Nearly a decade after its last major revamp, The Indian Express has unveiled a striking new redesign. In this conversation, Mridul Mishra, Design Head of The Indian Express, talks to T. K. Sajeev, Editorial Director of newspaperdesign.org, about what drove the change and how the refreshed design brings clarity, coherence, and calm to the paper — reflecting the brand’s confidence and its enduring commitment to “Journalism of Courage.

What was the core motivation behind redesigning The Indian Express at this stage in its history?

The last major redesign was in 2014. In the past decade, the way readers consume news — in print and online — has changed a lot. Over time, many new elements and formats had been added, which made the visual system inconsistent. We felt it was the right time to clean up, simplify, and standardise the design so it reflects the clarity and confidence of the brand today.

How would you describe the new editorial identity of the paper — in tone, style, and purpose?

The new design mirrors the paper’s editorial identity — calm, clear, and deeply focused on substance. It creates space for nuance and reflection in an age of noise, staying true to The Indian Express tradition of rigorous, independent journalism.

What key principles guided this redesign?

Clarity, hierarchy, and simplicity were our guiding principles. Every decision was made to help readers move through stories easily and focus on what matters most — the journalism.

How do you balance the paper’s reputation for rigorous journalism with a design that feels more contemporary and accessible?

When I took over the redesign project from my predecessor in July, I received a clear brief from the editors: to create a modern and practical design that doesn’t chase trends. Instead of relying on visual gimmicks, I focused on a disciplined grid, thoughtful typography, and open layouts to bring seriousness and accessibility together. As A. G. Sulzberger once said, “The design supports the journalism; it never competes with it.” That idea guided my approach throughout the process.

Did the redesign aim to attract new audiences, or to strengthen engagement with existing readers — or both?

Both. We wanted the paper to feel more approachable for new readers while enhancing the experience for loyal ones. A cleaner structure, more visual rhythm, and stronger hierarchy make it easier for everyone to connect deeply with the content.

In what ways does the new design reflect The Indian Express motto, “Journalism of Courage”?

“Journalism of Courage” is about reporting the truth fearlessly and holding power to account. For me, it also means clarity and integrity. The new design expresses those values visually — confident but not loud, assertive but not aggressive. Its restraint reflects the courage to let facts and reporting speak for themselves.

How do you see the redesign influencing the kind of stories and voices that appear in the paper?

The new structure gives more room to long-form journalism, investigations, and explanatory storytelling. It helps balance depth and pace — allowing both quick updates and thoughtful analysis to sit comfortably together.

Could you describe the visual philosophy that guided this redesign?

It comes down to three words: clarity, calmness, and coherence. I removed clutter and built a clear hierarchy so the eye moves naturally across the page.

What inspired the use of more open layouts and white space compared to earlier editions?

We wanted to give readers room to pause and absorb. In a world full of visual noise, white space becomes a quiet luxury — it reflects the confidence of a brand that doesn’t need to fill every inch to make its presence felt.

How did you approach the choice of typography for headlines, body text, and subheads?

We used the Tiempos family from Klim Type Foundry for text and headlines, and Graphik Compact from Commercial Type for secondary elements like slugs and captions. These families were introduced during an earlier masthead refresh, so they were natural choices to carry forward. Tiempos brings clarity and elegance to editorial use, while Graphik Compact saves horizontal space without losing readability. Together, they give the paper a distinctive, modern voice that still feels rooted.

The new design uses larger photographs and bolder visuals. What kind of reader engagement were you hoping to achieve through this shift?

Images are now treated as part of storytelling, not decoration. Larger visuals draw readers into stories and add emotion and immediacy — it’s about engagement and comprehension, not spectacle.

How did you balance visual appeal with journalistic seriousness?

I used restraint as my design tool. The appeal comes from proportion, typography, and order — not flashy effects. The tone stays serious, but the reading experience feels more open and inviting.

What were the biggest challenges you faced while implementing a full redesign across all editions?

Implementing a full redesign across all editions meant aligning multiple workflows, systems, and teams. This time, it was more demanding because we were not only refreshing the design but also moving to new software and a new workflow system. Managing fonts, maintaining colour consistency, standardising stylesheets, and training across the newsroom were the toughest parts. It was only possible because of the tremendous hard work and dedication of my team members, along with the close collaboration between the design, production, and editorial teams.

Each section — Explained, The World, Economy, Sport, Express Investigation, and Big Picture — has a distinct visual identity. How were these conceptualised?

Each section reflects its own editorial rhythm. Explained focuses on clarity and diagrams; Express Investigation feels bold and confident; Big Picture is immersive and image-led. The idea was for every section to be instantly recognisable while still part of one cohesive system.

The Big Picture section stands out for its visual storytelling. How did you decide to allocate so much space to long-form visuals?

I believe strong journalism can also be visual. The Big Picture is designed to slow readers down — to make them spend time with a story and feel its depth. It celebrates photography and long-form narrative as an essential part of serious journalism.

How did you envision Express Investigation balancing depth and design clarity?

For Express Investigation, we used a pared-down palette and a clear typographic hierarchy so the reporting leads. The design is bold in its simplicity — serious, focused, and direct, matching the intent of the journalism.

Was there an intentional shift toward helping readers navigate content more intuitively?

Yes. Reader navigation was central to the redesign. I built consistent visual cues, clear section markers, and a strong headline hierarchy so readers can find what they value quickly — whether they read cover to cover or dip in selectively.

Beyond aesthetics, what strategic outcomes do you hope this redesign will achieve?

Beyond appearance, my goal is to make the paper feel lighter, more approachable, and more habit-forming. I want readers to stay longer, move easily between print and digital, and feel that The Indian Express matches their pace and curiosity.

How does this new design strengthen The Indian Express’s position in today’s media environment?

In a time when trust and attention are scarce, design becomes a signal of credibility. A clean, consistent visual language reinforces confidence in the brand and its identity as a serious, modern news organisation.

Do you see the redesign as part of a longer-term transformation — perhaps toward a more integrated multimedia newsroom?

Yes, absolutely. This redesign is a foundation for the future — one that connects print and digital. The modular structure and visual system are built to adapt easily to new formats and platforms as the newsroom evolves.

How do you plan to keep the design evolving without losing its core identity?

I’ve seen rigid systems ruin very well-designed newspapers, so my approach is flexible but disciplined. I’ve built a clear visual grammar — in grids, typography, and tone — that allows for evolution without losing identity. The aim is to keep refining, not reinventing.

The post The Courage of Clarity: How The Indian Express Reimagined Its Design for a New Era appeared first on News Paper Design.

