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By Brad Needham

Some newspapers have clearly given up on print design. It’s about content and digital. Obviously both of those are key to the future of media organizations everywhere. But I still believe print design is important. And that’s why I celebrate it here and on my Instagram account, both of which have been around for about a year now. While my Instagram shows great pages from day to day, this blog tends to focus on designers or bigger topics.

While I want to celebrate all newspapers making an effort (and I do on Instagram), the next two posts are going to show a few papers that consistently deliver striking and thoughtful designs. This post will focus on Canada’s big three: The Globe and Mail, Toronto Star and National Post. Perhaps next year I will add more, though I don’t see many papers upping their effort. Next post, the rest of the world.

Each of these top papers tends to have a solidly defined style. I will look at my top three pages from each publication (at least that I highlighted this year on my Instagram), then a slideshow of some other pages. To be clear, I know there is some amazing work happening inside these papers and on other section fronts, but this is about A1, and only includes papers making an effort — and a splash — frequently. I won’t look at one-offs, or rare successes in this post. I will feature them in order of my connections with each, so Toronto Star, Globe and Mail (only as managing editor of Pagemasters North America, which handles most of the page production for the Globe and Mail, though the pages featured here were likely done in house) and the National Post (I recently started working at Postmedia).

Toronto Star

This was probably the page of the year in Canadian media for me (the top Globe page rivals it), though not necessarily from a design perspective. There were some stronger pages visually, more complex. But this is a powerful page, which gave a lot of real estate to a key issue at a key time. The reverse text, the big headline asking a big question, the little moccasins with a big message. It came out a day late (only because the day-after coverage in many Canadian papers was lacking), two days after the discovery of hundreds of unmarked graves of Indigenous children, but it struck a chord.

The Star will less frequently blow out its front page for an international issue than the national papers, but it did here. It was the strongest Canadian 9/11 anniversary page, with a strong image and beautifully handled typography.

In the summer of 2021, the Star decided to focus more on print design (I’m not making this up), hiring an art director as well as three others to focus on design, graphics, illustrations, etc. This is an example of this, with a striking, contrasty photo illustration from Ramon Ferreira.

Here is a small sampling of some other great Toronto Star pages. All great in their own way, all very Star. The beautiful illustration by Hawlii Pichette, the strong art and colours on the Afghanistan page and the excitement of an epic gold medal win on the Olympics page.

Globe and Mail

The Globe and Mail is always swinging for the fences and often knocks pages out of the park, well beyond A1. The Globe tends to have elegant or pleasantly elaborate illustrations, big art and sometimes subtle headlines. Its weekend A1s can run with the best in the world.

This page might have been the best purely from a design standpoint. It’s simple, but smart. Likely planned for ages. It is powerful as well, about the “Two Michaels,” who were wrongly imprisoned in China for more than 1,000 days. This was Day 1,000, a grim milestone. Some will argue this, but the Globe owned this story, especially in Canada. Every day the Globe kept track of days the Michaels were detained on the front page. I don’t know how early it started, but it was there for hundreds of days. This was the culmination of that. The tallies, how they work around the flag. No art. The contrast. It’s a stunning and powerful page.

The Globe had one of the best Election Day and and best election results page. But I love this visual. And fantastic use of white space.

I love this illustration by Klawe Rzeczy. It’s busy, it’s chaotic, but it is absolutely eye catching. And despite the Globe getting illustrations from various illustrators, it always seems to feel like the Globe. Refined.

Here are a few more. I love the keys from the keyboard. And, again, in Globe style, the white space. They do not fear white space because they know how to use it. They also did a stained glass look (see National Post below). It’s too bad it cost the Canadian women’s soccer team some play, but it’s a nice page. The dart board. White space. Red. Contrast. And the pencil. I did a page like this, so of course I like it! Again, bold white space. And Calgary. I love it for design, but also I’m from Calgary! Finally, the bear. So dark, and boldly dark, but the Globe can get away with it as it prints on glossy paper. I should have said that earlier as that is key to some of its success in print.

