor at Deccan Herald—joins T.K. Sajeev, Editorial Director of newspaperdesign.org , to reflect on key moments from his 25-year journey in visual journalism. From the urgency of breaking news to the meticulous process of redesigning legacy newspapers, he highlights the vital—yet often overlooked—role of design in shaping how we experience major news events. Over the years, Deepak has held senior positions at The Times of India, Hindustan Times, The Hindu and The New Indian Express, and has worked closely with top 20 finest editors of the industry

How did your journey into newspaper design begin?

My journey into newspaper design began quite unexpectedly after I graduated with a fine arts degree. I landed my first job in Delhi as an illustrator at the Children’s Book Trust, a publishing house located on Bahadur Shah Zafar Marg — Delhi’s equivalent of London’s Fleet Street. The area was home to many of India’s leading newspapers, including The Indian Express, Financial Express, Business Standard, The Times of India, Navbharat Times, National Herald, and The Pioneer — all except Hindustan Times, which was based in Connaught Place. That location would turn out to be more important to my career than I initially realized.

Working a typical nine-to-five job, I often spent my lunch breaks watching the journalists from nearby offices. They seemed confident, stylish and free — unlike me, bound by strict routines. While I followed fixed schedules and early mornings, they appeared to move through their day with independence and flair. Watching them every day sparked my ambition — I wanted to be part of their world.

My chance came after I had illustrated around 40–45 children’s books, the design department led by Mr. Subir Roy, Design head, who was my first boss In 1995. It was a eye opener for me to get introduced to the new world of children illustrations. When T.N. Ninan , Executive Editor of Businessworld and Business Standard, hired me on Anup Gupta’s referral, I knew I was stepping into something significant. Working under Ninan’s editorial leadership introduced me to the rigorous standards of business journalism.
What truly shaped my experience was working alongside Anup Gupta as Design Editor, who is a true professional. Anup’s approach to design went beyond aesthetics – he understood how visual storytelling could enhance business journalism’s impact.

In 2000, the first break came from Sharat Sharma, Editor-at – Large for the Response department, Times of India who offered me a role managing a specialized B2B educational weekly, The “Education Times”. It targeted Indian students dreaming of international education. Led by Jayanti Chandrasekharan, the publication acted as a bridge between Indian students seeking engineering, technical and professional courses abroad and foreign consulates hoping to attract them to their universities.

This wasn’t just another design job — it was a platform where countries competed for India’s brightest students. As the sole designer supporting an editorial team of 10–15, I had to turn complex educational content into visually engaging layouts that caught the attention of busy students and their parents. The work demanded both creativity and an understanding of how design could influence major life decisions.

 Bipul Guha, Design Editor at The Times of India, who had deep expertise in typography, brought me into the main edition and gave me larger projects. That was a turning point. My work began gaining attention from senior editors, including Shekhar Bhatia, Executive Editor. I was soon promoted from working on supplements to the main newspaper. I had the privilege of working alongside a fantastic team, including the late  Ajit Ninan (cartoonist), Neelabh Banerjee, and Pranab Saha. During that time, I also got to meet and collaborate with many brilliant editorial minds —  Jug Suraiya,  Siddharth Varadarajan, Sabina Sehgal (Editor of Delhi Times, who was tragically killed in the 2008 Mumbai attacks),  Nikhat Kazmi, and Kaveri Bamzai, Editor of the TOI Sunday Edition.

This steady progression led me to larger roles within The Times of India. I initially contributed illustrations, and then moved up to become Assistant Manager of Design. I worked with a talented team of 25–30 designers on special features, long-form stories, and major news events — always aligning with the newspaper’s editorial vision.

That’s how my career in newspaper design began — from an illustrator inspired by the journalists around me to a key part of the design team at one of India’s leading newspapers.

How did you revolutionize newspaper design in India?