Sipho Kings, publisher and co-founder of The Continent—Africa’s most widely distributed weekly—and South Africa’s The Friday Paper, speaks with TK Sajeev, Editorial Director of NewspaperDesign.org. He talks about their reimagined 21st-century newspaper model, which is delivered directly through messaging apps. A former award-winning science and climate journalist at the Mail & Guardian, where he later became news editor and editor-in-chief, Kings reflects on the newspaper team’s bold publishing experiment and what it reveals about the future of journalism.  

What led to the creation of The Continent and later The Friday Paper, and how has their PDF-based model contributed to their success?

We launched The Continent at the height of the Covid-19 pandemic, in April 2020. At that point journalism was collapsing across Africa, and the world. People were sharing wild disinformation on WhatsApp. But journalism was largely absent because our dominant format as an industry is still the website, with single links shared across platforms. We knew this is where we needed to focus on creating a new news product that took advantage of the viral nature of that platform. Our incredible designer, Ashleigh Swaile, created a format that took the strengths of a print newspaper and translated them into a PDF format that you could read on a phone. Since then Wynona Mutisi and Yemsrach Yetneberk have joined the team and continued to evolve this format.  

The newspaper went out to a few dozen friends and our sole ask of people has been to share the newspaper with other people who would appreciate it. We now have 33,000 subscribers in 160 countries, including every country in Africa. Those readers most often use the words “love”, “trust” and “fun” to describe The Continent. This October we launched our second newspaper – The Friday Paper covers South Africa using the same model. We’re here to make PDF’s sexy again. And empower people with quality journalism, in a format that they want to read and share. 

What gap did you see in traditional or digital news delivery that this format could fill?

It’s really unpleasant to be a news consumer in this current version of journalism. Our industry has bet on websites and sharing stories on various platforms to entice people back to a website. That means you’re bombarded with links, push notifications, and noise in your feed while also never feeling like you have read the news of the day – there’s always more to click on or search for. The Continent and The Friday Paper are one product that you get on your favourite peer-to-peer chat platform. In the case of WhatsApp, this means an entire news product arrives on your phone and you can then read it there when you want to. Then you’re done for the week. This is a very different proposition to how things currently work with most news publications.   

WhatsApp is a messaging platform, not a publishing tool. How did that limitation shape your design approach?

We treat WhatsApp as a publishing tool. Our newspaper is platform agnostic and, as long as you can share a PDF, we can use that platform. This reduces our dependency on any one platform and means we control the design of the newspaper – rather than the various Apple, Google and Facebook news pages over the years, where your product must fit their design parameters.   

What design principles or visual strategies do you follow to ensure readability and engagement within such a compact space? ( This response is from our design team: Ashleigh Swaile and Wynona Mutisi  )

Our baseline criteria was that the newspaper be easy to read on a smartphone. So, whatever form the layout took, it needed to translate easily on a small screen, with minimal zoom-in required. That’s how we landed on our two-column grid, and it also helped to determine our fonts and font-sizing. The challenge then took on a different form: how do we make a restrictive and simple template engaging? Somewhere in the aesthetics, we had to find small but effective ways of adding visual interest. This included creating distinctions between our news, features and photography sections, for example… to help us avoid becoming visually monotonous for our readers. 

The newspaper template benefits from having a limited colour palette, apart from the traditional Black and White, we employ a statement Yellow-Orange colour in both The Continent and The Friday Paper to highlight specific areas of the paper. Keeping the colours relatively simple allows us to experiment with placement of images and illustrations without making a page feel very busy. Our fonts are not overly stylistic or decorative, so they complement our wide range of visuals well. We typically have well curated photos every week and often, we have beautiful illustrations. That is something our readers have noticed, praised us for and stated to be some of the most enjoyable parts of reading our newspaper. The idea is to create harmony between the text and visuals and have both tell a unified story. 

To make good use of the small real estate, we pay particular attention to the size of photos and illustrations on a page. Wherever possible, we like to run a photo or illustration full-page usually to start a new section in the paper. Not only is it visually interesting for the readers and looks great on a phone, but it also creates a moment of pause and to get a sense of the story from the visuals before diving into the text. We place value in the power of images and illustrations to tell compelling stories, so we like to give them the space to do just that. 

How do you balance journalistic depth with visual simplicity in a mobile layout?

Most journalism is too long. And online there are few original photographs, or illustrations. Website journalism has become about long slabs of text and not engaging people. The data from websites show this, with people reading an intro or a few paragraphs then dropping off. Our design helps ensure that we keep stories long, with no more than 300 words on a page. And that’s enough to make a really strong news story. The key there is in editing the journalism. The team then makes sure that the newspaper as a whole speaks to itself, and to that week, with the stories meeting the design and format. In our reader surveys, nearly half of readers say they read the newspaper from cover to cover.  

How has the audience responded to this WhatsApp-based format?

The words subscribers use the most when describing The Continent are love, trust and fun. In our surveys, people consistently point to that mix of design, stories, illustrations, photos, format and distribution as one they really appreciate. That’s in part why we have been able to grow to 33,000 subscribers solely through word-of-mouth: people share The Continent because they want other people to read it and enjoy it.  

Are there any patterns in how stories spread through forwarding and sharing?

The single newspaper means it is easy to share, anywhere. While one person might subscribe and get The Continent each week, they will then drop it in their church WhatsApp group, family chat, office Slack channel or send it to someone they want to impress. Our core readers share it with up to 10 groups and individuals each week. That gives us a readership of over 150,000 a week.  

What are the biggest editorial challenges in distributing journalism through encrypted networks like WhatsApp?

The format and distribution channel don’t affect us editorially. Our goal is to empower people with quality journalism. The single newspaper means we can have people read from the same reality (rather than live in a curated bubble), and read things they otherwise might not come across. This is different from how journalism has been built in the last 15 years.  

How do you verify reach and engagement without traditional analytics tools?

We know who subscribes to The Continent and now The Friday Paper. So we know about that first community. We also do in-depth surveys to build out what we know about the community, without extracting data or embedding cookies to track people. Our last survey had over 1,300 respondents. We’re strengthening those tools. And we have learned to be okay with not knowing what happens beyond that first network of readers – that data would be interesting but also our job is to get journalism to people and any bonus readers are a bonus.  

The Continent has inspired many similar models worldwide. Do you collaborate or share insights with other publishers exploring messaging platforms?