National Post

The National Post has been known for its design since its inception in 1998. For a long time it stood above the rest. It’s still exceptional, especially once you get past the very often great front page. The inside design doesn’t try too hard. It is elegant and clean. So much so that others have tried to imitate it, without success. The vertical flag is something I often talk about. It adds so much. Funny that these three papers all have very different flag styles, with only the Star having the classic text across the top. Sorry, tangent. The National Post is still giving it its all, particularly on Saturdays.

I debated my fave, but in the end this vibrant illustration won out. It’s played well with the other content on the page, but it, in itself, is just so striking. To tie things together, it’s done by Becky Guthrie, now the art director at the Toronto Star. The Canadian media scene is a small world.

But then there is the Christmas page. This has been a tradition for the National Post since it started, conceptualized as a way to compete with the Globe’s art-driven Christmas page. They took the boldly overtly religious approach to set themselves apart from the Globe. The reverse flag. The colours.

This page is a basic, clean design. There are other extraordinarily designed Post pages, but I wanted to give props to a big news page. Like headlines, designs are often more celebrated for feature-type stories as they are easier to illustrate. This was a big news day in Canada. The Two Michaels home at least. It was the best page for this event.

The National Post’s Election Day page was great. Still maybe my favourite. It’s very different from the Globe’s white space. A big monster headline. Contrast-y text on a dark background. I just love the symmetry on the next page. I almost chose the Prince Philip page as one of my top 3. It was close. What a piece of art by my good friend* Kagan McLeod. The next is an Olympics page. As I wrote then, the Post won the Canadian newspaper Olympics with outstanding design day in and day out. And a classic Post cartoon cover.
*I don’t actually know Kagan other than over Twitter and through seeing his illustrations in each of the top three papers here, but I’ve been a Kagan stan for a while.

So while 2021 proved to be just as maddening and depressing as 2020, just with vaccines, it still provided plenty of brilliant newspaper front pages. I am thankful to the editors and designers at all the papers here, who keep pushing boundaries and working with passion. And to those at the papers who still do the once-in-a-while great pages. Every little bit counts.

Next up, a look at papers from around the world, featuring publications such as Dennik N of Slovakia, Denmark’s Politiken, The Villages Daily Sun from Florida (you must have known that was coming) and more!

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By Brad Needham

When I got access to all the entries to the Society for News Design best in print newspaper design competition, I was like a kid in a candy store. It was such a delight to see some of the best pages from around the world. But as a proud Canadian (slightly dampened by our slow progress on COVID-19 vaccinations, particularly for essential workers), I quickly searched for Canadian entries. I was both tickled to the see the incredible creativity that flowed from home, but also a little saddened to see there was little variety in entrants. Lots of entries. Very few titles. Dominated by the Globe and Mail, a selection from the Toronto Star and some from Le Devoir.

When I entered the contest in 2007 and 2009, I entered as a designer for the now-shuttered Guelph Mercury. We had a circulation of just over 10,000 at the time, if I recall correctly. We were the little engine that could. Sadly I didn’t see that this time. Two of Ontario’s design heavyweights (despite being relative lightweights in circulation), the Mercury and Barrie Examiner, have both closed. Other papers are being done in internal or external production centres. To be very clear this doesn’t mean there isn’t some incredible and award-worthy work coming out of these places. You only need to look at my profile on Tammy Hoy to see what is being done. But there is less time for most places to spend on design. And they’re not entering anymore, as media organizations shift their focus to digital (I assume that’s why?). Hopefully that will change for SND43. I hope to spread the gospel to Canadian newspapers so that there are more titles next year.

But I digress. As much as I like to think everyone is here to read my witty insights and elegant prose, I know it’s beautiful newspaper pages that drive this blog!

So first, here are some from the Globe, with very brief bits about what I like. As with most beautiful pages, they speak for themselves. But as I learned at SND42, there is so much to say about why these pages are excellent.