My journey really took off at The Times of India between 2000 and 2003, but the major transformation happened when several senior editorial figures, including the Executive Editor Shekhar Bhatia moved to Hindustan Times. It was an incredible experience working under some brilliant editors. The Editor-in-Chief was Vir Sanghvi and I had the opportunity to collaborate with dynamic editors like V. Krishna (Editor, Special Projects), Aditya Sinha (Editor, Sunday HT), Avirook Sen (Editor, Sunday HT), Yashwant Raj (Page One Editor) Poonam Saxena (Editor, Brunch Magazine),Pramit Pal Chudhury ( World Editor) Ashutosh Sapru (Design Editor) and Indrajit Hazra (Columnist).

HT had just been redesigned by Michael Keegan from The Washington Post.

Working with Keegan’s templates was eye-opening. At TOI, design was more instinctive and often cluttered. At HT, I learned about design hierarchy, the power of white space, clean typography and consistent color systems. The result was a newspaper that looked more elegant and easier to read. We weren’t just making the paper prettier—we were improving communication. HT eventually overtook TOI in popularity, thanks to a strong mix of quality journalism and world-class visual design.

At HT, I started as Chief Designer, then was promoted to Graphic Editor and within a year, became Associate Design Editor.

Then came the big challenge: HT‘s launch in Mumbai—a city dominated by Times of India and Mid-Day. I was part of the launch team, led by Vir Sanghvi and the high-energy Mumbai editor, Avirook Sen. We studied Mumbai’s diverse communities-Gujarat’s, Parsis, various Muslim groups – and created customized supplements and lifestyle content tailored for this aspirational city of finance, fashion and film.

But the real innovation came when Jaideep Bose (known as Jojo), who had joined TOI as Executive Editor, invited me to a meeting at Sameer Jain’s residence in Delhi. He said, “Deepak, you’re doing great work at HT, but we need you back. Come and lead our design team in Mumbai.” By then, HT and the new DNA newspaper were serious competitors to TOI, and they needed to rebuild their presence in Mumbai.

I accepted the challenge and returned to TOI as Head of Design for the Mumbai edition. I built a team of 30–35 designers.

Under Jojo’s leadership, we formed a strong editorial team that included Derrik D’Souza, Bachi Karkaria, Dina Vakil, Manu Joseph (Editor, Sunday Feature Magazine) , Indrajit Gupta ( Business Editor) and other vertical heads . This is where we introduced what became known as the “great packaging” system.

Traditional newspapers treated each story in isolation. We asked: What if we told the full story in one place? For example, during the Mumbai floods, instead of just one article, we created a comprehensive package: the main flood report, infrastructure failure, BMC response, pothole safety, transport chaos, historical rainfall trends—10 to 12 interconnected stories on one visually unified page.

This wasn’t just better journalism—it was a design revolution. We created modular layouts that could handle multi-layered stories, giving readers a complete picture in one glance, instead of making them flip through pages. It required a new approach to information architecture, visual hierarchy and layout flexibility.

Every day at 12:30 p.m., we strategized how to package the day’s big stories. It was intense- leading large teams, beating tight deadlines  and staying ahead of the competition- but the results were phenomenal.

TOI’s Mumbai edition grew to over 100 pages, with 40-45 pages dedicated to city coverage alone. We weren’t just reporting Mumbai’s stories-we were defining the city’s narrative through hyper local, immersive storytelling.

The impact was immediate and long-lasting. Other newspapers, including TOI’s own Delhi edition, adopted our packaging model. It became the new industry standard.

What made this truly revolutionary wasn’t just the visual design- it was the belief that design is about communication and communication is about community. We showed that smart, thoughtful design could reshape an entire industry. The packaging system we created in Mumbai laid the foundation for modern newspaper design in India.

What is your design philosophy as a design editor?

My design philosophy is built on one core principle: discipline.

Newspaper design isn’t the same as graphic design. It’s not about decoration or just making things look pretty, like in advertising or branding. News design must have weight and credibility. It supports journalism—it’s not about distracting from it.

