Q1: Can you introduce the "Süddeutsche Zeitung Magazin " to the Chinese audience? How does the magazine achieve its unique visual identity, and how does it consistently maintain the coherence of its visual language throughout its operation?
Birthe: The Süddeutsche Zeitung Magazin (SZ-Magazin for short) is a weekly supplement to the Süddeutsche Zeitung, which is published every Friday. Süddeutsche Zeitung is the leading daily newspaper in Germany. The magazine is one of the most renowned magazines in the German-speaking world and offers a mix of culture, society, politics, science, fashion, design and lifestyle which are presented in a surprising, emotional and sometimes completely unseen way. Some of Germany‘s best known journalists either work for the SZ or spent considerable parts of their careers working for the paper. It is comparable to the New York Times Magazine or the M Le magazine du Monde. Still going strong, the magazine just turned 35 this May - happy anniversary!
SZ-Magazin is especially known for its high-quality reports, essays, interviews and photo series. It attaches great importance to visual design and combines in-depth journalism with a strong and out-there design. The topics range from social issues and cultural phenomena to personal stories. Current topics from politics and society are often dealt with in a creative way, often with a humorous or thought-provoking undertone.
The magazine focuses on high-quality photography with an authentic approach, which is often presented in large-format double-page spreads. The images are not only illustrative, but also contribute significantly to the narrative of the stories. Illustration is likewise presented in each issue with a focus on a distinctive and artistically innovative style.
The cover pictures of SZ-Magazin combine photography, illustration and graphic design in an unconventional way. Both documentary and artistic approaches are pursued. We emphasize the importance of surprise and variety in the design.
Once a year, an issue of the magazine is completely given to a contemporary artist. This special issue is called “Edition 46”. Previous artists have included Anselm Kiefer, Jeff Koons, Alex Katz, Jenny Holzer and Sigmar Polke. More recently the issue was done by David Shrigley, Sophie Calle, Wolfgang Tillmans, Erwin Wurm and Miranda July. These issues are also in great demand as art objects and you can see them in the exhibitions of museums as Tate Modern London, MoMA: The Museum of Modern Art or Whitney Museum of American Art.
After staging many line-extensions one that really stands out is the “Stil Leben Magazin”. Since 2013, a special edition has been published twice a year. These issues are also characterized by high-quality design, special topics and a focus on fashion, design, art and craft.
The SZ-Magazin offers a rich array of digital content that extends into interactive and multimedia storytelling. These pieces often include elements like photographs, animations, videos, and interactive graphics to enhance storytelling. Additionally, there are several topic-specific newsletters that can be subscribed to. Likewise, there are a variety of podcasts and audio content to get into. A lot of work goes also into the SZ online shop, where you can purchase various products related to the magazine. Recurring illustrators create a variety of amazing things like ceramics, textiles and print products.
The SZ is a small team of about 40 people. There is a constant communication with the team, editors and collaborators. Everything is perfectly organized to be able to publish a magazine every week.
In a world of exhausted social medias and an overload of information there are many reasons to turn to the SZ-Magazin. And to make and design it. My part of the job is to have a vision, to research, to travel, to network. It is a continuing education. To develop ideas with a journalistic approach. It is always a creative process.
Q2: In the art and design practice of magazines, what role does illustration play as a tool of expression? Please share one or more excellent examples.
Illustration plays a crucial and multifaceted role. It will visually communicate abstract, complex, or nuanced concepts and help the reader to understand. It can reflect the tone—be it serious, playful, ironic, or critical—helping shape how the reader interprets content. Personal, hand-crafted or stylized visuals make stories feel relatable and intimate. Many times at the SZ-Magazin illustration overcomes photographic limits. When real images don’t exist or can’t capture the essence illustration is the most important tool of expression.
So either the story comes from the visual standpoint or a written story by an author. We then try to translate the idea into an image and find the perfect match artist for the topic. Visually this match happens in moods, in tone, in style, in the concepts that the artist is interested in and representing. The artist creates an original work of art that will clarify the article and also stand alone as a strong work of art.
Q3: As a judge for the commercial category of the Golden Pinwheel Young Illustrators Competition, what key qualities do you believe an excellent illustration work should possess?
In the past years I have built up a talented roster of artists coming from all fields. I think the one-single image or illustration to illuminate the authors text is not the direction illustration should go. I think illustrators should also be offered big spaces. Like photography gets. They should also provide meaning. I think illustration should be big. But it‘s not only scale I am talking about. Illustrators should think bigger. Not just wait for a commission. They should start their own scene. The illustrator can become a social commentator, a critic, as well as an inventor, an independent thinker.
In illustration I look for a distinctive and expressive style that blends simplicity with profound commentary and an inventive approach to visual storytelling. I am also interested in the blurred lines between illustration, fine art, and conceptual commentary. An excellent illustration is not just visually appealing. What truly sets an illustration apart is its ability to inspire thought or emotion in the viewer. Great illustrations have an ability to transcend their medium.
Q4: Have you been following the illustration and design ecosystem in China? Are there any creators or stylistic trends that you especially admire?