Because we’re trying something new – or a new mix of existing things – we want to share and learn as much as possible. We’re only here because others shared with us. We want to pay that forward. And there’s no point in being a lone surviving newsroom if everyone else fails: the world needs more newsrooms and more journalism to meet this moment. Time means we don’t consult or sit down with newsrooms to do in-depth partnerships, but we talk about our learnings and informally talk with people who want to pick up bits of our learnings.  

Have you noticed design or editorial innovations emerging from this community?

Yes. One of the things that really interests us is the different ways different cultures tell stories. In newspaper format this means some cultures will need longer stories, or different images, or for the page design to work a different way. This is where an AI translating your news and replicating it doesn’t work. You need people who get storytelling in a culture to tell those stories. Atar Magazine uses white space and illustrations really well and has us thinking how we invest more time and resources into doing the same. Egab, a newsroom that focuses on Arab-speaking countries, was inspired by our WhatsApp community to start asking for pitches through the platform, which in turn helps us think about using WhatsApp that way.

Do you see WhatsApp (or similar messaging apps) evolving into a mainstream platform for journalism?

Lots of newsrooms already use WhatsApp in different ways to engage with their readers. Where we’re starting to see steady innovation is in creating new news products for that platform, and its peers. The potential there is massive.  

What changes would you like to see from WhatsApp itself to better support news media and design storytelling?

Big picture, I’d love to see WhatsApp become a public utility like Wikipedia or Signal. It is the world’s most important communication tool, and nobody should have control over that. On a practical level having Meta acknowledge that it is used to publish journalism would be a big step, especially if it acknowledges that this happens in the global south as well, rather than the inevitable focus on Western organisations when they see the light on WhatsApp.  

Could this model be scaled or adapted for other languages, regions, or topics?

Quality curated news in a newspaper format is timeless. And we know readers want it. It’s great in countries where data is expensive (much of Africa), where algorithms aren’t built for local knowledge (Latin America), or where repressive governments are coming after publishers (everywhere).  

Do you ever imagine a world where newsrooms publish exclusively on messaging platforms like WhatsApp?

Not exclusively. One of the mistakes we made with the digital first moment has been to surrender our core strengths to platforms. We need to think more about media products that we control – that take advantage of mass distribution tools to reach people, but don’t decide what we do and how we do it. That means using WhatsApp to empower people with your journalism but also reaching them through other platforms. And we can do that by custom building beautiful newspapers (or magazines etc) that make people want to read and engage with journalism. Those are then things people can share with anyone, anywhere. 

some pages from The Continent

What do you see as the biggest strengths of the WhatsApp newspaper model?

Answering this more generally on the bespoke PDF newspaper model, rather than on WhatsApp. 

– At its best, journalism curates bits of the world and helps us know more about each other. Newspapers are a perfect format to lean into that strength.  

– It is finite. There’s no endless scroll and when you finish a page or edition, you’re done.  

– You can escape censorship and share it with anyone, anywhere.  

– You are not reliant on platform algorithms, referrals or generative AI agents. People are recommending your newspaper to other people. Your network is then organic and resilient.  

Do you believe messaging-based journalism could redefine what a “newspaper” means — from a printed layout to a shareable, mobile narrative?

I love newspapers. I’m not alone. This is an incredible way to inform, entertain, educate, challenge and empower people in a shared reality. Our industry tried to kill newspapers in the shift to websites, forgetting the strengths of that format. But 21st century technology isn’t the end of the newspapers; it’s a way for newspapers to be better and get to more people. Beautifully designed products that tell you a bit about the world and can be shared anywhere are a way to save our industry

How do you generate revenue for your publication? What are the possible revenue streams?

On the revenue, we are majority donor funded. This has allowed us to build The Continent for three years and prove that this is a different kind of way to do journalism, and one that readers want. We are now growing other revenue streams, like merchandise and events. The Friday Paper in South Africa will have advertising and we expect this to be a strong income stream. Outside of a few giant outlets, nobody has solved a sustainable model for quality, ethical news journalism and it is really hard out there. Just staying alive in this climate is an achievement. 

The post From Crisis to Innovation: The Continent’s Model for the Future of News appeared first on News Paper Design.

Globally acclaimed veteran design consultant Dr. Mario García—with a five-decade portfolio across 750 media companies in 122 countries—shares an exclusive write-up for NewspaperDesign.org on his 17th book, Consulting with Heart.

By Mario Garcia

CEO, Garcia Media; Senior Adviser on News Design/Adjunct Professor, Columbia University School of Journalism

Books don’t just arrive—they demand to be born. Mine knocked insistently on a transatlantic flight from Zurich to New York on June 12, 2024. I was meant to nap, but instead, my mind flooded with memories of a five-decade consulting odyssey across 750 media companies in 122 countries. By the time the BOEING 777-300ER touched down, the outline for Consulting with Heart—my 17th book—was scribbled in frantic notes and Swiss Airlines napkins. Launching November 4, this isn’t another manual on visual journalism, design, or AI-driven storytelling (though those threads weave through my work). It’s a very personal, diary-fueled memoir and playbook for anyone contemplating a consulting career.

As visual journalists and editors, you live at the intersection of ideas and execution: crafting narratives that captivate, redesigning layouts that innovate, and navigating client visions under tight deadlines. Consulting with Heart mirrors that world. Drawn from 200 personal diaries, it relives the thrill of birthing groundbreaking projects—and the sting of ideas shot down in flames. If you’ve ever pitched a bold redesign only to see it shelved, or interpreted a publisher’s dream into an award winning reality, this book is for you. It’s preparation I wish I’d had when I started: no graduate degree in consulting exists, yet the challenges never stop evolving. At 78 , I am still working as a consultant, facing new challenges and learning new lessons. My curiosity is the same it was 56 years ago when my career began.

Interpreting Dreams, Selling Ideas

At its core, consulting is dream interpretation. Clients arrive with visions—often vague, ambitious, revolutionary. Your job? Unearth the essence, nurture it through chaos

I see myself as someone who sells ideas, interprets dreams, and is often the writer

for what Jony Ive (the genius behind Apple’s greatest products) refers to as “the biography of an idea.”

Perhaps one of the most satisfying aspects of my consulting career, which I hope I transmit in the book, is the moment of birth for an idea is usually via a discussion on that first important meeting when the client expresses her desires, and I, as a consultant, dig into my experience and expertise to find how I can deliver them. An important job for the consultant is understanding and nurturing the essence of an idea during the development process of a project.

Trust is the foundation: active listening, genuine empathy, transparent limitations, and relentless follow-through. Master these, and you don’t just deliver—you transform newsrooms.