I believe in a constant process of learning and unlearning. When I joined Hindustan Times, under the mentorship of Michael Keegan, my understanding of design deepened. He taught us that design must answer essential editorial questions: what happened, when, where, how, who and why. These are the fundamentals. Design must support storytelling, not overshadow it.

Readers look to newspapers for credibility and clarity. Unlike television or online news, print journalism is held accountable. We can’t “say anything”- once it’s printed, it’s on record. That means we must be careful, thoughtful and precise.

A senior editor at Deccan Herald once told me: “Deepak, not every day is a big news day. Yesterday Israel attacked Iran. Today, it’s quiet.” That’s true. But I always say: even if today isn’t dramatic, we still show up. We still publish with accuracy, urgency, and purpose.

Page One must tell the full story– the 360 degree view- every single day, no matter the news cycle. And we work fast: by 12:30 p.m. we’ve had our first meeting, by 6 p.m. we finalize the lead stories. In that short window, we must analyze, verify and design. There’s no room for gimmicks- just truth, clearly told.

My approach is simple: be authentic. Treat design like visual reporting. We must think beyond “what happened” and ask: what happens next? Our layouts should guide the reader; help them understand what the story means for their lives. And in the fast-moving world of news, we only get a few seconds to engage them.

No sugar-coating, no distractions- just clear, visually engaging storytelling.

This approach was tested and refined at The Times of India, Hindustan Times, The Hindu, Deccan Herald and especially at The New Indian Express (TNIE).

What makes someone leave the country’s biggest newspaper in its most exciting city to start over in unfamiliar territory?

I was doing well at The Times of India (TOI) in Mumbai when Aditya Sinha, my former colleague from Hindustan Times, called me one Sunday evening. I was relaxing with my wife, having a beer outside the city. He had just taken over as Editor-in-Chief at The New Indian Express (TNIE) and said, “Deepak, come. Let’s create something epic.”

People at TOI were surprised: “Why leave Mumbai and a top paper to move to Chennai?” But I believed in the mission. TNIE was in a rebuilding phase after its split from The Indian Express. It had taken over the southern operations under Manoj Santhalia’s  leadership, and I was ready for the challenge.

Moving to Chennai- a new city, language and culture – was like entering a different country. But that also gave us freedom. We were no longer following others – we were leading the change.

Stay Tuned for Part 2: Reimagining The New Indian Express…

The post Visual Journalism in Action: Deepak Harichandan on the Power of Design in Newsrooms appeared first on News Paper Design.

Manuel George, Visual Editor at Malayala Manorama, engages in a conversation with T.K. Sajeev, Editorial Director of newspaperdesign.org, on how the legacy publication harmoniously blends tradition with innovation in visual storytelling. As one of India’s highest-circulated dailies, Malayala Manorama—published in Malayalam—prioritizes reader convenience and cultural relevance. Its design philosophy is rooted in clarity, creativity, and collaboration, spanning from compelling infographics to cutting-edge AI-generated visuals.

How would you describe Malayala Manorama’s core design philosophy?

Our design philosophy is rooted in reader convenience. Every page is crafted with purpose. We don’t just report news — we present it with a rhythm that respects the reader’s time. While our pages are often packed with information, we ensure that the layout never overwhelms. We believe design should not merely beautify, but guide.

How has Manorama’s design evolved while preserving the identity of a legacy brand?

With a legacy spanning over 135 years, Malayala Manorama has built a strong visual identity across generations. Our evolution has always focused on refreshing the reader experience without disrupting continuity. Over the years, more than 20 design consultants have contributed to our transformation. In 1962, eminent journalist Tarzie Vittachi came to Manorama as an advisor, and Manorama generously extended his services to other Malayalam newspapers — training editors and designers across the Malayalam newspaper industry

Design legends such as Peter Lim (1996), Peter Ong (1998), Mario Garcia (2008), Javier Errea (2012), and Lucie Lacava (2024) have played vital roles. I served as design coordinator for the redesigns by Errea and Lacava, and was also part of Mario Garcia’s project. Additionally, I led the internal redesigns in 2017 and 2022.