To collaborate with a diverse range of illustrators is essential and I have worked together with numerous international artists. Chinese illustrators, especially those who are influenced by both Eastern and Western aesthetics, contribute a distinctive voice to the current illustration and design ecosystem.
I follow the work of Sun Bai, Ruohan Wang, Tianhua Mao, Rui Pu, Jiayue Li, Jun Cen and Inkee Wang to name a few.
A recent outstanding design project that I saw in NY while judging Publication Design for the One Club of Creativity as part of the Art Directors Club was „Chinese Nursery Rhymes“ designed by Rang Li. It is a beautifully designed collection of ten traditional Chinese nursery rhymes, published by China People‘s Education Press. This series is of exceptional craftsmanship and innovative approach to children‘s literature. Contemporary Chinese book design is not only good, but increasingly world-class. It seems to be gaining recognition for its bold innovation and high production quality. It is interesting to see them pushing the boundaries of what a book can be, both aesthetically and conceptually.
I intend to meet many new collaborators and creators and see a lot of great new work during the judging for the Golden Pinwheel Young Illustrators Competition and expand these bonds afterwards.
Q5: Currently, young people are an important audience for illustration works. In your opinion, what kind of illustration or design artwork is more likely to resonate with them? How can one create such compelling work?
As an Art Director, educator and mother of two kids I am constantly looking at illustration and seeing what resonates. Among my favorites and those of my children is anything by Axel Schefffer, Judith Kerr, Tomi Ungerer, Ali Mitgutsch, Jean Jullien, Oliver Jeffers, Maurice Sendak or Leo Leonni. Most of these illustrators also being the authors of their children books and known for their whimsical, witty or imaginative narratives and distinctive, expressive, and highly accessible illustrations. Also none of them is trying to be didactic. In every german childrens book shelf you will see The Gruffalo, Frederick, Where the Wild Things Are, The Tiger Who Came to Tea, Here we are, The Three Robbersor any Wimmelbuch by Mitgutsch.
In general I observe that to effectively engage with younger audiences, it seems essential to embrace design styles that are visually bold and to incorporate socially conscious or environmental themes to capture attention but also foster meaningful connections.
Q6: You teach at multiple universities. In your teaching, how do you help students develop into illustrators, designers, and artists who possess both professional expertise and commercial viability?
Even though several years have passed I still have my teachings from the State Academy of Fine Arts Stuttgart in me and folllow up to it. Several outstanding artists have come out of it like Christoph Niemann, Monika Aichele or Stefan Diez.
The Academy stands for a comprehensive approach to art and design education that integrates creative exploration and interdisciplinary collaboration. This approach encourages innovative thinking and the blending of diverse perspectives. Students have access to over thirty workshops equipped with traditional and digital tools, enabling them to bring their ideas to life through hands-on experience. All of this is so important to develop and find out who you are as an artist and emancipate yourself. Most important is the concept of the illustrator, designer or artist being the author of their work. A shift from viewing what you are creating merely as a service to recognizing it as a form of personal expression and intellectual contribution.
In your study-free time do something that is not directly connected to your profession - travel and see the world.“ is what my professor always said. Be inspired of the world around you, try to understand, observe and look, stay curious, be informed, read and discuss. In my opinion the knowledge of art history be it past or contemporary enriches, inspires and gives a deeper understanding about ones own work. Visit museums, festivals and galleries.
Along the way students should be introduced to the concept of entrepreneurship as a means to support their art, rather than sell it out. This perspective empowers them to take control of their artistic narratives and navigate the commercial landscape on their own terms. Also try to collaborate with practicing illustrators and industry professionals who can provide guidance, feedback, and insights into current demands in the illustration or design field.
Q7: In today's rapidly changing technological landscape, with the development of AI technology, illustration creation seems to have entered the era of "equal rights". What opportunities and challenges do you think the popularization of AI will bring to illustration creation?
Surely technology has changed the business. Artificial Intelligence is profoundly transforming and reshaping the creative landscape, offering unprecedented opportunities while presenting new challenges.
All publishing houses and companies have to rethink about how they want to go into the future. The newsstands are not as packed as they used to be. Brands spend large sums on their business strategy with creative tactics – more and more in-house. Balancing innovation with responsibility will be crucial in shaping the future of creative work.
Illustrators can decide if they want assistance by AI and engage into that technology. Still what is most important is to have ideas. Ideas are still the coin of the realm. I don’t think that will ever change no matter what technology comes along. It’s the computer between our ears that drives coming up with creative solutions to challenging problems.
I am relaxed about the development of AI-supported image generators and rather see it as another tool. These tools are constantly improving and could eventually produce interesting conceptual works, but the question is whether it really matters whether a work was created by a human or a machine. But what actually bothers me is that AI is trained on the work of amazing artists, without their consent. I recognize the growing visual literacy of people through the spread of images on the Internet as a positive development.
Due to the uprise of fake news and AI any text or visuals created by AI is taboo at the Süddeutsche Zeitung newspaper and SZ-Magazin. It is the definite credo. The publishing house is trying to figure out how to tag work as „made by humans.
