“With the rise of artificial intelligence, we’ve realised the importance of truth, authenticity and honesty. Paper as a medium can offer that. At The Guardian we did all our UK election coverage this year using paper. So we printed out pictures of politicians, cut them out by hand and then photographed them, creating hundreds of artworks over the space of a couple weeks. It offered a sense of realness and rawness and connected to the feeling in the country of a ‘Broken Britain’. Similarly, we had a Saturday magazine issue with Greta Thunberg on the cover, with oil dripping down her face – and that was a real image, we actually dripped oil on her face, rather than using computer generated imagery. With our covers, we are trying to capture the mood of the nation and the world.
Chris Clarke works as an Editorial Creative Director at The Guardian. For him magazines and newspapers offer a finite capsule and a sense of completion in our tumultuous time.
With our covers, we are trying to capture the mood of the nation and the world.
For me, printed magazines and newspapers offer a finite capsule and a sense of completion. Their purpose is to be a snapshot of the day, week, month – and reflect it back to you. We have a weekly slow news magazine that goes on newsstands and pulls in the best of The Guardian. We launched a perfect bound magazine of long-read journalism. We have a yearly book called The Bedside that summarises the year. And we have our weekly Saturday magazines that offer moments of intrigue outside of the day to day. Each has a purpose, each is designed and tailored to the reader, where they might be, what they might be doing and the headspace they might be in.
For me, printed magazines and newspapers offer a finite capsule and a sense of completion. Their purpose is to be a snapshot of the day, week, month – and reflect it back to you.
We are very aware that if we are going to make something printed, it needs to be worthwhile, and we should never underestimate the power of stopping somebody for that moment. And a moment is all we have at the newsstand. Even that can have an impact – if they see an image or piece of typography, and it is loud or bold or expressive enough, then they can understand or at least get a sense of the story, and that in itself is significant.
If we are going to make something printed, it needs to be worthwhile, and we should never underestimate the power of stopping somebody for that moment.
Using design as a facilitator for social change was something that defined my practice from the very beginning. When I was younger, I was keen on documenting or capturing the overlooked. Living in a fairly deprived seaside town on the South coast of England, I witnessed the effect of the economic downturn; every injustice was very stark and clear there.
Philosophically speaking, I use design to engage in a conversation of change. I strongly believe in the power of design to make you feel or affect change, spark joy or engage conversation — I feel why I ended up in editorial is because it is a chance to tell stories and amplify the unnoticed.
I strongly believe in the power of design to make you feel or affect change, spark joy or engage conversation.
Over time, that design philosophy has crystallised to three simple questions: ‘What is the point? Who is this for, and why should they care?’ It is something I actively impress on the team of designers I lead at The Guardian. I aim to create a nurturing environment where they feel safe enough to ask challenging questions, and push ideas that might be uncomfortable. I’ve been there for 10 years now but it feels like the last six, we’ve been able to make The Guardian feel a bit braver in what it expresses. It’s a tricky line because we are a news organisation and need to be impartial with the news, but we obviously have a political and social justice lean.
Falling into editorial and then at The Guardian was never part of the plan, but it was lovely to find an organisation aligned with the same values as me. I strongly believe design should be human-centred, and human-focused — and I never lose sight of its strength and power to influence, inform and demystify a confusing world. It can hopefully make things a little bit easier, clearer or simply more joyful for someone.
The Guardian has a very loyal print readership, and the value of print still stands for us because of our history and heritage. Print also serves a different purpose than digital and we aim to utilise the strengths of the different mediums to tell an impactful story.”
The Guardian has a very loyal print readership, and the value of print still stands for us because of our history and heritage.
As told to: Daniela Walker
Photos: Ossi Piispanen
Join the Makers of Real
Become a part of our community and be the first in line for event invitations, industry trends, and the latest stories about paper. Together we will drive the value of paper.