How does regional culture and language influence your visual design?

Regional identity is central to our visual language. As a Malayalam daily rooted in Kerala, our design is shaped by local reading habits, emotional tone, and cultural nuances. The vibrancy of Kerala is reflected in our color palettes, photo choices and illustrations.

How do you balance traditional print aesthetics with modern design trends?

It’s a conscious balance. While embracing modern visual storytelling, we retain the discipline of traditional print. For instance, when color printing began, it was often overused. Color headlines took precedence over good visuals — a mistake. From our 2017 redesign onward, we restored the prominence of black headlines for news, limiting color headlines to feature pages. Lucie Lacava retained this in her redesign, using black headlines to signal editorial credibility. The newspaper is now more colorful, but with black headings and strong visuals.

How do you approach visual storytelling for complex or sensitive stories?

We adopt a layered approach using infographics, timelines and graphic narratives to guide the reader. The aim is not just to inform, but to build understanding — showing cause, context, and impact. We often use graphic novel–style storytelling to forge emotional connections, always prioritizing clarity over visual flair. That’s why we avoid overcomplicated visualizations common in global dailies.

Can you share an example where visuals enhanced a story’s impact?

There are many. The latest is the Ahmedabad plane crash. During the Ahmedabad plane crash, we created a horizontal front page with a sequence of photos.

Ahmedabad plane crash

For India’s strike on terror camps in Pakistan, we used a double-spread infographic. One unforgettable moment was during the 2018 Abhilash Tomy boat accident — we created a detailed half-page graphic in under an hour. In the 2019 surgical strike, we again turned the lead story into an infographic on deadline. The 2024 Chooralmala landslide in Wayanad was another — we used drone shots, locator maps, survivor photos and terrain vulnerability graphics in a storyboard-style package.

Page one:India’s strike on terror camps in Pakistan

Page one: Chooralmala landslide in Wayanad, Kerala, India

Abhilash Tomy’s accident and rescue operation

What role does creativity play in your workflow?

Creative headlines are a Manorama hallmark. Whenever major news breaks, people on social media speculate: “What will Manorama’s headline be tomorrow?” Some even send us suggestions. But we strive for headlines no one expects.

Personally, one page I’m especially proud of is the one when Kerala Chief Minister Pinarayi Vijayan shouted at journalists and said “GET OUT” (കടക്ക് പുറത്ത്). We used “കടക്ക് പുറത്ത്”  (GET OUT ) as the headline for all stories on the front page that day — the India-China border tension, the removal of the LPG subsidy, political clashes in Kannur, etc. That page went viral on social media the next day. 

Page one: GET OUT (കടക്ക് പുറത്ത്)

Another creative project I was part of was the recreation of Malayala Manorama’s front page dated August 15, 1947. Manorama was banned at the time and we were unable to publish a newspaper on the day India gained independence. During the 60th anniversary of independence in 2007, we recreated that historic front page. I was part of the team and thoroughly enjoyed the creative process. We designed the page in the original layout style, using vintage typography that was copied letter by letter from the last edition of Manorama printed before it was sealed on September 10, 1938

Recreated historic front page

What role do infographics and data visualization play in your editorial process?

Infographics are central to our storytelling — never mere embellishments. Manorama was the first Malayalam newspaper to publish a full-page infographic, which I designed for the Mars Mission in 2014.

Mars Mission

We also created the first double-spread infographics during Kerala’s 60th anniversary (2016).

Kerala’s 60th anniversary page

Sometimes our front-page leads are purely graphic — no traditional text. Manorama’s archives contain pages with graphic-style presentations dating back to the early 1900s. So this isn’t a new trend for us. Today, our infographic continue to spark conversations — and even trolling — on social media, which we take in good spirit

How do visuals support engagement in a multilingual and diverse readership?

Visuals are vital. Without strong photography or design, even important stories risk being overlooked. Since space is tight, we can’t give every story a large headline. Visuals — photos, illustrations, and infographics — draw the reader in. Visually rich pages especially appeal to younger audiences who may skip dense text.