It’s Not All Roses: Embracing Rejection

Consulting’s dark side? Ideas die. A chapter dissects case studies where elements clashed—initially. Learn to detach: I’ve watched rejected concepts revive through in-house champions, while others filled my “drawer of dead ideas.” Don’t cling; the next breakthrough is waiting. Emerge wiser, ready to pivot, as I advise my Columbia graduate students: Pain awaits the overly attached. Triumph follows the resilient.

AI and the Human Edge

In Chapter 10, I dive into AI’s disruption—data analysis, risk mitigation, report automation, timeline optimization. These tools will reshape our workflows, freeing us for strategy and storytelling. But here’s the unassailable truth: Robots lack “the scent of the human.” Passion and heart remain your superpowers. A dedicated chapter unpacks passion as the ultimate engine—fueling marathons, PhDs, room makeovers, and every client wins. Integrate it from pitch to print, and watch expectations shatter.

The role of passion

I devote a chapter to the role that passion plays in the role of a consultant, and here is a takeaway:

Of all the qualities that contribute to a consultant’s success, passion is the most potent and transformative. Passion isthe engine that’s fueled every one of my endeavors, whether running a marathon, pursuing a PhD, decorating a room, or, mostimportantly, consulting. It is the engine that fuels my efforts,

propelling me to not only meet but exceed expectations. Offering best practices to make passion an integral part of the consultant’s work, this chapter will explore the vital importance of passion fora consultant and how it manifests from the very first interaction to the execution of key ideas.

Case Studies Tailored for Visual Storytellers

For you—the visual journalists and editors—Consulting with Heart pulses with real-world media transformations:

• The Wall Street Journal: Redesigning icons under pressure.
• Die Zeit (Germany): Infusing elegance into digital evolution.
• El Tiempo (Colombia): Cultural fusion in layout innovation.
• St. Cloud Daily Times (Minnesota, USA): An extended diary deep-dive into my first major project—a small-town paper’s leap to legacy.
• Plus glimpses into Des Moines Register, Handelsblatt, Tagesspiegel, Sudkurier, The New Paper (Singapore), O Estado de S. Paulo (Brazil), La Gaceta (Argentina), and Diario de Noticias (Portugal).

These are vivid narratives of highs, lows, and lessons..

The Collaborative Magic

A book is a collaborative effort.   My team elevated this one: Associate Editor Steve Dorsey scrutinized every word, image, and caption. Designer Rodrigo Fino (Garcia Media Latin America, Buenos Aires) crafted a visually stunning layout. Illustrator Chris Morris opened each chapter with evocative art that previews the journey. Greenleaf Publishers’ editors, led by Maxine Marshall, sharpened every insight.

I hope you enjoy Consulting with Heart . I hope it will arm you to consult smarter, innovate bolder, and lead with the passion that leads to transformation.

Order your copy: amazon.com/dp/1966629958

The post Consulting with Heart: A Visual Journalist’s Guide to the Soul of Consulting appeared first on News Paper Design.

Alexandre Calderón, Graphic Editor at El Financiero, Mexico, speaks with TK Sajeev Kumar, Editorial Director of NewspaperDesign.org, about the creative process behind developing infographics and data visualizations.

How do you define the role of a graphic editor in a modern newsroom like El Financiero?

For me, the role of a graphic editor goes far beyond simply “decorating” a story. I see my work as building an emotional and intellectual bridge with today’s reader—someone more demanding and fragmented than ever before. My goal is to deliver information that is clear, credible, and visually engaging, so that graphics don’t just accompany the story, but enhance and elevate its editorial message.

At El Financiero, under the leadership and trust of our Editorial Director, we operate in a horizontal, self-managed model—very different from traditional hierarchical structures. Each designer and infographic journalist takes full ownership of their visual proposals, supported by the newspaper’s editorial standards. This structure requires sound judgment, strong training, and professional autonomy, but it also gives us the freedom to innovate and develop a visual maturity that has become strategically essential.

For me, graphic design doesn’t merely reinforce the editorial narrative—it amplifies it. And in doing so, it strengthens the trust we build with our audience.

What inspired you to focus on infographics and visual storytelling?

When I was young, I took a few psychology classes and discovered a world that changed the way I saw communication. Cognitive psychology helped me understand how the brain perceives, processes, and communicates information, while Gestalt psychology revealed how visual patterns shape clarity and impact.

Later, my training as a visual artist gave me a foundation in drawing, composition, and color. It taught me to see art not just as self-expression but as a set of tools that can be applied to design and editorial storytelling. That shift—from art as personal expression to design as purposeful communication—was a natural evolution.

Once I entered the professional field, I explored the potential of infographics as the perfect medium to deliver messages clearly and meaningfully. I’ve drawn inspiration from global masters like Adolfo Arranz (Reuters), Marcelo Duhalde (SPH ), and Marco Hernández (The New York Times); Fernando Baptista and Mónica Serrano from National Geographic; and my Mexican colleague Diana Estefanía Rubio, whose work reminded me that visual journalism should move people as much as it informs them.

This journey led me to see editorial designers not as decorators, but as true content creators—professionals who research, refine, and construct narratives as part of an integrated editorial process. That’s the vision I bring to every project.

How do you decide when a story needs an infographic rather than a traditional article?

It begins with understanding the nature of the information—and how readers can best grasp it. When data is complex, numerical, or requires showing spatial, temporal, or hierarchical relationships, an infographic is the ideal tool. It translates abstraction into clarity.

But when a story demands deeper interpretation or narrative nuance, text becomes irreplaceable. The challenge is not to choose between “image or word,” but to combine them effectively. Sometimes visualization reinforces the written word; other times, the infographic alone captures the essence more powerfully.

Ultimately, the key question is: What does the reader need to understand this story clearly and meaningfully? That question guides every editorial decision—and often leads to a balance between words and visuals working in conversation.

Could you walk us through a recent infographic project, from idea to publication?

One of my passions is motorsport—particularly Formula 1. At El Financiero, I’ve explored ways to bring readers closer to this world through data-driven storytelling. A recent example was a three-page infographic showing the state of the championship at mid-season.

Step 1: Defining the Editorial Goal

I began by framing the core questions: How are drivers performing after the summer break? What context does the reader need? From there, I outlined the key data—rankings, circuits, podiums, poles, and retirements—verified directly from official F1 sources.

Step 2: Data Collection and Structuring

I normalized and cleaned the data, ensuring accuracy and consistency. This stage isn’t just technical—it’s narrative. Numbers become meaningful only when they tell a story.

