We often say that printed newspapers have lost the time advantage for breaking news.
That is a fact in this media quartet world where, for example, a person escaping an airliner that just crash landed , can tweet about his experience moments after evacuating the smoky aircraft—-and include an image, too!
But it is not just printed papers that feel disadvantaged in a world of news that never stops, and of citizens who are fully equipped to turn into reporters, photographers and videographers at the sound of a siren.
Television, too, feels the impact of citizen journalism.
Now, the new CNN boss, Jeff Zucker
announces his plan to take the news network in different directions, and, in his own words:
“We’re all regurgitating the same information. I want people to say, ‘You know what? That was interesting. I hadn’t thought of that. The goal for the next six months, is that we need more shows and less newscasts.”
Then , it is as if Zucker was a contemporary newspaper publisher, citing that a news channel cannot rely in news alone and insisting that more films and documentary-style stories will fill the air. In addition, Zucker’s new hires are more digital than television.
While CNN and other TV networks may not be raising the “digital first” flag, it is obvious that they are feeling pressures similar to those newspapers have for years now.
Storytelling is the winner in the process , as it is for newspapers whose editors survived the trauma of seeing news—-in the old definition—-minimized, and who have moved on to accept that they still can surprise and tell great stories.
We are beginning to see that multimedia storytelling is gaining momentum and acceptance not just for newspapers and magazines, but television as well, prompting me to feel excited about the prospects, while remembering that the next generation of journalists will move seamlessly with their stories from platform to platform.
While one of the Ns in Cable News Network may be gaining a new definition, it is one we should embrace with gusto: news as content that surprises.
Spreads from Vanity Fair 100 Years. Photos from pentagram.com
What a pleasant surprise to see the celebratory Vanity Fair 100 Years, a collection of the best of Vanity Fair, with a design by Luke Hayman and his team at Pentagram that surprises with its elegance, minimalism and visual impact.
From the typography, to the grid, the generous but functional use of white space, it is all here. Most importantly, it reflects the content that the design packages and the visual DNA of one of the world’s most iconic magazines.
When we imagine “pure design,“ this Vanity Fair centennial should be what we picture.Students of design can learn valuable lessons about elegant functionalism here.
I asked Luke about his process as he tackled this project:
Mario: Could you summarize what inspired you with this project?
Of course we were inspired by the rich heritage of Vanity Fair although we are sure to also acknowledge the visual language of the current magazine. The use of the Didot for the display text was an obvious choice. Futura and a proprietary cut of Times are the support typefaces for captions and longer texts. These classics supported our goals of giving the book a timeless elegance. The design and display text is lively and engaging however we make sure to allow the tremendous illustrations and photographs to be the stars of this book.
I am disappointed to read about internships and what may happen to them in David Carr’s column for The New York Times, “Overlook the Value of Interns at Great Peril.” It is a subject dear to me, and to my own experience, both as an intern and as a hirer of interns.
In a nutshell: the idea of internships is in jeopardy and many internships may disappear completely.
Unpaid internships, which are to the publishing business what the mailroom was to Hollywood studios, are under broad attack. Both Hearst Magazines and Condé Nast have been sued by former interns who assert that they performed a great deal of work for little or no money. Hearst, which has vigorously defended itself in court, is contemplating dumping internships, and Women’s Wear Daily revealed last month that Condé Nast would no longer provide internships.
It would be a big mistake to abandon internships all together.
It would eliminate opportunity for thousands, and also the possibility of discovering talent for employers.
I know. I have been on both the giving and receiving end of internships.
I was 19 years old and a sophomore at Miami Dade College when my journalism professor, Barbara Garfunkel, recommended me for an internship with The Miami News.
I was accepted, and the summer of 1967 became one of the best times of my life, and the one that convinced me that I wanted to work with newspapers, with design, in a newsroom.
Second, my hiring of a special intern: Reed Reibstein.
When I visited the Yale University campus in 2008, Reed was a freshman working on the staff of the Yale Daily News. I immediately recognized his talent and special talent for typography and design and asked him to be our summer intern. That internship led to my asking him to stay on as a “year round” intern during the academic year. Reed returned each summer as an intern until he graduated, and joined us full time as Garcia Media art director & project manager. A win-win situation for both of us.