Can you walk us through your design process for major stories or special editions?

Teamwork is our biggest strength. For major events, we start with morning meetings, evolving plans until the last-minute corrections. For breaking news, there’s no time to plan — we act instantly. For special editions, like elections, we initiate planning early, though real-time changes are often necessary.

How closely do designers collaborate with reporters, editors and photographers?

Very closely. Our visual desk constantly coordinates with photographers and reporters. Strong visuals are our starting point. Infographics rely on input from the field. Layout isn’t a post-production step — it evolves alongside content. Everyone contributes ideas and headlines.

What design tools do you use?

We use InDesign and Scribus for layout, and Illustrator, Photoshop and other tools for infographics. Interestingly, much of our planning still happens with pencil sketches — quick, flexible and intuitive.

Do you conduct reader research or usability testing?

Yes. We regularly gather feedback via surveys, field visits and long-time readers. Many design updates — such as color usage and navigation — are based on this input. We also observe how our pages perform on social media to track engagement.

How do you differentiate your print design strategy?

Space is a constant constraint. Unlike foreign newspapers that carry less news, we must fit in everything — news, obituaries, and updates — within 18–20 pages. We focus on high-density layouts with visual clarity. Weekly features allow more creative freedom. We manage limitations with creative presentation.

What are the challenges of visual storytelling for mobile-first readers?

The idea that all news is mobile-first is a myth. Social media algorithms create echo chambers. Newspapers, by contrast, offer a comprehensive view. We aren’t rushing to adopt vertical formats. But we do consider short attention spans. Strong visuals and infographics help.

Unlike global giants like The New York Times, regional papers like Manorama work with limited design manpower — sometimes just one or two visual editors. Yet we compete on global stages with creativity and speed.

How do you maintain visual consistency across platforms?

Each platform — print, TV, web, social media — has its own identity. But the core Manorama style remains recognizable. Even without branding, our pages stand out in a lineup. That’s the strength of a consistent visual identity.

Are you exploring AI or interactive visuals?

Yes. When tools like Midjourney and DALL·E became available in late 2022, we printed our first AI-generated visual within a week. We now use AI creatively — often refining AI-generated images with our own artistic input. However, with AI visuals becoming common, we’re refocusing on original artwork. Authenticity still matters.

AI assisted layout

What’s the future of newspaper design in a digital-first world?

Design must become participatory. Readers aren’t just viewers — they’re part of the story. In 2021, during the Parliament elections, we printed dotted outlines of Narendra  Modi and Rahul Gandhi for readers to complete.

Interactive page one

For an anti-drug campaign, we created a front page where readers could cut out a portion and take a selfie with it.

Anti-drug campaign front page. Reader should remove the white portion, put their face into it, take photo and share it in social media.

When the song Naatu Naatu from the Telugu film RRR won the Oscar, we visualized the dance steps as an infographic — readers could literally dance with the newspaper in hand! It went viral on social media. I had posted it on my Twitter (now X) account and was surprised to see it widely shared by Japanese users — more than 2,000 shares for a Malayalam infographic! Curious, I looked into it and found that RRR had just been released in Japan at the time. It proved once again that language is no barrier to creative presentation.

RRR infographics

What have you learned from reader feedback about what visuals work best?

Readers value clarity and relevance. They notice color misuse or visual clutter immediately. Creative layouts are appreciated. Every now and then, the question comes up: ‘Why stick to the same design style and color every day?'” I compare it to a fabric store: you may see odd colors, but someone will love them. With 1.8 million copies,we need consistency — not everyone’s personal taste. That’s why we rely on a strong, unified design language shaped by global experts

The post The Art of News: How Malayala Manorama Shapes Stories Through Design appeared first on News Paper Design.