Step 3: Visual Construction

Through initial pencil sketches, I outlined the architecture of the infographic by first establishing the narrative construction, articulating the communicative intention and the focus of the visual storyline and subsequently systematizing the content through the 5W+1H model (What, Who, When, Where, Why, and How). Within my methodological framework, this model operates as an operational scaffold that translates narrative intent into a clear and strategic informational structure. This stage enabled the definition of hierarchy and visual flow prior to transitioning into digital tools.

Step 4: Digital Execution

I transferred the layout into Illustrator and Procreate, designing circuit charts and radar graphs to illustrate driver performance. Each visual element served a purpose: to clarify patterns, not decorate the page.

Finally, I collaborated with the editor for final stylistic and editorial refinement, while preserving the narrative structure that had already been established during the research phase.

How do you source and validate your data?

I always begin with a clear thematic focus, then collect and cross-check information from reliable sources. My process involves both primary sources—official databases, institutional reports—and secondary ones such as reputable analyses or media coverage.

For instance, in an infographic paying tribute to Aretha Franklin, I drew data from Billboard and Rolling Stone, cross-referencing rankings to confirm accuracy before moving to design.

What’s your process for cleaning and preparing data?

I treat data as the foundation of every visual narrative. My process follows three stages: collection, refinement, and structuring. I remove duplicates, correct inconsistencies, and organize the information into tables to reveal patterns.

This is not just a technical step—it’s editorial. I determine which data is truly relevant and how to turn it into a story that the reader can grasp instantly.

Do you begin with sketches, wireframes, or digital tools?

Always with pencil and paper. Sketching helps me organize information and establish hierarchy before moving to digital platforms like Procreate or Illustrator. This combination of analog thinking and digital precision gives me both creative freedom and technical control.

What tools do you rely on most?

• Data preparation: Excel, Numbers, and Word.
• Design: Pencil and paper for the initial sketches, Procreate for early visualization; Illustrator, InDesign, and Photoshop for final development.
• Visualization platforms: PlotDB and Flourish for exploring data-driven approaches.
• Publication: Coordination with prepress to fine-tune layouts for print—and soon, digital formats.

How many iterations do your projects go through before final approval?

Every infographic undergoes multiple stages of review. I first consult with subject experts and editors like Antonio Ortega, whose insights strengthen both content and clarity. The piece then goes to the Graphic Director, Ricardo del Castillo, for visual refinement, and finally to the Editorial Director for approval.

This multilayered review ensures every project meets El Financiero’s standards of rigor and readability.

How do you simplify complex financial or economic data?

Simplification means clarity, not reduction. The key is to translate complexity into meaningful context. Illustration helps bridge understanding, while narrative structure gives data logical flow.

In one piece—Musk vs. Nations’ GDP—I used visual comparison to help readers grasp scale. Seeing Elon Musk’s wealth side by side with national GDPs provided instant comprehension.

How do you balance accuracy with visual appeal?

Accuracy is non-negotiable. But clarity and appeal are also essential. I follow Alberto Cairo’s principle: a visualization must be both truthful and engaging. Every design decision passes one test: Does this element aid understanding, or merely decorate?

If it clarifies, it stays. If it distracts, it goes.

How do you make your graphics accessible to a broad audience?

Accessibility starts with empathy—putting myself in the reader’s place. I prioritize clear hierarchies, legible typography, and balanced contrast. I never assume readers are already familiar with the subject. My goal is simple: clarity without oversimplification, elegance without confusion.

How do you handle sensitive topics or uncertain data?

If data isn’t verified, I don’t use it. Integrity is the foundation of trust. For sensitive subjects, design must be respectful—never sensational. It should guide understanding, not exploit emotion.

How has social media changed infographic design?

Today’s audiences scroll fast and expect instant clarity. Social media demands concise, high-impact visuals—micro-infographics, carousels, short animations—that communicate in seconds.

Designers like Emma Kumer of The Washington Post have shown how speed and depth can coexist beautifully. Social formats haven’t diminished infographics—they’ve expanded their reach and relevance.

Do you see AI as a help or a threat to visual journalism?

I see AI as an ally, not a threat. Used wisely, it can streamline processes and enhance productivity. The danger lies only in letting automation replace human thought. Creativity, intuition, and judgment remain irreplaceable.

AI should assist, not author.

What trends in data visualization excite you most?

I’m inspired by global excellence—the South China Morning Post, National Geographic, and designers like Marco Hernández, Diana Estefanía Rubio, and Federica Fragapane. Their work blends precision, emotion, and narrative power.

These creatives remind me that the best data visualization is both analytical and human.

Which of your infographics are you most proud of, and why?

Every project I’ve worked on has brought me happiness and motivation for the next one. The trust placed in me by the editorial and graphics leadership has allowed me to take full ownership of projects—from idea and analysis to narrative design and execution. Each one holds special meaning for me.

However, two projects stand out as milestones in my career.

The first was my debut infographic at El Financiero: “35 Years of Thriller: The Video that Changed the History of Music.” Many members of the creative team collaborated on it. I loved working on this project because it taught me how to distill a large volume of information into a clear, structured, and visually engaging layout. We created a graphic showcasing Michael Jackson’s dance moves that invited readers to interact with the design.

The interactive element consisted of a static micro-graphic embedded within the visual narrative, designed to invite the reader to “step into the scene” and reproduce the choreography, fostering emotional engagement and participation. The project was released in two consecutive installments — the first on day one and the second on the following day— which together formed a complete poster. It was a demanding production that required teamwork, creativity, and precision— but the result was deeply rewarding.

The second project that means a great deal to me was a 12-part series titled “CHECO: Born to Be a Legend,” chronicling the year-by-year Formula 1 career of Mexican driver Sergio Pérez. From idea development to production and printing, it was a project that tested every skill I had.

Starting from Pérez’s debut in 2011 through 2022, the series opened with two introductory pages that featured personal details and a career timeline before Formula 1. Each subsequent page presented an “x-ray” of a season—detailing his car, race results, salary, championship standing, points compared to teammates, and other key statistics.

Without question, it was one of the most fulfilling and proudest moments of my career.

What are the three most common production mistakes you see—and how do you fix them?

In my experience, three common mistakes often affect infographic production.

1. Information overload
It’s easy to get carried away by the wealth of raw material and forget that the essence of an infographic is clarity. When we try to include everything, the result is visual noise. The key is to define a clear editorial goal and organize content into coherent narrative blocks. Asking myself “What does the reader need to understand first?” helps shift focus from creator to audience—essential for maintaining clarity and purpose.

