Archived entries for The New Paper

The Veteran

What is the future of journalism in Singapore? Even after helming three of Singapore’s largest English dailies, P.N. Balji has no answers on the future of newspapers, only ideas.

Text by Sheere Ng | Photos by Alex Teh

Standing in front of a room filled with seasoned journalists and students, P.N. Balji is incredibly at ease.  He leans against the table and props one leg over the edge, revealing his bare ankle and grey suede shoes – just like his suggestions, his sense of style is incredibly wayward.

At a time when newspapers are dying, the director of the Asia Journalism Fellowship is here to talk about the future of journalism. He challenges his audience about the possibilities of a borderless newspaper- one with no clear delineated sections.

Why not let movie reviews appear on the front page? The International Herald Tribune did that with The Dark Knight. How about running the piece on former US secretary of state Madeleine Albright’s jewellery in the prime pages instead of burying it in the lifestyle section? “It’s a fantastic article about how she communicates her mood through the brooches she wears. It is politics, fashion, and personal profile,” he says. “At the end of the day, readers just want to read a good story.”

Although he provides no solution to the newspaper crisis and instead chooses to raise numerous questions that set the room thinking, his journalistic journey may shed some light. After all, the 60-year-old has spent half his life working in The Straits Times (ST), The New Paper (TNP) and Today.

NEWSROOM CHAMELEON

In 1988, Balji left his job as ST’s deputy editor to join the pioneering team of TNP.

At that time there was a vacuum in the marketplace for fresh news to provide different insights. Balji’s team thus launched a tabloid paper that attracted a new group of readers: they are young, they did not read newspapers before, and they only read TNP.

But the man himself is not big on tabloid sensationalism.

“That doesn’t mean I can’t produce it,” he says. “You must divorce yourself from what you like, to give the market what it likes.” Journalists cannot afford to listen only to themselves as they have vested interests and biases, he adds.

Some 12 years later, with ST aiming squarely at the entire English-speaking public, TNP providing tabloid news and Streats, a free commuter tabloid sheet, it just didn’t seem there was a market for another.

“So we created one,” he says. In 2000, Balji joined MediaCorp to set up Today, another commuter tabloid sheet. “We decided that the newspaper should provide news that is ‘not overtly pro-government’ and will tackle issues that The Straits Times will shy away from.”

Today, Singapore’s media landscape looks set to change again. In the US, the mainstream media is wilting under the onslaught of online journalism and Web 2.0. Advertising looks set to shift its operations to capture more of the online audience and demand for print advertising is falling fast.

According to Jeffrey Seah, CEO of Starcom Media Group, a leading multinational advertising company, being able to engage users gives the Internet an important edge over mainstream media in selling advertising space.

Newspapers like ST, on other hand, are facing an uphill task of retaining their audience. With more news sources available on the internet, the public’s reading habits are changing even more quickly. One example would be Balji himself.

According to him, he used to receive the bulk of his information from traditional print media a few months ago. Today, 60 per cent of his information comes from the internet.

He has been relying on the ‘pushing’ of information online by his friends who will forward him any interesting news nuggets they come across. “I do follow blogs like The Online Citizen and Yawning Bread,” says Balji. “But if I start to read news websites like ST Online or CNA (Channelnewsasia), then I will have no time to sleep.”

But his time is not only spent online. His practice of journalism seeps into his everyday life as well.

Pedestrian tasks like grocery shopping and visits to the petrol stations take unusually long for Balji as he tries to take the time to talk to anyone who might come along. “All these little bits of information will hopefully give you the ground feel of what people like and don’t like over time,” he says.

But Balji hasn’t always been this comfortable talking to strangers. He describes himself as “very much an introvert who is trying very hard to be an extrovert”.

Reminiscing, he recalls that his interest in journalism began when he was young. He remembers having to get up as early as possible before his father and younger brother in order to read the family’s only copy of ST in peace. At that time, he was a firm devotee of Norman Siebel’s (former Straits Times Sports Editor) articles.

FROM FIGHTING FOR TO FIGHTING WITH THE STRAITS TIMES

But as he grew older, his relationship with Singapore Press Holdings (SPH) was no longer as filled with bliss. This was because he joined MediaCorp to help launch Today, today seen as a direct competitor to ST.