At the recently concluded 46th Society for News Design (SND) Creative Competition, the South China Morning Post (SCMP) earned an impressive 94 awards, reinforcing its standing as a global leader in visual journalism.In this exclusive conversation with TK Sajeev, Editorial Director of newspaperdesign.org, Marcelo Duhalde, SCMP’s Head of Graphics and Visual Stories, discusses the strategy, creativity, and teamwork behind the team’s award-winning work.

Marcelo Duhalde

Congratulations on winning 94 awards in the 46th SND Design Competition! What does this recognition mean for the SCMP team?
Thank you—it’s a tremendous achievement for our small team this year.

Can you share some insights into the key projects or stories that earned the most recognition in this year’s competition?
In the stories where we saw potential, we tried to focus on the human dimension—the individual navigating a broader context. The most awarded pieces explored situations where people were pushed to their limits, such as Helpers’ Bedtime Stories and Ukraine Trenches. These are narratives of hardship that deeply affect the mental and physical health of those involved.

Our storytelling centers on the human experience. That’s why the team gathers every detail meticulously—through interviews, recordings, images, videos, and on-site visits where possible. Visual storytelling research demands speed and clarity when sketching ideas, and it’s vital to involve the subject during their testimony. With strong references, it becomes much easier to reconstruct the environments where these stories unfold.

So how do we visually represent such suffering and immerse the audience in these realities? After extensive investigation, we invest our time in sketching and testing to create the most effective visual representations. This approach serves two purposes: it first captivates the audience with a compelling illustration, and then immediately conveys the emotional and physical context of the human experience. This instant connection is crucial for narrative flow.

Helpers’ Bedtime Stories

What design principles or editorial values guide your team’s approach to visual storytelling?
Our core principle is neutrality. We don’t present personal opinions or preferences—only verifiable facts of public interest, as any responsible visual journalism team should.

In terms of design, I remind the team that simplicity is powerful. A strong visual story should speak for itself without needing detailed instructions. That’s our daily challenge: visual efficiency.

We embrace a broad range of illustration and design styles, with some guiding characteristics:

• We use 3D modeling tools mainly for reference; we rarely publish rendered 3D visuals because they can feel cold and less engaging.
• We avoid overly technical explanations. If technical details are necessary, we rethink the storytelling approach to find alternative, more accessible paths.
• Our aim is not to create encyclopedic works or design pieces for academic audiences. We want to make high-quality, understandable content for a wide readership.

We encourage our illustrators to express their individual creativity. Each member has a unique way of interpreting the news. Instead of enforcing a rigid style, we use basic, practical templates that streamline development.

As Head of Graphics and Visual Stories, I prioritize collaboration, shared responsibility, and sound judgment. Individuals who prefer to work in isolation often struggle with our team’s approach. We believe that great work is best achieved through collaborative ideation and execution, within reasonable timelines.

Ukraine Trenches

How does SCMP maintain consistently high standards across both print and digital platforms?
Our quality standards have been consistent for over 15 years, thanks to the foundational work of Simon Scarr, Steve Case, Alberto Lucas, and Adolfo Arranz, and later solidified under Darren Long’s brilliant leadership.

Whether print or digital, we’ve always aimed to deliver strong investigative content and thoughtful visual solutions. Of course, not every piece can be a masterpiece—we also produce content that fulfills its purpose clearly and effectively. This balance is key given our time and resource limitations.

What resonates with audiences is content that genuinely interests them and answers their questions in a logical way. We constantly refine the user experience, and I believe we still have a lot to learn. Continuous testing and debate over even small design details can make a huge difference—especially in engaging today’s highly distracted and visually overwhelmed audiences.

Our goal is always clarity, empathy, and relevance. We strive to provide viewers with visual references that are recognizable, relatable, and easy to interpret.

Was there a particularly challenging or meaningful piece among the awarded entries?
Yes—the story on land grabbing in Hong Kong stood out as particularly complex:
 Unauthorized Structures: How Land Is Being Taken

It’s a sensitive and controversial topic, requiring the involvement of a wide range of professionals. The piece was based on detailed cartographic work and needed legal advice, as well as insights from architects, engineers, and urban planners. Fieldwork was also essential.

