Trained as a journalist, Dr Mario Garcia believes content is what determines the success of publications and websites; his work and teaching is based on his WED philosophy of combining writing, editing and design as basic principles for effective communication of ideas. Garcia has spent over 30 years in redesigning publications, and has collaborated with over 450 news organisations from such large projects as The Wall Street Journal, The Philadelphia Inquirer, Handelsblatt and Die Zeit, to medium-size newspapers, such as The Charlotte Observer, or smaller ones in the heartland of America, such as the Lawrence (Kansas) Journal-World. He started his teaching career as a journalism professor and subsequently went on to teach graphic arts as well. Garcia is a visiting lecturer at 14 universities across US and Europe, and is also the founder of the Graphics & Design programme at the Poynter Institute for Media Studies. Mario Garcia is the CEO and founder of Garcia Media, and his team includes top consultants in the fields of newspaper design, magazine design, web strategy and design, branding and corporate communications. The firm has offices in Tampa, Buenos Aires and Hamburg.
Here, he takes time out from his busy schedule and tells Newswatch what it was like redesigning The Hindu.
First, the obvious question: how did 'The Hindu' redesign contract happen?
As most contracts happen: publisher meets me at a conference, likes my message, wants to apply it to his/her publication; discussion follows; briefing is completed, and the agreement to work together takes place.
The new look of 'The Hindu' has been described as "classic and contemporary". What elements make it so?
Classic and contemporary describe a look and feel. The terms imply a respect for the past, for a publication's history, its trajectory, which, in turn, apply to the publication's respect for its readers. The design enhances the concept of the classic and contemporary through the use of an elegant typographic scheme, good use of white space, a subtle, but vibrant, colour palette, and use of story structuring to expedite the readers' journey through the pages.
In terms of design and layout, is there any such thing as classic or contemporary now? Isn't the basic thing about design all about about being attractive and having a unique look?
Well, as I have explained, the classic design is for a certain type of publication, one with a history, with appeal to readers of a higher education, and with greater propensity to read; more contemporary means more colour, bigger headlines, larger photos, for readers who wish to have less text. A modern newspaper tries to combine the two.
As you have said that 'The Hindu' has gone in for more colour. The paper hardly had any colour earlier. So, was there any special emphasis on this aspect?
We created a colour palette that reflects the colour of Madras, of India, but without making the newspaper appear too tutti frutti. Each colour identifies a section, has a function. Overall, an elegant look through colour.
'The Hindu' earlier was too text intensive, though the quality of photographs was always much better than that of rivals. More photographs now obviously mean less of printed text. Was there any resistance from people who had been in charge of design/layouts? How did you put your argument across?
Not at all. Once the editors call a design consultant, they are open to change. There was NO NEED to have arguments. We worked as a team.
The entire process apparently took seven months to be completed. Does it always take that long?
Could be longer. Usually, nine months.
What is the optimum timeframe that you look at? Does a revamp process take more time depending on the number of specialised sections / supplements that a newspaper have?
Yes. A bigger paper takes longer. The longest I have done is about 18 months (Die Zeit, of Germany). The shortest (four months) for Diario de Noticias, Lisbon, Portugal.
Coming to typography (I am not sure what the typefaces that 'The Hindu' used earlier), was it a must to change the fonts that you used? How important was typography in the classic-contemporary look that you evolved?
Typography is very important for the look and feel, and yes, we incorporated all new typographies like Interstate and Chronicle in various weights.
The look and feel of a newspaper becomes its character. And the people who take care of its look-and-feel over time become rigid in this character. Was it difficult for 'The Hindu' team to break away from their previous design?
Not at all. Great team, very willing. And the design has evolved perfectly well, under the guidance of the art director and his team.
The biggest thing that strikes a person looking at the new paper is the use of white spaces. How important is the use of these white spaces?
White space is like punctuation in a sentence; guides you; makes you pause, catch your breath.
Is it a good idea to use colours for headlines?
Depends on the headline, the case, the specific. Too general a question.
Do you limit the number of colours that can be used for this purpose?
YES.
Or do the staff have the liberty of choosing their own colour schemes?
NO, there is a style manual that defines each step
I have never seen 'The Hindu' using their own infographics. Do you stress on the use of infographics as both a journalistic (writing) and visual tool?
Yes, but, like many papers, sometimes syndicated infographics do the job better and faster.
After you have completed a redesign process, what is your way of following it up?
Maintenance visits every 90 days. We do this at The Hindu.
How do you ensure quality control after you have finished and job and are no longer keeping a daily eye on the newspaper? Does the redesign process also include preparation of a style manual for users?
Yes, there is a style manual and there are maintenance visits.
What is your advice to people so as to bring about a content-design harmony in the newsroom? I mean, from the point of view that there is no conflict between those who write and those who design?
You have training sessions for all: journalists, editors, designers. We apply the WED concept: writing-editing-design, the marriage of words and visual images.
You have worked with more than 400 news organisations in the world. Over time, and with every new publication in hand, how do you ensure that every newspaper looks different?
You get good briefings, take in your surroundings, observe, listen and make sure that you respect the culture of the newspaper and its readers.
Isn't that a very exacting proposition? Especially when it comes to the text bit, after all how much can one keep changing font faces or sizes?
Yes. A challenge, but one rises to it.
Your firm has converted some 15-20 broadsheets into compacts. Your views about the compact are well-known. Did you, at any point, want 'The Hindu' to turn compact?
No, it is not for me to make that decision. If I am invited to propose a tabloid format, I do it. Otherwise, it is not my job to change a newspaper's format.
One of your next big assignments would be the WSJ again. How can one bring about a synergy between the print and online versions of a publication?
This is a very big topic. You will see it live on October 17 when the WSJ does it. One names a fusion editor to bring the two media together; reporters are trained to write for the two media; and editors decide which medium to use to its full potential. Fascinating. New, and interesting concept.
How similar are newspaper and web design? And in what ways can they be different?
Two different worlds. Websites are more like books; newspapers cater to general audiences.
Lastly, are you working with any Indian newspaper in the days to come?
Now working on a total redesign of Business Line, and we are working on a redesign of SportStar, a weekly.
