TED2009
Jacek Utko: Can design save newspapers?
Jacek Utko sa pýta, či môže dizajn zachrániť noviny?
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Jacek Utko je neobyčajným poľským dizajnérom novín, ktorého re-dizajny tlače vo východnej Európe nielenže vyhrali ocenenia, ale dokázali zvýšiť predaj až o 100%. Môže dobrý dizajn zachrániť noviny? Mohol by.
Jacek Utko - Newspaper designer
Could good design save the newspaper -- at least for now? Jacek Utko thinks so -- and his lively, engaging designs for European papers prove that it works. Full bio
Could good design save the newspaper -- at least for now? Jacek Utko thinks so -- and his lively, engaging designs for European papers prove that it works. Full bio
Double-click the English transcript below to play the video.
00:12
Newspapers are dying for a few reasons.
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Noviny umierajú z viacerých dôvodov.
00:15
Readers don't want to pay for yesterday's news, and advertisers follow them.
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Čitatelia nechcú platiť za včerajšie správy a rovnako sú na tom inzerenti.
00:19
Your iPhone, your laptop,
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Váš iPhone, váš laptop,
00:21
is much more handy than New York Times on Sunday.
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sú oveľa viac poruke než nedeľný New York Times.
00:24
And we should save trees in the end.
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A nakoniec - mali by sme chrániť stromy.
00:27
So it's enough to bury any industry.
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To je dosť na pochovanie akéhokoľvek priemyslu.
00:30
So, should we rather ask, "Can anything save newspapers?"
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Preto by sme si radšej mali položiť otázku, "Môže niečo zachrániť noviny?"
00:34
There are several scenarios for the future newspaper.
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Pre budúce noviny existuje viacero scenárov.
00:36
Some people say it should be free;
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Niektorí ľudia hovoria, že by mali byť zadarmo;
00:39
it should be tabloid, or even smaller: A4;
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že by mali byť vo formáte tabloid alebo ešte menšie: A4;
00:42
it should be local, run by communities,
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že by mali byť miestne, vedené komunitami,
00:45
or niche, for some smaller groups like business --
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alebo špecializované, pre menšie skupiny, ako napríklad biznis --
00:47
but then it's not free; it's very expensive.
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no potom by neboli zadarmo, ale veľmi nákladné.
00:50
It should be opinion-driven;
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Mali by brať ohľad na názor;
00:52
less news, more views.
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menej správ, viac uhľov pohľadu.
00:55
And we'd rather read it during breakfast,
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A najradšej by sme ich čítali pri raňajkách,
00:57
because later we listen to radio in a car,
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pretože neskôr počúvame v aute rádio,
01:00
check your mail at work and in the evening you watch TV.
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kontrolujeme v práci svoj mail a večer pozeráme TV.
01:03
Sounds nice, but this can only buy time.
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Znie to pekne, ale týmto sa len získava čas.
01:06
Because in the long run,
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Pretože v konečnom dôsledku
01:08
I think there is no reason, no practical reason
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si myslím, že nie je dôvod, žiadny praktický dôvod,
01:10
for newspapers to survive.
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aby noviny prežili.
01:13
So what can we do?
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Takže čo môžeme urobiť?
01:15
(Laughter)
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(Smiech)
01:16
Let me tell you my story.
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Dovoľte mi povedať vám svoj príbeh.
01:18
20 years ago, Bonnier, Swedish publisher,
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Pred 20 rokmi, Bonnier, švédsky vydavateľ,
01:21
started to set newspapers in the former Soviet Bloc.
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začal vydávať noviny v bývalom sovietskom bloku.
01:25
After a few years, they had several newspapers in central and eastern Europe.
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Po pár rokoch mal niekoľko novín v strednej a východnej Európe.
01:28
They were run by an inexperienced staff,
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Fungovali pod vedením neskúseného personálu,
01:31
with no visual culture, no budgets for visuals --
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bez vizuálnej kultúry, bez rozpočtu na ilustrácie --
01:36
in many places there were not even art directors.
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na mnohých miestach dokonca neboli ani umeleckí riaditelia.
01:38
I decided to be -- to work for them as an art director.
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Rozhodol som sa byť -- pracovať pre nich ako umelecký riaditeľ.
01:42
Before, I was an architect, and my grandmother asked me once,
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Predtým som bol architektom a moja stará mama sa ma raz spýtala
01:45
"What are you doing for a living?"
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"Čím sa živíš?"
01:47
I said, "I'm designing newspapers."
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Povedal som, "Dizajnujem noviny."
01:49
"What? There's nothing to design there. It's just boring letters"
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"Čo? Tam nie je čo dizajnovať. Sú to len nudné písmená."
01:52
(Laughter)
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(Smiech)
01:53
And she was right. I was very frustrated, until one day.
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A mala pravdu. Bol som veľmi frustrovaný, až do jedného dňa.