Since the focus was on wealthy individuals illegally expanding their properties onto public land, every diagram and map had to be checked and rechecked. A single error could jeopardize months of investigative work by a multidisciplinary team.

How do you balance creativity with clarity when designing for a diverse, global readership?
Both creativity and clarity have their limits. It’s essential to identify and respect those boundaries. Otherwise, the result might be too obscure or overly personal, making it ineffective.

As mentioned, we allow aesthetic and conceptual experimentation—but never at the cost of comprehensibility. Our work isn’t meant for niche or elite audiences. The more universally understandable a piece is, the stronger its design.

Creativity is not about waiting for inspiration; it emerges during the process—while brainstorming, sketching, conducting interviews, or in the field. I rarely use the terms “art” or “artist” to describe what we do. Those labels can inflate egos and hinder teamwork.

What drives us is curiosity and the desire to explain the unseen and the complex—what’s not immediately obvious. We’re still refining how we present that hidden layer, especially through data visualization. If a graphic is beautiful but incomprehensible, it fails. A simple bar chart may sometimes be more effective than a sophisticated but confusing visual.

What role does collaboration between editors, designers, developers, and reporters play in your success?
Collaboration is everything. Whether a piece involves two or six people—or a broader newsroom effort—the results always reflect a team’s shared effort and coordination across disciplines.

How do you stay updated with global trends in news design, and how do you apply them locally?
Our team of 10 includes six visual storytellers who work end-to-end on stories. We’re always discussing trends, sharing references, and exploring ideas. Communication is fluid because we genuinely enjoy creating original content.

Five of us are expatriates, each with a different background and approach. Interestingly, we don’t specifically adapt to local contexts—the language of visual storytelling is universal. If it’s clear and accessible, it will resonate with any audience.

Winning so many awards year after year sets a high bar. How do you continue to innovate and push boundaries?
Winning awards isn’t our primary motivation. Competitions vary, with juries bringing different perspectives each year. What motivates us is publishing content that matters—stories that would never exist without deep fieldwork and effort.

Innovation, to us, means improving what’s not working. Audiences want functionality and simplicity. We’re not necessarily inventing anything new—we just keep the user experience at the core of our process. Making the most of our available resources, and being strategic about where we invest time and effort, is key to maintaining our standards.

What advice would you give to young designers or newsrooms aiming for excellence in visual storytelling?
When I began working in newspapers, I never imagined I’d end up creating infographics or visual stories. My focus was initially on aesthetics. But curiosity, versatility, and a drive to create functional design shaped my path.

My fascination with maps and diagrams started in childhood—my parents were teachers, and our home was full of encyclopedias and educational illustrations. I didn’t know then that those images were early forms of infographics.

My advice: stay open to evolving beyond your academic training. A designer can become a content creator—someone who owns the narrative.

I also discourage blindly following trends or copying others. Each newsroom has its own history, challenges, and audience. Focus on the reader—they should always be your priority, not your peers in the industry. Readers will appreciate thoughtful, well-crafted work that connects with their reality.

There are huge disparities in global newsrooms—in resources, press freedom, and publishing models. Many professionals still work in environments with fundamental limitations. That’s why every recognition for visual storytellers is so meaningful. It acknowledges the intense effort behind the scenes

The post Crafting Stories That Resonate: Marcelo Duhalde on SCMP’s Visual Journalism Success   appeared first on News Paper Design.

Congratulations to all the winners of the 7th International News Design Competition conducted by newspaperdesign.org. With over 700 entries reviewed by a distinguished jury, earning a Best of Show award, along with two gold medals, nine silver, and eleven bronze medals, is a significant achievement. Nuestro Diario from Guatemala emerged as the star performer, winning both the Best of Show award and a Gold medal. Grupo Tribuna of Brazil has won gold in the page one category. South China Morning Post and China Daily, made a strong impression by clinching medals in the Silver and Bronze categories. Meanwhile, three Indian newspapers secured Bronze medals. Notably, only two newspapers were recognized in the Page One category — one of them being India’s Malayala Manorama.