2. Lack of data verification
Nothing undermines credibility faster than incorrect or misinterpreted data. An infographic built on flawed numbers loses legitimacy and damages trust. As visual journalists, we carry the responsibility of accuracy. I always verify information with official sources and cross-check it with at least two credible references before moving to the design phase.

3. Weak narrative connection
Sometimes, a graphic looks technically perfect but fails to tell a compelling story. This usually happens when we assume readers know what we know and skip over guiding elements. To avoid this, I start every project with sketches on paper—mapping the story flow from general to specific. Each design element must serve a clear purpose, guiding the reader smoothly through the narrative.

As graphic designers, we play a vital role in storytelling. Beyond aesthetics, design carries ethical and social responsibilities—it shapes how people perceive and interact with information. Responsible design means creating visuals that are accurate, accessible, and honest.

Design also transforms—it educates, informs, and connects people to the world around them. Continuous learning, curiosity, and innovation are essential to this craft. Passion, ethics, and creativity are what turn design from a job into a meaningful contribution to society.

I’m deeply grateful to the entire El Financiero creative team, and especially to my chief and mentor, Ricardo del Castillo, for his trust and guidance in allowing me to create works that have become part of our shared visual history.

The post Redefining Visual Journalism: Alexandre Calderón Speaks on Creativity, Data, and Trust appeared first on News Paper Design.

We at NewspaperDesign.org are delighted to share that T.K. Sajeev Kumar, our Editorial Director, has been re-elected to the Global Board of the Society for News Design (SND) — the world’s leading professional body for visual journalists. He will serve a two-year term.

First elected to the board in 2024, Sajeev continues to be the only Indian representing the region at the global level. Established in 1979 and headquartered in the United States, SND promotes excellence and innovation in visual journalism worldwide.

With over 31 years of experience in the print media industry, Sajeev brings deep insight and leadership to the evolving world of news design. Through NewspaperDesign.org, he continues to champion global conversations on visual storytelling and editorial innovation.

Read more on SND.org →

The post TK Sajeev Kumar Re-elected to Global  Board of Society for News Design appeared first on News Paper Design.

Fadah Jassem, Head of Data Visualization Journalism at The National News, led a powerful visual storytelling project that documents the lives and tragic deaths of journalists killed during the Gaza war. The interactive piece humanizes the toll of the conflict, blending data, profiles, and design to show the dangers faced by media professionals reporting from the front lines.

In connection with this, TK Sajeev, Editorial Director of NewspaperDesign.org, spoke with Fadah Jassem about the editorial vision, data challenges, and design decisions behind this impactful project.

Alongside long-form visual journalism, Fadah launched Data Explained—a signature digital series featuring “Chart of the Week,” in-depth data stories, and animated explainers designed for social media audiences.

When you set out to visualize data about journalists killed in Gaza, how do you determine which data sources are credible and acceptable? What checks and cross-validation steps are involved?

It’s always difficult to independently verify figures from Gaza, especially since Israel has banned foreign journalists from entering the enclave since October 7th. We rely on a combination of authoritative sources, including international agencies such as the UN, WHO, and OCHA; trusted journalist-monitoring bodies like CPJ, IFJ, and RSF; and our own reporters and fixers on the ground. Every record is cross-checked where possible.

We normalise names in Arabic and English, verify dates and locations, and look for consistency across datasets. When discrepancies arise,  which they often do we document them transparently. In some cases, we consult OSINT techniques: satellite imagery, verified photos and videos or hospital reports, to corroborate final reporting, which is what we did in our latest investigation on journalist killings in Gaza. 

When outliers occur, we ask why, and I think that, as journalists, we are usually good at connecting the causes.

Walk me through the process of turning raw data into a visualization. What are the trade-offs you consider ?

Once we have obtained a data source and we feel confident about using, we first clean and organise the data, often focusing first on names, dates, and geographies. Then we decide on the best structure to tell the story: timeline, map, chart or grid. The trade-off is always detail versus clarity. You want enough depth to be accurate, but not so much that the audience gets lost. This is why speaking with reporters or deciding how granular the story will be is important. 

Given the sensitivity of conflict data, how do you handle uncertainties or missing/incomplete data? Do you use estimates, ranges, disclaimers?

In most cases, as it relates to conflict data, we will use disclaimers to make clear it’s limitations. We flag them openly using disclaimers such as “at least” when talking about casualty figures, for example and spelling out the limitations, or ranges of a dataset. If there is incomplete or unclear data we label it as such or label it as ‘unknown’. Transparency is more important than false precision.

How do you choose which types of visualization are most suitable for this kind of story, especially one involving human lives?

For this particular story, we worked on journalist deaths. we quickly decided to represent each journalist in our data with a press vest. The press vest has multiple meanings, but it also stands out to us as an attempt by the journalists to distinguish themselves from civilians and or militants… the press vest is meant to be a form of protection…. Sadly, in Gaza, this is not the case. 

It’s also always nice when you and your colleague have the same sort of visualization in mind which was the case with this story. Both me and my colleague Issac Arroyo thought representing each journalist as a press jacket would work well. 

When thinking about a visualization or a  chart, I always think what’s the most effective and quickest way to tell the audience what they are looking at, the visualization should be clear or should pull you in to find out more. Adding textual context and quotes is essential here. We spend a considerable amount of time on headings, subheadings, and annotations. 

What software tools, platforms or technologies do you rely on for creation and dissemination of these visualizations? How do they limit or enable what you can do?

We use a range or tools and all are dependent on our needs at the time and the type of visualization and platform. For web and shorthand/long-read formats, we will often use a combination of Flourish, Illustrator, InDesign, R, Datawrapper, or Mapbox. For social formats, it can be all of the above, mixed with support from our design team and Adobe Premiere Pro for animations created by our animators. We’ve also been experimenting a little with Canva and Figma. 

Illustrations and graphics of killings and deaths often carry a strong emotional weight. What responsibilities do you feel as a visual journalist when representing the stories of those affected?

We feel that weight constantly. Our responsibility is to represent quantitative loss with dignity and precision. Numbers can dehumanise, and our job is to humanise numbers as much as possible. 

One example was our “Lost Childhoods” piece on Gaza’s child death toll. We didn’t just show how many were killed, but how many birthdays they would never reach, or how many hugs they would never receive (based on psychological research on children’s needs). Some colleagues cried; others questioned whether it was too abstract. Ultimately, we decided to leave it to the audience to decide and the impact of this report was overwhelming positive. That reaction underscored the point:

When the data is unbearable, you need to find ways to make it feel without sensationalising.

Click to see the interactive graphics

Graphic storytelling can sometimes risk being misinterpreted, oversimplified, or even taken out of context. How do you ensure your illustrations communicate the truth without being used as propaganda? 