The Globe and Mail, The way through

As a subscriber to the Globe and Mail, I loved this page the second I peeled it out of the plastic bag (maybe two if it was raining — or, gasp, snowing — that day). It is hard to come up with a novel concept when it comes to the unmistakable shape of the COVID-19 ball, with its protein spikes always threatening to hook on to something. But this was new (for me, though as you can see here another newspaper did something very similar, proving how hard it is to take a unique approach in newspaper design). A tangled COVID knot, showing the almost unnavigable path through this complicated situation. Beautiful and well used white space. Of course it’s a Saturday Globe cover, and I’ve come to expect nothing less, but this was one of the standouts even among the weekly excellence.

Globe and Mail, Too much oil

At first glance even a seasoned designer might not see this idea as novel. Reverse white text on a black background. But this isn’t just to make it pop. This page works, it rises to a new level, only because it’s about oil. Too much oil. The black has a real purpose. And you can see the oil swishing at the top. It’s someone taking an old idea and making it new, giving it purpose. It’s a bold use of space.

Globe and Mail, The Trump Administration, illustrated by Kagan McLeod

This page is almost entirely driven by its illustration by the incredibly talented Kagan McLeod (who also did the National Post cover illustration to mark Prince Philip’s death). There is so much happening. It’s so busy, but in a good way. Like a Where’s Waldo picture, you can spend so much time taking in all the different ideas and details. The text is played respectfully, letting the illo do most of the talking.

Globe and Mail, Where do we go from here

While the Globe had many more outstanding pages, this is the last I’ll look at. I like it, again, because it takes an old idea and makes it new. I see lots of graph-driven pages. But usually those graphs dominate the page in order to make them stand out as main art. It’s a graph after all. But in this case, the graph is tiny. I mean, it is a graph after all. But that makes it stand out even more. It’s a tiny focal point. But your eye goes there. And it illustrates a rapidly shrinking number. Once big, now also tiny. And another Report on Business cover. I love to see so much creativity on business pages.

Toronto Star

Toronto Star, Fate of the Union

Some in Canadian media will recognize this Toronto Star page, as it was also nominated for a National Newspaper Award for presentation/design. On top of COVID-19, George Floyd and Black Lives Matter, there was an election for the ages in the U.S. And one complicated by COVID. Often results are late. Often a country is divided. But in 2020, both reached new levels. Mail-in ballots meant delaying your press start by three hours likely wouldn’t net you results. The question mark made up of the states was such a creative way to illustrate this. Red, blue, too early to call. Fate of the Union is such a great headline as this was one of the most important election in U.S. history. And the world was watching.

Toronto Star, A day to reflect, Canada

The work that must have gone into this page is extraordinary. It takes 3,000 images from Star photographers since the beginning of the pandemic lockdown and makes up one image of a woman wearing a Canadian flag mask. And the head works so well with the mosaic. But again, it comes down to how much work and the thought process that must have gone into this. It’s mind boggling.

Le Devoir

Le Devoir, American colours

This Le Devoir page is a fun and different approach to the U.S. election. Going into it it was anybody’s guess. The polls were so close. So Le Devoir highlights that with empty stars, ready to be coloured in, complete with pencil crayons.

Thanks, Canada

There were more great entries from each of these papers. I salute the effort they put in, as well as papers like the National Post and others, which didn’t have entries as far as I could see. Print is still kicking in Canada, and while it might not be as vibrant as that in the States and other countries around the world, it’s still alive. I hope 2021 will see more entrants, and, more importantly, more bold and inspired print designs. If newspapers want to show readers they still care, they need to make an effort. And I will be here to celebrate it when they do.

Have thoughts? Share them below.