That’s the best evidence I have to convince those considering not having more interns that a few isolated cases where things went wrong should not make us abandon one of the best tools we have for discovering and nurturing talent in every profession.
There may always be those inconsiderate bosses who use interns to retrieve their dry cleaning or to bring them coffee, but the vast majority see interns as what they are: an incredibly valuable source of talent waiting to be nurtured and inspired.
1. Establish a pay scale that is acceptable to all. I do not believe in free internships. Even a minor stipend establishes a professional relationship based on the reality of what the working world is all about.
2. Establish early on what the goals of the internship are and what the intern should achieve during his or her time at the organization.
3. Allow for mentoring as part of the internship. We all have had a mentor that shaped part or most of our careers. It is satisfying to do this for the next generation. But mentoring takes time and effort, and it should be part of the planned internship schedule.
It is the Thanksgiving Holiday in the United States so this is our “weekend” blog post and will be updated as needed. The next blog post is Monday, Dec. 2
Update 1: Tampa, FL; Thursday, Nov. 29, 05:32
Here is the celebratory front page from the Gulf News of Dubai, to celebrate the news that Dubai has been selected to host the Expo 2020, beating four other cities in the process.
Good work from Miguel Gomez, design director, and his talented team. Editor is Abdul Hamid Ahmad
TAKEAWAY: Already 20 of those 40 weekly business journals published by American City Business Journals have launched with a new look and rethinking. Take a look at this project where visual unity and a digital first approach are the key to success.
Front pages of 20 of the 40 Business Journals that have already introduced a new look as part of Project Pinstripe.
One thought comes to mind as I look at this graphic with 20 of those front pages for the ACBJ business weeklies. It is the first day that I entered a conference room in Charlotte, headquarters of ACBJ, and first faced 40 titles lying on a table, each with its “unique” nameplate and layout. Without a doubt, I wanted out of the room and out of the project before it was too late.
Common sense prevailed, plus, Emory Thomas, chief content officer, convinced me that he and his colleagues at ACBJ meant it when they said they wanted to effect big change, starting with the look and feel of those weeklies.
How right he was. Change has been the agent that has propelled this so called Project Pinstripe. It is change that was welcome, along with a design that takes into consideration the DNA of these business weeklies, the content they produce, and that respects the individuality of each of the titles, while unifying them.
It has been the job of Jon Wile, as creative director, to oversee the preparations for each launch,and to interact closely with the editors and the art director for each title. Jon travels from city to city, training those involved with the paper, making corrections, reviewing the style guide and overall inspiring editors and art directors to do their best.
“I cannot believe we have 20 papers converted to the new design; but I also cannot believe we still have 20 left to do at the start of 2014,“ says Jon. “It’s been a year of transformational change and growth at ACBJ, much more than just a print redesign. I’m very excited about what 2014 holds for us and hope we can build upon the momentum.“
Jon Wile has compiled a list of numbers that tell the story of how 20 of the ACBJ weeklies have already undergone the transformation as part of Project Pinstripe:
Papers that were converted to the Pinstripe design this year
Breakdown of primary branding colors (Ruby-Sapphire-Emerald) as selected by each individual paper
Press tests run (each market prints at a different press, thus the need for so many tests)
Font families used in the redesign. Acta is the serif; Graphik is the sans serif; Guardian Agate Sans is the agate
Weights available in those two font families
Visual journalists hired this year at ACBJ: 10 editorial designers, four photographers
InDesign style sheets (paragraph and character) used in each market
InDesign library items built specifically for each markets paper size and editorial desires
Jon’s travel schedule this year has included:
Time zones visited
Work days on the road
Flights on U.S. Airways
Miles flown on U.S. Airways
ACBJ: recruitment tool is also media quartet sampler
Charlotte Business Journal: it’s new look, new digital focus as part of Project Pinstripe
Portland Business Journal: It’s a new look, new digital focus as part of Project Pinstripe
Kansas City Business Journal launches new product, meets challenges of change
A total rethink for Cincinnati Business Courier
Philadelphia Business Journal: A total reinvention
It’s a new Washington Business Journal
The design of the Silicon Valley Business Journal, from prototype to reality
Silicon Valley Business Journal: Creating the ultimate multi-platform operation
Lessons learned from Silicon Valley, and a look at some details of SVBJ
Happy Thanksgiving to all!