It’s very easy for data or graphics to be taken out of context or even used to push a narrative. People often think data journalism is purely objective, but how you choose to visualize a dataset can really shape how it’s understood. The scale, colour, chart type, or even what you leave out; all of these decisions can change the final intent of a chat and how people interpret the story.

For me, the primary safeguards are transparency and intent. This is also my approach when approaching datasets… is the methodology clear, who are the sources behind this data? I always ask myself what the most honest way is to represent this data without overstating its findings. That means being transparent about sources and avoiding any visual choices that might exaggerate or sensationalise.

Context also matters a lot. Our visuals are never standalone; they sit within strong reporting that explains the data, the methodology, and the limitations, including what the data doesn’t show. And even when they are we, we take a lot of care and time with headings and subheadings of a chart. 

In the end, data visuals should clarify, not convince. The goal isn’t to make the data fit a story, but to let the evidence guide the story and to be upfront about where interpretation begins.

What do you hope that visualizations like the ones in that Gaza article achieve? What kind of reaction are you aiming for—from the public, policymakers, other media?

With stories like Gaza, my primary goal is to help people understand what the numbers actually mean. When you’re talking about tens of thousands killed or millions displaced, it’s easy for those figures to lose meaning. Visualization can help bring the scale and the humanity back into focus.

I want our work to cut through figures fatigue and make the data impossible to ignore. Whether it’s showing the loss of children’s lives, the destruction of farmland or the spread of famine, the goal is for people to stop and really see what’s happening. 

For policymakers and other media, I hope these visuals act as a form of accountability and a factual, evidence-based record that challenges official narratives and shows the real impact of decisions.

How do you think different audiences – local, international, or those directly affected – interpret these visualizations differently? Do you adapt your design depending on the audience?

I don’t think there’s a huge difference in how we design visuals for different audiences. For us, it’s less about whether the audience is local or international, and more about which platform we’re designing for — web, print, or social. Each platform has its own rhythm, tone, and design language, so we focus on adapting the same story to fit those different spaces.

A good example of this was our print version of the story. After spending considerable time refining the visuals for web and social, our Deputy Head of Creative, Deepak Fernandez, worked on the final print layout. His version was incredibly smart and striking — a reminder of how much impact design decisions can have when tailored thoughtfully to the medium.

Are there new techniques, technologies that you see as promising for improving how conflict risks or journalist safety are visualized ?

Crowdsourced reporting and satellite imagery are good alternatives to inaccessible locations around the world and conflict zones that are hard to reach. They allow us to glimpse the scale and extent of damage or movement really well in the absence of on-the-ground reporting. 

How do you foresee the role of visualization evolving in investigative journalism, particularly in contexts of war and human rights?

Visualizations are becoming an essential part of how we document and explain conflicts and human rights abuses. In war, data can be chaotic, incomplete or deliberately distorted so the role of a data journalist is to find ways to capture and communicate the accurate data points more clearly and responsibly.

We’re surrounded by data, from satellite imagery to social media evidence to official reports, and our job is to turn that into something people can actually see and understand. That often requires out-of-the-box thinking,  using maps, timelines, satellite overlays or 3D reconstructions to piece together what’s really happening on the ground.

Satellite images show extent of Israeli strikes on Yemeni ports held by Houthis

I think visualization will continue to play a growing role in accountability journalism,  not just showing numbers, but providing evidence that can challenge official narratives and help audiences see the human impact behind the data.

Looking ahead, how do you see the role of visualizations and illustrations evolving in conflict reporting, and what innovations or approaches are you most excited about exploring?

Visual storytelling is becoming one of the most powerful ways to help audiences make sense of conflict. In wars, access is often limited and information is tightly controlled. Visual storytelling offers accessibility for audiences in ways that standalone testimonies and eyewitness accounts cannot. Visuals also help segment, and provide snapshots of the evidence. This works especially well for audiences on social media. 

What excites me most is how technology is opening up new ways to combine visual evidence, data in storytelling at scale. I’m particularly interested in using satellite data and AI tools to detect patterns of destruction or displacement, and then pairing that with human stories and verified ground reporting. That combination can cut through noise and misinformation in a way that pure text often can’t.

I also think we’ll see more immersive and interactive approaches where readers can explore timelines, see scale, and understand the context of a place. More personalised visual storytelling approaches are also around the corner, and so this is the next horizon im keen to explore.

More about Fadah Jassem

At The National News, Fadah Jassem leads a multidisciplinary team producing impactful data journalism and visual storytelling. With over a decade of experience across leading newsrooms and technology companies, her work bridges journalism, information integrity, and artificial intelligence.

Before joining The National, Fadah held senior roles at Al Jazeera English and Twitter, where she developed AI-driven systems to detect disinformation and strengthen content integrity.

Since joining The National, she has built and scaled the Data Visualization team from the ground up—transforming how the newsroom communicates complex information through clear, evidence-based visuals. Her leadership has made data visualization a central part of the organization’s editorial storytelling.

The post Visualizing the Cost of Truth: How The National Told the Story of Journalists Killed in Gaza appeared first on News Paper Design.

Once dismissed as a fading art, political cartooning found fresh life in the hands of Sajith Kumar—now among India’s top cartoonists and the sharp voice at Deccan Herald. Known for blending humour with responsibility, he turns daily news into thought-provoking satire without crossing ethical lines. In this conversation with TK Sajeev, Editorial Director of Newspaperdesign.org, Sajith traces his journey from Kerala’s socially aware culture to the national stage, and reflects on the challenges, freedoms, and future of his craft.

When did you first realize that cartooning could be more than a hobby — that it could become your profession?

Not an accidental cartoonist—I dreamt of this path back in high school. It was a single-minded pursuit of my life’s goal, and looking back, I believe my perseverance paid off.

Many factors have shaped my journey. I’ve always had a knack for drawing, and growing up in Kerala—a place with a politically and socially aware society where politics are often discussed at the dining table, and reading newspapers was a ritual—may have sparked my interest. But it was Ajit Ninan’s cartoons in India Today that truly ignited my passion for cartooning.

I always had my own take on the world around me, and the itch to comment and critique found its way into cartoons . With parents who gave me freedom and school and college festivals where my cartoons won prizes, my dream of becoming a cartoonist was steadily propelled forward.

What were some of the challenges you faced early in your career, especially working in newspapers?

By the time I finished my studies, political cartooning in India was already in decline. A senior cartoonist of that era even declared it dead, and word of its imminent demise spread far and wide. Thankfully, the social media boom arrived just then, reviving political cartoons and opening a small but crucial window of opportunity in newspapers and magazines.