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By Brad Needham

Up until March of 2020, newsrooms had always been buzzing, busy places. Reporters on calls. The clickety-clack of typing. Editors and designers shouting across the room. Editorial decision-makers making decisions. All in one place. How could it be done any other way? It was about collaboration and community. The community within the newsroom preparing news for the community without. And then on March 11, 2020, the WHO declared the coronavirus outbreak a pandemic. Not an epidemic. And unlike some of the other pandemics in the past 50 years, this one seemed to capture the attention of everyone. Maybe it was that the NBA postponed its season one year ago today. The NHL followed suit shortly thereafter. Two organizations driven so much by money cancelling their primary revenue streams. Money talks.

But by March 11, or very shortly thereafter, what seemed unthinkable for a newsroom, producing a daily (or weekly) newspaper from anywhere but a newsroom, became a reality. One year ago today or shortly thereafter, newsrooms started shipping computers and keyboards and monitors and mice home. And setting up VPNs. Soon setting up Zoom accounts for all staff.

It was a pandemic. One that caused mass panic. You couldn’t even find toilet paper in most places. I know because I searched high and low trying to find some for an editor who said she couldn’t find any. I found a four-pack and brought it into the office. I went to 10 stores, a little scared in every one. This was pre-masks. Or knowledge.

But was it such a big deal? One that warranted panic buying of toilet paper and canned goods? Hindsight is usually 20/20. In newsrooms one year ago today, discussions were being had about tomorrow’s front page as well. What do we do? Is this bigger than the flu pandemic of 2009? Or the SARS pandemic of 2002? Newspapers are always worried about blowing things out of proportion. So do we play this big, they would be asking? Do we downplay it? Do we talk about soup? It had to be on the front page. But how big?

I’m going to look at some of the papers from March 12, 2020, and then at some from today, March 11, 2021. I admit I was expecting big anniversary covers. That was going to be the focus of this post. Some papers did. Most papers didn’t. It also happens to be the 10th anniversary of the 2011 Japanese earthquake and tsunami, which also caused a nuclear disaster. A devastating tragedy that left 20,000 dead. It is a tragic anniversary, so I acknowledge it here before looking at the pandemic papers of 2020 and 2021.

March 11, 2020 (March 12 in the newspaper world): WHO declares a pandemic

National Post, March 12, 2020

Of all the pages I looked at from March 12, 2020, the National Post cover was the one I felt most hit the mark on the type of play this should get (or should have gotten in hindsight). This was a significant day, and while it was just a declaration, the disease would have spread and wreaked havoc around the world regardless, this was a key moment. This week last year was when everything changed. This page uses a single-word headline, all caps: PANDEMIC. I’ve talked about this in previous posts. It seems so simple. But It was certainly discussed ad nauseum. And to complement that are striking, bold images. And equally important, they blew out the entire page. For a national newspaper to blow out an entire cover it needs to be a significant story. The editors at the National Post felt this was. This was a scary day, and life changed after this. But this is a beautiful page, despite the devastating and deadly outcome over the next year.

Globe and Mail, March 12, 2020

Another national newspaper in Canada also gave it big play. The Globe and Mail, while not as bold as the National Post in this instance, gave the pandemic top-of-the-fold play. And as is typical of the Globe, it uses white space to its advantage. They chose not to blow out the entire front, and while I wasn’t in the room, I can imagine the discussions. First, the Globe targets a different audience. They want information on the front. They often use their real estate to its fullest, having some pages inside without art, or very small art. On top of the pandemic, Harvey Weinstein was also sentenced to 23 years in prison for sex crimes. It was assumed the legal system would go easy on him, as it has with most powerful men charged or convicted of similar crimes. But it didn’t. On many days, this would be a black line story, across the top. It was a significant verdict. The Globe decided it must still make the front. I respect that. And the page is still well executed. It gives the pandemic centre stage, but acknowledges other key news of the day.

Another major Canadian newspaper, the Toronto Star, went a different route. While, other than a throw across the top (also recognizing the importance of the Weinstein verdict) the cover is all about COVID-19 (coronavirus), it’s less splashy and focuses on an intensely Toronto angle: the NBA’s suspension of its season, a.k.a. the end of the Raptors’ season. The cover design itself isn’t outstanding, but it had a clear focus on the news of the day. And looking back at it, you wouldn’t feel they missed the mark. It’s a solid cover. Strong news value.