“Some people might think I’m a traitor,” he admits. But Balji sticks by his philosophy- to “go when the going is good”. Leaving while you are at the top of your game puts your life in your own hands rather than your employer’s, he explains.

This was also why he left TNP earlier on, when the paper was at its dizzying heights. From a circulation of 50, 000, it hit a ceiling of 130, 000 when he left.

Similarly, in 2003, Balji ended his contract with MediaCorp after three years with Today to work in the Public Relations (PR) industry, which some journalism practitioners have dubbed the ‘darker side’. He went on to set up two flourishing PR companies – Bang Public Relations and Communications DNA.

“I would have liked to continue in journalism. But where do I go?” he says. Leaving Singapore Press Holdings (SPH) to join its competitor to start Today has left him with little options.

But when he was asked to return to Today in 2007 when its editor-in-chief, Mano Badnani, left, Balji returned to the fold.

“My first concern was that Today must not go down. Why should we let SPH have the last laugh?” he says. He denies that bad blood exists between him and SPH but merely feels that Singapore journalism can benefit from more competition.

Ironically, it is precisely this lack of competition in the local newspaper industry that may be keeping newspapers here afloat. “If you ask me today: can I throw the Straits Times away? I can’t,” he says. In the West, there are so many competitors that newspapers are winding up or looking to investors for help after incurring millions of dollars in losses.

In Singapore, the lack of alternative news media has bred mediocrity in the standards and professionalism of local news coverage in the mainstream press. “They are surviving only because readers do not have a benchmark to make comparisons with,” says Balji.

Soon after his last contract with Today ended, he tried to set up a full-blown online newspaper like The Huffington Post. But he could not find a viable business model for his publication.

“I only managed to find a cost model, but not a revenue model,” he says. Hence, he feels that the prospect of an alternative online newspaper might not be a viable undertaking for now, yet another reason that is keeping newspapers here safe. But Balji estimates that Singapore has only about five to ten years before the full impact of the fundamental shift in the media landscape is felt.

However, tell-tale signs of this change are popping out. Singaporeans increasingly look to the Internet for news that the mainstream media chooses to ignore or to censor. “This is the biggest problem that the mainstream media faces,” says Balji.

More of such cases have been seen in recent years. For instance, news of the suicide of a Singapore Armed Forces medical officer first broke on the internet before making its way to the papers. Recently, ST also left out questions about Prime Minister Lee Hsien Loong’s pay when it reported an interview he did with the British Broadcasting Corporation (BBC).

“What frustrates Singaporean readers most is that the mainstream media are blocking out news,” he says. “But what is important is that now, they can get it online.”

JOURNALISTS ARE THE GREATEST ENEMY OF JOURNALISM

“The conventional reporting style of “A says this and B says that” no longer satisfy today’s media-savvy readers,” says Balji during his presentation.

Comparing the two instances when he created TNP and Today to fill the voids in the market, he says that the demand for news analysis has become even greater in recent years, and especially so today.

In the recent terrorist attacks on Mumbai, he had stayed up overnight to follow the breaking news on television. That was why he was very disappointed to see the same information in the newspapers the morning after. “Why would people want to read something they already knew about?” he questions.

Not only that, Balji thinks there is a dearth of stories that provide fresh insights and new viewpoints. For example, no one in the mainstream press had questioned why the PM held a press conference after the recent Cabinet reshuffle. “Nothing like that has ever happened in Singapore’s history, but I didn’t see any article helping the reader make sense of it,” he says.

Some say that the self-preservation and self-censorship are reasons why local journalists choose not to delve deeper into such issues. However, Balji feels that journalists cannot see themselves as ordinary citizens with such ordinary fears. “That’s why we go into this profession,” he says.

There is also more required of journalists today. Besides writing, they should also be equipped with other skills like photography and newspaper design. “Newsrooms have a tendency to be overstaffed,” he says. Especially so in bad times, journalists with multiple skills are more likely to be valued.

When he joined ST as a rookie, he chose editor-in-chief, T.S. Khoo as his mentor. To him, Khoo was the best layout designer in Asia at that time and Balji wanted to learn design from him. Daily, the young Balji picked up dummy sheets of the newspaper layout that Khoo had thrown into the waste paper basket.