01:57
I came to London, and I've seen performance by Cirque du Soleil.
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Prišiel som do Londýna a videl predstavenie Slnečného cirkusu.
02:01
And I had a revelation. I thought,
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Osvietilo ma. Pomyslel som si,
02:03
"These guys took some creepy,
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"Títo ľudia posunuli hroznú,
02:05
run-down entertainment,
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predpotopnú zábavu
02:07
and put it to the highest possible level of performance art."
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na najvyššiu možnú úroveň javiskového umenia."
02:11
I thought "Oh my God, maybe I can do the same with these boring newspapers."
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Pomyslel som si "Môj Bože, možno dokážem spraviť to isté s týmito nudnými novinami."
02:14
And I did. We started to redesign them, one by one.
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A tak som spravil. Začali sme ich re-dizajnovať, jedny po druhých.
02:18
The front page became our signature.
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Titulná strana sa stala našim podpisom.
02:21
It was my personal intimate channel to talk to the readers.
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Bol to môj osobný, intímny kanál, ako prehovoriť k čitateľom.
02:25
I'm not going to tell you stories about teamwork or cooperation.
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Nejdem vám hovoriť príbehy o tímovej práci alebo o spolupráci.
02:29
My approach was very egotistic.
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Môj prístup bol veľmi egoistický.
02:31
I wanted my artistic statement,
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Chcel som svoju umeleckú výpoveď,
02:34
my interpretation of reality.
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svoju interpretáciu reality.
02:36
I wanted to make posters, not newspapers.
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Chcel som robiť plagáty, nie noviny.
02:38
Not even magazines: posters.
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Dokonca nie časopisy: plagáty.
02:40
We were experimenting with type,
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Experimentovali sme s písmom,
02:43
with illustration, with photos. And we had fun.
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s ilustráciou, s fotografiami. A bavili sme sa.
02:46
Soon it started to bring results.
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Čoskoro to začalo prinášať svoje výsledky.
02:49
In Poland, our pages were named
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Naše stránky v Poľsku boli vyhlásené
02:53
"Covers of the Year" three times in a row.
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za "Titulky roka" trikrát po sebe.
02:57
Other examples you can see here are from
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Iné príklady, ktoré tu môžete vidieť, sú
02:59
Latvia, Lithuania, Estonia --
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z Litvy, Lotyšska, Estónska --
03:01
the central European countries.
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zo stredoeurópskych krajín.
03:05
But it's not only about the front page.
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Ale nie je to len o titulnej strane.
03:08
The secret is that we were treating
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Tajomstvom je, že sme považovali
03:10
the whole newspaper as one piece,
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celé noviny za jeden celok,
03:12
as one composition -- like music.
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za jednu kompozíciu -- ako v hudbe.
03:16
And music has a rhythm, has ups and downs.
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A hudba má rytmus, raz rýchlejší, raz pomalší.
03:20
And design is responsible for this experience.
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A dizajn je zodpovedný za tento zážitok.
03:24
Flipping through pages is readers experience,
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Listovanie stránok je čitateľským zážitkom
03:26
and I'm responsible for this experience.
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a ja som zaň zodpovedný.
03:29
We treated two pages, both spreads, as a one page,
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Brali sme dve roztvorené strany ako jednu,
03:32
because that's how readers perceive it.
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pretože tak to čitatelia vnímajú.
03:35
You can see some Russian pages here which got many awards
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Tu môžete vidieť ruské noviny, ktoré získali mnohé ocenenia
03:37
on biggest infographic competition in Spain.
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na najväčšej infografickej súťaži v Španielsku.
03:41
But the real award came from Society for Newspaper Design.
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Ale skutočné ocenenie pochádza zo Spoločnosti pre novinový dizajn.
03:46
Just a year after redesigning this newspaper in Poland,
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Len rok po re-dizajnovaní týchto novín v Poľsku
03:49
they name it the World's Best-Designed Newspaper.
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ich vyhlásili za najlepšie dizajnované noviny sveta.
03:51
And two years later,
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A po dvoch rokoch
03:53
the same award came to Estonia.
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poputovala rovnaká cena do Estónska.
03:56
Isn't amazing?
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Nie je to úžasné?
03:59
What really makes it amazing: that the circulation of these newspapers
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Čo to robí skutočne úžasným je, že predaj týchto novín
04:01
were growing too.
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porástol tiež.
04:03
Just some examples:
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Len pár príkladov:
04:05
in Russia, plus 11 after one year,
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v Rusku plus 11% po roku,
04:07
plus 29 after three years of the redesign.
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plus 29% tri roky po re-dizajne.
04:10
Same in Poland: plus 13, up to 35 percent
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Rovnako v Poľsku: plus 13% až po 35-percentný
04:13
raise of circulation after three years.
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nárast predaja po troch rokoch.