Toronto Sun, March 12, 2020

I admit I don’t often go to tabloid covers (by tabloid I don’t just mean size) for the design, even though they are often very creative. The Toronto Sun deserves credit here. It doesn’t take that big of a story for a tabloid to blow out its cover. But this has a take on that iconic COVID-19 image. The Earth as a coronavirus, with its telltale spike proteins, the claws that “act as grappling hooks that allow the virus to latch onto host cells and crack them open for infection,” as so well said on the Scripps Research website. Tabloids will often blow things out of proportion, but I’m not here to talk about that (all love, no hate, remember?). I am here to say well done to the Toronto Sun. This a bold, colourful cover. It captures the essence of the day, even if we were uncertain as to what it meant then. Believe the hype. It was worth the strong words and the design. And of course the ad. Who knew how relevant that might be for time spent in solitary confinement for the next year.

I won’t go into each of these with individual posts. My favourite from a design perspective is the St. Louis Post-Dispatch. It still looks different than other days, and is clearly taking the declaration seriously. The New York Times is the New York Times, here because of its stature in the journalism world, not for its design. I included the Vancouver Sun because it does have a heavy focus on the pandemic, but also adds a lighter touch: Happiness is warm soup in new coronavirus era (told you there was soup). It almost seems laughable a year later, but surely the editors wanted to present a mix of information. And the Winnipeg Free Press presents a standard newspaper cover. Much like most of this year’s that I have looked at.

March 11, 2021: one year later

When I decided to do this post, I was prepared for covers to be blown out again. It’s been one year since the declaration that changed our lives. Alas, it mostly wasn’t to be. Of course it comes the day after the U.S. Congress passed a $1.9 trillion (TRILLION) pandemic relief package. Money talks. Especially when it’s in the trillions. So there was news to share. And maybe editors were never planning on commemorating the day at most papers. I looked at hundreds of newspaper covers today* (thank you to Freedom Forum for its daily gallery, which I look at almost every day). Two stood out, and both deserve praise. In order of how much I love them (no shame in finishing second here!).
* One additional page of note landed Saturday, a big day for blowout feature pages in Canada, so I am updated to add the March 13 Toronto Star.

Ottawa Citizen, March 11, 2021

It’s … beautiful. This is what I was hoping to see today. This is the kind of page this blog is about. It’s simple. It’s clean. It’s not gimmicky. It uses white space wonderfully. A big headline. A little bit of the story. And it captures the moment from last year. Was this declaration a big deal? Yes. Yes it was. Huge points for the Ottawa Citizen today. To the designers, decision makers, editors and all involved (some direction provided by editors in Ottawa and then further conceptualized and executed by the talented staff in Postmedia’s production hub in Hamilton), well done. As print journalism struggles, it’s comforting to see that someone still cares.

The Arizona Republic takes a bit of a different approach, but the design is still lovely, and really captures the importance of the day. It still gets the story about the $1.9 trillion (trillion!!) aid plan, but also offers a look back to one year ago today. It uses striking imagery right across the top of the page. It’s not an obvious image. You need to really look at it. Which is a great strategy. And the headline is playfully done, unlike a standard headline. Different sizes, different alignments. Strong word choices. So again to those in Arizona, bravo. It’s often a well-designed paper, and today was no different.

A few days after the anniversary, the Toronto Star ran with this cover. It focuses on the people affected by the pandemic. They blew out the front cover for the story (a tear-jerker, particularly if you are wistful about that last week, and the days before). Similar to the initial pandemic cover, the actual design is more basic. A collage of photos. But that it blows out the front page with essentially snapshots is bold. As a reader you know there is a story behind every photo. There are billions of stories over the course of this year. But here the Star shines a light on 10 photos, and more people. I tear up thinking about “The last days of normal.” So points for headline as well. It was. Nothing has been the same since, and may never be. This cover captures that emotion (as do the stories inside).