Reflection of Head of Jury Javier Zarracina*

First, I want to send a big thank-you to the incredible jury team: Svenja Kruse of Focus Magazine in Germany, Marco Hernandez from the NYT and Creative Director, Mathew Kurlan from Kerala in India. 

Judging over 700 entries is no small task, and this group approached it with care, precision, and editorial judgment. They were thoughtful, thorough, and generous with their time, and I’m grateful for their dedication.

This year, one of the most noticeable trends was the increasing presence of AI illustrations, present in many entries and even in cover illustrations. Some of these experiments were visually intriguing, and it’s clear that this technology is here to stay. However, as a jury, we often felt that the AI-generated work lacked the emotion, nuance, and editorial judgment that only a human artist can bring. In the rush to cut costs or chase novelty, we’re concerned that the industry might lose the heart and creativity that define great editorial illustratión.

On a more encouraging note, we saw beautiful uses of the print medium. So many entries stood out for their exquisite illustrations, dynamic layouts, thoughtful typography, and bold use of color and size. Some of the pages we saw reminded us why print still holds such tactile, emotional power. In many entries, print was not just a medium but an interactive experience, like the playful New Year’s cover from A Tribuna in Brazil, which won a Gold Medal.

The Summer Olympics offered a high point. It was a chance for publications to showcase the beauty, intensity, and drama of the competition—and they rose to the occasion. We saw stunning photography, energetic layouts, and rich storytelling that made readers feel like they were in the stadium. For example, Nuestro Diario’s spectacular series of 8 graphics about the Olympic pioneers was combined into a gorgeous poster.

Infographics, too, have grown with confidence. Many entries skillfully combined data, illustration, typography, and design into compelling narratives. As a Graphics Director, I was especially pleased to see the creativity, ambition, and sheer range displayed across multiple countries and publications. That said, I hope to see that same spirit of innovation and information design extend beyond the graphics pages and into the entire publication.

Finally, congratulations to all the winners. With such a large field of entries and tough competition, this recognition is especially significant. Your work inspired us—and reminded us why design matters.

*(Javier, the former Director of Graphics at USA TODAY, has recently joined The Washington Post as Head of Graphics)

Comment from member of jury, Marco Hernandez (Graphics Editor, New York Times )

BEST OF SHOW

NUESTRO DIARIO (Guatemala)

Click the link to explore the evolution of this well-designed and thoughtfully organized page

GOLD MEDAL WINNERS

NUESTRO DIARIO (Paris Olympics) Guatemala

A TRIBUNA (Page one) Brazil

SILVER MEDAL WINNERS

NUESTRO DIARIO (Infographics) Guatemala

SOUTH CHINA MORNING POST(Paris Olympics) Hong Kong

SOUTH CHINA MORNING POST(Paris Olympics and Infographics) Hong Kong

SOUTH CHINA MORNING POST(Illustration) Hong Kong

SOUTH CHINA MORNING POST(Illustration) Hong Kong

SOUTH CHINA MORNING POST(Double spread) Hong Kong

CHINA DAILY(Infographics) China

ARAB NEWS(Illustration) Saudi Arabia

BRONZE MEDAL WINNERS

MALAYALA MANORAMA (Page one) India

DECCAN HERALD(Illustration) India

THE HINDU (Illustration) India

SOUTH CHINA MORNING POST (Paris Olympics) Hong Kong

SOUTH CHINA MORNING POST (Infographics) Hong Kong

NUESTRO DIARIO (Infographics) Guatemala

LA VANGUARDIA(Infographics) Spain

LA VANGUARDIA(Infographics) Spain

CHINA DAILY (Double spread) China

CHINA DAILY (Infographics) China

ARAB NEWS (Illustration) Saudi Arabia

The post Nuestro Diario Wins Big; Indian Newspapers Earn Bronze, Manorama Bags Rare Honour appeared first on News Paper Design.