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Asociación Técnica de Diarios Latinoamericanos


Boletín Semanal Julio 9, 2018

Algunas noticias buenas de Mario Garcia relacionadas con el impreso

Success stories for Metro in the UK and L’Observateur in France.

Two items in the trade media journals remind us that, in some corners of the world, there are good things happening with print.

Content personalization for print
Usually, when we talk about personalization of content, we are thinking digital editions. Specifically, we refer to mobile editions, in which I can create my profile with preferences for certain type of content, then get it delivered.  This is already working for Norway’s Aftenposten, for example, where “Susan”, who likes cooking and local school news can get those items delivered to her phone, but her neighbor “Ulf” , who is heavily into politics and sports, could get his dose of news in that area.
But, personalization of content in print editions?

It is happening in France.   Jean-Pierre Vittu de Kerraoul, speaking for the French regional publisher Sogémedia, tells stories of how his newspapers are doing just that.
Papers in his group are among the oldest in France, dating to 1834, but that rich history is not keeping them from going aggressively with more local news, and, indeed, content personalization.
“We could have just waited for them to die – or do something,” he says. “People are very interested in local news, yet the tendency has been to reduce the number of editions, driving readers away.”
So Vittu de Kerraoul is publishing geo-targeted editions, offering readers choices about content, introducing a streamlined inkjet digital printing system to produce editions, some of less than 3000 copies.

The strategy seems to be paying off and it imagine this is a model for very local, regional newspaper companies to emiulate.

El diseño puede ayudar en la lucha del impreso

News media needs to be more innovative in its design to attract and retain print and digital subscribers while appealing to young people, according to award-winning designer Jacek Utko, who will speak at the INFORM News Media Summit on Wednesday, September 6.

As newspapers increasingly rely on subscription-generated revenue, Mr Utko believes the solution is to invest back into print. By revamping the design of newspapers to include more imagery and graphics, publishers will widen the appeal of their products.
“Newspapers are basically using this 19th century headline, photo, text, everywhere. It is not very innovative,” Mr Utko said.

“”The role of print right now is to lead us in transition from print subscription to digital subscription. We have to keep the subscribers happy for several more years to be able to make the transition into digital subscriptions.”
Mr Utko is a four-time winner of the Society for Newspaper Design’s award for World’s Best Designed Newspaper, with two of the winning titles also receiving European Newspaper of the Year awards. Beginning his career in architecture, he progressed into design before becoming art director in the newsrooms of Bonnier Business Press. A collection of his award winning work can be seen here.

His comments on newspapers beg the question: what type of design is best for print? There is no simple answer.
“What is going to win? I don’t know? Maybe a mix is good,” he said.

“After many, many years of trying different things when it comes to design and content, I kind of know now what the modern newspaper should look like. What the mix of the modern and old, traditional papers should be.”
Traditional black and white-designed newsprint appeals to readers due to the nostalgic feeling it gives. The authoritative nature of the design makes it something that wants to be trusted and purchased. Alternatively, a magazine style allows newspapers to better compete for reader attention and better engage with visual storytelling and infographics.

“You have to make this interesting mix of content and design, that has this sort of traditional, conservative flavour because it is easier to make them pay for this,” Mr Utko said.
Mr Utko will be speaking at the INFORM News Media Summit at the International Convention Centrein Sydney on Wednesday, September 6. Entry to the summit, including his session titled “Can design save news media?”, is free to all NewsMediaWorks members, with non-member tickets costing $199. Registration is essential for all attendees.

Vanity Fair prepara su edición francesa

 La revista Vanity Fair, que vende 1,25 millones de ejemplares al mes en Estados Unidos, se prepara para intentar captar más lectores en Europa. Después de Reino Unido, España e Italia, el grupo Condé Nast lanzará una edición en Francia el próximo año. Aunque la publicación compartirá el nombre con la estadounidense, el 90% del contenido será original, informa “The New York Times”. 

La revista estará dirigida por el conocido periodista de Canal + Michel Denisot, de 67 años, según informó AFP. Otros nombres con los que contará la publicación serán Virginie Mouzat, editora de moda de “Le Figaro”, y Gattegno Hervé, de Le Point. “Prevemos el lanzamiento antes del verano de 2013. Los equipos se están constituyendo”, explicó Xavier Romatet, el presidente de la filial francesa de Condé Nast, que también edita Vogue, GQ y Glamour. Ya se ha contratado aproximadamente a la mitad del equipo de 25 personas que llevarán a cabo la revista.

“Uno de los mayores retos que tenemos es hacernos con el toque francés. Tenemos que adquirir el punto de vista francés, estar mucho más cerca de la cultura, del pueblo y del estilo de vida franceses”, aseguró Romatet.
"Existe una necesidad de explicación, vivimos un periodo de ruptura, de desconfianza respecto a las élites, a los medios de comunicación, a los cuerpos intermedios", añadió. "Vanity Fair va a devolver un poco de nobleza a los oficios de la prensa y a los lectores, maltratados por la velocidad, los 140 signos de un tweet, las fotos robadas...", aseguró Romatet.

La versión alemana de Vanity Fair tuvo poco éxito en Alemania, donde cerró en 2009, poco más de dos años después de su inauguración. Alcanzó una tirada de 200.000 ejemplares, pero cerró por el “dramático deterioro económico”, según anunció la empresa.