If, as we are beginning to discover, multimedia storytelling is the epitome of lean back information consumption, usually woven together through a story, with a variety of multi sensory appeal, such as audio and video, then what better opportunity for a brand that wants its message put across to a sophisticated audience that happens to be in a relaxed mode to consume the information?
In an earlier blog post last week, I mentioned that 2014 is definitely the breakthrough year for branded content. With the rise of multimedia storytelling among publications globally, this will probably be the way to go for advertisers who wish to expand beyond traditional presentation of their products.
Converse, the shoe brand, is one of the first to take advantage of multimedia storytelling for branded content.
The Converse “branded content” advertising follows precisely the structure and strategies used by journalists who engage in multimedia storytelling:
1. It all begins with a story.
Converse sets the stage with a narrative that reads:
There are those who make moves instead of standing still. They think big. The compulsively create. They experiment and explore. They’re skaters, ball players, spitters, beat makers, band members, teammates, DJs, artists, entrepreneurs and more.
They are fueled by the streets where sounds are born, styles imagined, and ideas are expressed with supreme confidence.
The current cultural landscape is full of people like this, kids who create the world they want to see through fashion, sport, art and mucic. Turning an eye to New York City’s hip hop scene, two dynamic collectives stand out: progressive rap proponents Ratking and the five-man Brooklyn Soul music band Phony PPL. Here’s a glimpse into their world.
2. The story is divided into six segments.
3. The package includes photos, videos, audio.
And, indeed, Converse shows the products it wants to sell, but it is not a direct “in your face” sale here at all.
This is an example of what we are likely to see more in the future.
One tip for those who have created what is a good, pioneering effort combining multimedia storytelling with branded content: try not to set long texts in all capital letters—-just not easy to read.
Prepare For the Avalanche of Native Ad ‘Snow Falls’
TAKEAWAY: Two events in which I was involved this past week are a reminder of something I have suspected for a long time: there is no room for “solo numbers” when it comes to working through the challenges that face us in the media today, and for the next few years.
First, a planning session at Columbia University’s Graduate School of Journalism, where I am honored to be the Hearst Digital Media Professional in Residence. Part of my responsibilities include teaching a Spring semester course titled Multi Platform Design & Storytelling. Students in this class will pair up with those in a class Professor Michael Shapiro teaches about long narrative writing. We look forward to the possibilities. But, as I told the students who attended an information session about my class, an important part of this course is to engage in collaborative projects, because that is exactly the way it is in newsrooms worldwide.
The four centerpieces of any discussion involve storytelling, design, technology and the economics of publishing. No project should get off the ground without representatives from all four of these disciplines working things out together.
The second event, a workshop with the team of American City Business Journals, where we have worked closely with Emory Thomas, chief content officer, and Jon Wile, creative director, on the so called Project Pinstripe, which involves the conversion of 40 business weeklies across the United States, to give them a unified look, with a digital first approach to information.
Here, it is all about creating a culture of change so that these 40 titles approach information similarly and present it in a unified design (from storytelling to grids to color palettes). Now, however, the project moves towards the development of a digital philosophy, with product development teams and with a keen eye towards “mobile editioning”.
As we mapped out the strategy, one important point we made: make sure that the technical, the journalistic and the advertising folks get together from the first meeting on.
Appropriate to that, Reed Reibstein, our art director/project manager at Garcia Media, reinforced this point by referring to a piece titled Reorganization: Process is often shaped by how teams are organized.
Here is its first paragraph:
In the context of designing for the multi-device web, the high level of iteration and communication required to build a modern website is rendering the assembly line approach obsolete and reorganization necessary. However, if a process is changed without rethinking the network of talent, resources, and management that support it, friction and inefficiency can arise.
The author outlines the usual 3-step process when it comes to planning anything digital: plan, design, code. Then he reminds readers that, while these three steps should follow in this sequence, the meetings should not mirror that order. Instead, representatives of the three groups should meet together at every step of the process.