Putting all the crumpled sheets beside the final published paper, he saw for himself the evolution of the entire design process. “That was a priceless learning experience,” he says

Today’s competitive economic climate also calls for journalist to be more aware of the business of news. “A good journalist must know his market well,” says Balji. Learning the ropes, he suggests, can be as easy as having lunch with colleagues from the advertising and marketing department. Unfortunately, many journalists today either do not know, or do not want to know about advertising and marketing and cite maintaining ‘editorial integrity’ as their excuse.

Balji knows that old mindsets cannot be changed in the span of an hour. So he concluded his presentation with a quote by Rupert Murdoch, a man that journalists claim is threatening their credibility, “Journalists are threatening their own papers”. A dire warning is sounded by the most unlikely of allies – that if journalists today do not change their mindsets, they are liable to bring journalism down with them.

This story is part of a series, Where are we going: The future of newspapers in Singapore

Interpreting Typefaces of Singapore’s Newspaper Nameplates

A few posts ago, I introduced the typefaces of Singapore’s English newspaper nameplates and who else uses them. This time, I’ll interpret them and see if they might mean anything at all!

seeingnewspapers0002Barnhurst’s Seeing The Newspaper is a great book on visual journalism and in one chapter, he looks at typography and meaning through a typeface’s origins in history and its use in that society.

The meanings assigned to type by readers and typographers seem to spring not form some objective code but from the cultural experience common to both groups.
Barnhurst, Seeing The Newspaper, p.155

With his words in mind, here is my take on the nameplates!

stnameplate

Typeface: Big Caslon (Straits Times)

Based on a humanistic handwriting by printers in Italy before 1500, Big Caslon is a modern day recreation of the original typeface by William Caslon of England in 1725. Back then, Caslon was very popular and even used in the US Declaration of Independence. The saying went, “when in doubt, use Caslon”. It seems appropriate for ST to use such a historic and serious typeface as “the paper of record” but it is also a safe and un-imaginative choice.

todaynameplate

Typeface: Times New Roman

The default typeface in Microsoft Word for several years, Times New Roman was created by Stanely Morison and Victor Lardent for London’s The Times newspaper in 1931. It’s hard to go wrong with a typeface designed for newspapers but its ubiquity also suggests that TODAY was not really thinking out of the box. And for some reason, to be a serious newspaper here, you have to use a British typeface.

tnpnameplate

Typeface: Helvetica Neue (The New Paper)

Perhaps the most well-known popular typeface today, Helvetica was created as a neutral sans serif typeface that had great clarity and no intrinsic meaning. Indeed, TNP’s choice of this Swiss typeface reflects its readership and news — simple and familiar to the masses. There is no need for frills when this tabloid’s content is already full of sex, violence, gossip, soccer…

btnameplate

Typeface: Frutiger

Sans serif typefaces, like this one, came about in the 19th century and was first used in advertising displays. This particular one is another Swiss typeface and designed by Adrian Frutiger for directional signs for an international airport in France.

What better way to report about business by using a typeface they made their own? This one has an international appeal to boot too.

btweekendnameplate

Typeface: Freight Sans

Being part of The Business Times, this nameplate cannot deviate a lot from its main paper. The choice of this pretty new typeface seems like a update with the times plus a touch of lightness for the weekend crowd. The typeface’s creator Joshua Darden says Freight Sans is “designed for warm formality in text and an authoritative, helpful tone in display” — indeed.

mypapernameplate

Typeface: Myriad

Used by Apple Computer since 2002, this paper probably wants to identify itself with the younger generation, so speak the language of one of the most popular brands amongst the youth today?

sundaytimesnameplate

Typeface: TheSans

It’s Sunday and the last thing you want is to be greeted by a serious paper the first thing in the morning. Thus, the choice of this typeface by Dutch designer Luc(as) de Groot seems appropriate since it is marketed as a “useful-yet-friendly, all-purpose contemporary sans-serif”. Until you realise it is also “the face of thousands of organisations, publications and web sites”, but then it has to stay safe like its main paper, The Straits Times, too.