04:16
You can see on a graph,
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Na grafe môžete vidieť,
04:18
after years of stagnation, the paper started to grow,
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že po rokoch stagnácie noviny začali rásť,
04:21
just after redesign.
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práve po re-dizajne.
04:24
But the real hit was in Bulgaria.
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Ale skutočný hit prišiel v Bulharsku.
04:26
And that is really amazing.
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A to je naozaj úžasné.
04:30
Did design do this?
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Spôsobil to dizajn?
04:32
Design was just a part of the process.
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Dizajn bol len časťou toho procesu.
04:34
And the process we made was not about changing the look,
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A proces, ktorý sme spravili, nebol len o zmene vzhľadu,
04:36
it was about improving the product completely.
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bol o kompletnom zdokonalení produktu.
04:40
I took an architectural rule about function and form
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Vzal som architektonické pravidlo o funkcii a forme
04:43
and translated it into newspaper content and design.
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a preložil ho do novinového obsahu a dizajnu.
04:46
And I put strategy at the top of it.
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Nad to všetko som postavil stratégiu.
04:48
So first you ask a big question: why we do it? What is the goal?
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Preto sa najprv pýtame hlavnú otázku: Prečo to robíme? Čo je naším cieľom?
04:51
Then we adjust the content accordingly.
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Potom vhodne meníme obsah.
04:53
And then, usually after two months, we start designing.
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A nakoniec, zvyčajne po dvoch mesiacoch, začíname dizajnovať.
04:56
My bosses, in the beginning, were very surprised.
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Moji šéfovia boli zo začiatku veľmi prekvapení.
04:58
Why am I asking all of these business questions,
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Prečo sa ich pýtam všetky tieto otázky okolo biznisu
05:00
instead of just showing them pages?
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namiesto toho, aby som im ukazoval strany?
05:02
But soon they realized that this is the new role of designer:
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Ale čoskoro prišli na to, že toto je nová úloha dizajnéra:
05:04
to be in this process from the very beginning to the very end.
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byť v tomto procese od úplného začiatku do úplného konca.
05:07
So what is the lesson behind it?
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Aká lekcia z toho teda vyplýva?
05:09
The first lesson is about that design can change not just your product.
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Prvá lekcia je, že dizajn nemusí zmeniť len váš produkt.
05:13
It can change your workflow -- actually, it can change everything in your company;
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Môže zmeniť priebeh vašej práce -- vlastne, môže zmeniť všetko vo vašej spoločnosti;
05:17
it can turn your company upside down.
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môže vašu spoločnosť obrátiť hore nohami.
05:19
It can even change you.
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Môže dokonca zmeniť vás.
05:21
And who's responsible? Designers.
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A kto je za to zodpovedný? Dizajnéri.
05:24
Give power to designers.
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Dajte moc dizajnérom.
05:26
(Applause)
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(Potlesk)
05:30
But the second is even more important.
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Ale druhá lekcia je omnoho dôležitejšia.
05:33
You can live in a small poor country, like me.
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Môžete žiť v malej chudobnej krajine ako ja.
05:36
You can work for a small company,
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Môžete pracovať pre malú spoločnosť
05:39
in a boring branch.
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v nudnom odbore.
05:41
You can have no budgets, no people --
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Môžete byť bez rozpočtu, bez ľudí --
05:43
but still can put your work to the highest possible level.
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ale stále môžete posunúť svoju prácu na najvyššiu možnú úroveň.
05:47
And everybody can do it.
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Každý to môže urobiť.
05:49
You just need inspiration, vision and determination.
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Potrebujete len inšpiráciu, víziu a odhodlanie.
05:53
And you need to remember that to be good
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A potrebujete si zapamätať, že byť dobrý
05:55
is not enough.
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nestačí.
05:57
Thank you.
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Ďakujem.
ABOUT THE SPEAKER
Jacek Utko - Newspaper designerCould good design save the newspaper -- at least for now? Jacek Utko thinks so -- and his lively, engaging designs for European papers prove that it works.
Why you should listen
Newspaper designer Jacek Utko suggests that it's time for a fresh, top-to-bottom rethink of the newspaper. (At this point, why not try it?) In his work, he's proved that good design can help readers reconnect with newspapers. A former architect, Utko took on the job of redesigning several newspapers in former Soviet Bloc nations, starting from basic principles. He worked closely with newspaper executives to figure out the business goals of their papers, and then radically reformatted the product to fit those goals. (And he wasn't afraid to break a few grids in the process.)
As the art director at Warsaw's Puls Biznesu in 2004, he redesigned this small business-focused newspaper and immediately won the SND award for world's best-designed newspaper. Readers responded, and circulation went up. He's now art director for the Bonnier Business Press, overseeing papers in Eastern Europe and the Baltic states, and the work he oversees consistently wins major prizes (including another SND world's-best in 2007 for Estonia's Äripäev), despite their small teams and limited resources.
Jacek Utko | Speaker | TED.com