We used to joke that cartoonists live for ‘200 years’ and with a newspaper able to afford only one cartoonist, breaking into the field was no easy feat. I started my career as an illustrator, armed with a postgraduate degree in journalism, while quietly pitching cartoons to my editor to show where my real passion lay. Fortune smiled when a new newspaper was launching in Delhi—I applied for a cartoonist position and was tasked with drawing page-one pocket cartoons. It was there, amid tight deadlines and constant learning, that I truly mastered the tricks of the trade.

Were there particular cartoonists or artists who influenced your style or philosophy?

Ajit Ninan was my first introduction to cartoons. For a brief period, I was drawn to O. V. Vijayan’s cartoons and Mario Miranda’s illustrations. But it was Abu Abraham’s work that truly influenced me in my early days of my professional career. Over time, my admiration has also grown for British cartoonists, whose work I greatly enjoy. Especially, Matt.

Could you walk us through your typical process for creating a cartoon — from idea to sketch to final piece?

For me, cartooning is a 24-hour process. My day begins with scanning several newspapers, followed by tracking the latest updates on X and news sites, until I find a news item worth turning into a cartoon. After many conversations in my head, an idea takes shape, which I jot down in my pocket diary. By afternoon, the issue is chosen and the idea refined; by evening, the sketch is ready. After some final touches, it goes to the editor for approval. The rest of my time is spent listening to news podcasts and opinion pieces—preparing myself for the next day’s work.

How do you decide which topics or issues to address in your cartoons? What makes a theme or idea “cartoon-worthy” in your view?

Selecting the topic is often the toughest part of the job—especially on days without a cartoon-worthy breaking story. At the drawing board, I try to step into the shoes of the common man, asking myself which news item would impact him the most and how he might react to it. That reaction becomes the cartoon of the day.

Do you sketch by hand first or work digitally? What tools or materials do you prefer, and why?

My process usually begins in my pocket diary, where I jot down rough sketches and possible punchlines as soon as an idea strikes. I revisit these notes several times, refining both the visuals and the words through multiple edits. Once the concept feels sharp enough, I shift to my iPad, where the cartoon gradually takes its final form with cleaner lines, colors, and finishing touches.

How long does it take you, on average, to complete one cartoon once you settle on an idea?

It’s the idea that takes the longest to form—the sketching and final execution usually take just an hour or two. The real investment of time is in shaping the concept until it feels sharp and impactful.

What is your relationship with the editorial team when developing cartoons? How much input or direction do you get / need?

I enjoy complete autonomy in my work, and I believe a cartoonist can truly survive only in an environment of creative freedom. At the same time, this wouldn’t be possible without the support of my editor and the editorial team, who guide me away from crossing the paper’s editorial line and help correct any factual or language errors in my commentary.

How do you balance editorial responsibility (facts, fairness, sensitivity) with satire, humour, and critique?

For me, factual accuracy is sacrosanct—I cross-check every detail, even at the last minute before a cartoon goes to print. I also make it a point to ensure my work never slips into being below-the-belt or vulgar.

In an era of rapid news cycles and social media, how has your role changed (if at all) in creating editorial cartoon?

You can’t beat the flood of social media memes, but I strive to create cartoons that stand out amid the mayhem.

Satire and cartoons can sometimes be controversial. How do you decide where to draw the line? Have you ever had backlash? How did you respond?

The main job of a cartoonist is to provoke, and the reactions that follow are a testament to a job well done. Yes, I do receive my share of hate messages, but they don’t affect me. Being controversial can be the easiest path to publicity, and I’ve seen some cartoonists deliberately courting controversy just to hog the limelight.

What do you see as the ethical responsibilities of a cartoonist, especially in regard to political, social, or religious issues ?

A strong moral compass is not optional—it’s the defining trait that separates a cartoonist from an illustrator. An editorial cartoonist carries an ethical responsibility that can never be taken lightly; the weight of that responsibility rests entirely on their shoulders

How do you ensure your cartoons are accessible / understandable to a broad audience, including people who might not be familiar with all the background?

I believe people who follow cartoons are politically aware and up-to-date with the latest news. I also see my readers as better informed and more knowledgeable than me, which makes my daily work a big challenge.

What are some of the biggest trends or changes in cartooning / illustration / editorial satire that excite you (or concern you)?

AI is a growing concern in cartooning. Much of it still feels machine-made, following the same mold, lacking the nuance a human touch brings. Perhaps it will evolve, but like in any field, it’s a challenge we must navigate carefully.

How do you stay fresh and relevant in your themes, given recurring political/social issues?

Keeping my mind clutter-free is what makes me most productive. That’s when ideas strike—sometimes while walking, sometimes in the shower. The trick is to keep the mind ready for that sudden bolt of inspiration, even though its timing is unpredictable. Doing this 362 days a year (our paper shuts for three days in a year) is, without doubt, the biggest challenge.

How has social media and digital distribution influenced both how you create cartoons and how they are received?

My generation is the biggest beneficiary of the social media boom. I am deeply indebted to it for reaching far more readers than traditional paper circulation ever could. There is no denying that social media played a crucial role in shaping me into the cartoonist I am today.

Which of your cartoons (or series) are you most proud of, and why?

I’m not overtly proud of my work—there are pieces I like, but I always feel the urge to improve. My mind often says, ‘Not this, not this.’ There’s still so much to learn and unlearn, and I try to keep my mind open to constant growth and improvement.

What are some of the ideas or themes you haven’t tackled yet but would like to in the future?

I’ve begun sketching ideas for a graphic novel, but nothing truly remarkable has taken shape yet. The process is still evolving, and I’m patiently polishing and refining each concept, hoping it will one day come to life.

Where do you see the art of cartooning going over the next 10 years, particularly in India?

I’ve always believed that for a cartoonist to survive, we need brave editors—those who are willing to hire a cartoonist in the first place and give them the creative freedom to work. Unfortunately, that tribe of journalists is small. Perhaps, in time, independent cartoonists can monetize their work through social media or other avenues.

We are ‘overly proud Indians’, where even the smallest things can spark outrage, and politicians and news anchors erupt like walking volcanoes. Building castles and mansions in the air, so caught up in our grand designs that we forget the simple joy of laughing, forget laughing at ourselves. The future doesn’t look particularly promising—fingers crossed.

The post Drawing Truth to Power: Sajith Kumar on the Ethics and Challenges of Political Cartooning in India appeared first on News Paper Design.

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.