Typefaces of Singapore Newspaper Nameplates

Here’s a list of the nameplates of Singapore’s english newspapers and what typefaces they use. I’ve also included popular contemporary references that also use the same typeface, maybe the choice of usage says something about the paper?

stnameplate

Typeface: Big Caslon (Straits Times)
You might have seen it: Foreign Affairs (headline) and The New Yorker (body text)
tnpnameplate

Typeface: Helvetica Neue (The New Paper)
You might have seen it: Everywhere (even a film made about it)

btnameplate

Typeface: Frutiger
You might have seen it: National University of Singapore

btweekendnameplate

Typeface: Freight Sans (The Business Times)
You might have seen it: Reader’s Digest (logo)

mypapernameplate

Typeface: Myriad (my paper)
Also used by: Apple Inc

sundaytimesnameplate

Typeface: TheSans
You might have seen it: Sprint

todaynameplate

Typeface: Times New Roman
You might have seen it: Default font for Microsoft Word prior to Microsoft Office 2007

FOUND: Visual Thinking and Thoughts

visual-thinking

This was how Peter Ong explained visual thinking in a 1994 AMIC paper where he also championed the importance of packaging and design so that newspapers stayed relevant to readers. The way to do so is to be, what I call, a total journalist.

According to Peter, such a journalist should:

  1. Integrate themselves fully into the design process
  2. Learn to think graphically
  3. Look for graphic potential in every story
  4. Collaborate with sub-editors and artists in the final packaging of their stories

The New Paper is one local English paper that I think has such journalists as one can see from how prominently they use infographics. I believe they are the only paper with the post of Infographic Journalist. You can see an archive of their works online here. Below are three of my favourites:

I love how this infographic not only served to categorise the price increases across different sectors but more also how it acted as a distinct visual element to convey the idea of price hikes so simply! Great layout too.

Here, the process of setting up the Singapore Flyer is well explained and readers get a sense of the scale of this world’s tallest observation wheel as it is compared with other megastructures around the world.

The details that go into this one show that infographics need not be simple, but can be jam-packed with information if it is well-designed. I like how the outline of a person is place on the chair to show how comfortable it might be to sleep in one of these seats. The big picture is not forgotten as the detail on the bottom left corner lets the reader know where this chair is in the plane.

FOUND: A Short History of Newspaper Design

In this 1987 Asian Media Information and Communication paper that I found via GooglingPeter Ong, a former regional editor of the Society of Newspaper Design, provides a short history of newspaper design. A former editor in The Straits Times and The New Paper, he sees the birth of newspaper design as a necessary response to consumer’s changing expectations and needs, and looks to the American newspapers as the leaders in this area. The follow areas are covered in this 14-page PDF

  • The American Experience — why and how American newspapers focused on newspaper design
  • Design Trends — modular layout systems, how wide a column should be and what kind of font size to use
  • Why redesign a newspaper and how to go about doing it
  • Thoughts on the electronic newspaper and how it might change things

Though dated, this is still a very good read to be introduced to the fundamentals of newspaper design. The section on why to redesign and how to go about doing it is very useful for understanding the process of putting together a newspaper. Finally, it is quite interesting to see how his predictions of changes to the newsroom over 20 years ago panned out:

Just imagine this: A reporter leaves the office for an assignment with a photographer. All she has in her hands is a tiny tape recorder. No notebook. No pen or pencil.

The photographer, too, is seen with a strange-looking camera. Instead of the usual film, the camera has a computer-like disk.

At the end of the assignment, they return to the office. The reporter plugs her tape recorder into a computer system and the story appears on the screen in front of her. There is no typing to be done. Any corrections she wants is made through a voice-activated computer. When she is satisfied with her story, she transmits it to her editor at the click of a button.

In the photo department, the photographer slips the disk into a computer. He scans through the pictures he has shot, selects the best and then transmits it to the editor.

The editor calls up the story and photograph on a video display terminal, crops and sizes the picture the way he wants it and merges it with the story which he has edited.

Story and picture are sent to the sub-editors and designers who then lay out the various pages on a video display terminal. Once the page is completely filled, he sends the page off to the production room where a plate is made directly from the computer. The page is ready for printing any minute now.

Except for the part on “no typing”, much of what he imagined has actually come true!



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