Indeed,that is my experience as well. One immediate benefit: no surprises from the technical team, who are likely to tell us not all that we as designers have dreamed up can actually be executed. Get those coders in the mix from the start, and you will be surprised how much more willing they are to say yes, when they are incorporated at an early stage.
The “media quartet” is, as the name implies, all about collaboration, each instrument playing in harmony with the other. It can be fun, too.
From Bild Am Sonntag, Nov. 24th edition
Here is a Sunday double page spread from Germany’s Bild about injuries commonly suffered by professional soccer players.
Our European correspondent, Frank Deville, tells us that the headline is The Pain of the League.
The graphic details the anatomy of injuries, including well known German players who have been injured.
Update 2: New York City, 09:47
TAKEAWAY: Most days, as I read The New York Times, there is that one story that I had not previously heard anything about. In that sense, it is Top News to me, and you’d better believe I look forward to finding it each day.
It is the surprise of the day.
It is the story we don’ necessarily need to read to consider ourselves fully informed before taking off for work.
It is not what one would consider Page One story material ( not by the standards of another era, or the definition of news in Lyle Spencer’s 1917 classic, Newswriting, anyway!)
It is, however, the one story that surprises, engages, adds a layer of information to our news day diet, and, in many cases, the only one with a headline that we had not read before on one of our mobile devices.
It is the piece that was carefully curated to be among Top News. The Times’ editors definitely respect the placement that this story should have. They put it at the end, the last item in the Top News category. That’s OK for me. Whether first or last, that story fits the new definition of news: what we know now, which we did not know 15 minutes ago.
The New York Times has developed the inclusion of this story into an art. If you read the Times’ tablet edition, it is always the last item under Top News.
But just the fact that these stories appear under Top News says a lot: don’ t miss it, get the highlights of it and discuss it at the office during the morning coffee break, share via social media, and don’t forget to mention that you read it in the Times!
After I read this story, I usually surprise myself getting to the end of the story, usually on a subject that I am not particularly interested in. Yet, the headline entices me, then the writing is usually so good, that it seduces you and you read to the end.
I don’t know about other readers, but, most days, I slide my tablet screen towards the end of the Top News section to see what’s in store, as if Godiva boxes had a hidden compartment with one extra (surprise) bonbon: make mine green tea, tangerine, or just plain surprise me, please.
In Manhattan Alleys, Dogs on Rat Hunts Find Bags of Fun
Humans on the rat patrols say their energetic little ratters are doing what comes naturally, while combining sport and public service
It was well after nightfall. The pack of dogs was split into two groups and was led to opposite ends of a desolate alley in downtown Manhattan.
Rhino Horns: a) Increase Potency; b) Cure Cancer; or c) Bring a Prison Term
In a North Face Jacket, a Reversible Appeal
Usually when a brand moves from urban chic to suburban moms, or from elite athletes to everyday wear, it loses some luster. But the North Face seems to have escaped that fate, and is embraced by the city student, the rural rancher and just about everyone in between.
The Syllable Everyone Recognizes
(By the way, it’s “huh”!)
Marrying Companies and Content
Over the years, this content has had an unsavory reputation — most have been infomercials masquerading as editorial content. But the bar has been raised by companies like Red Bull, whose incredibly popular extreme sports videos almost make it seem like a media company that sells beverages on the side.
Big Data’s Little Brother
Start-ups are gathering data and analyzing it much faster than was possible even a couple of years ago, aiming to project economic trends from seemingly unconnected information.
An Accidental Cattle Ranch Points the Way in Sustainable Farming
PESCADERO, Calif. — When Tom Steyer first learned that his wife, Kat Taylor, wanted to sell beef from the cattle herd on their ranch here, he rolled his eyes.
A Cold War Fought by Women
How aggressive is the human female? When the anthropologist Sarah B. Hrdy surveyed the research literature three decades ago, she concluded that “the competitive component in the nature of women remains anecdotal, intuitively sensed, but not confirmed by science.”
In New York City today, both The New York Post and the New York Daily News recreate the front page they published 50 years ago, on Nov. 23, 1963, the day that President John F. Kennedy was assassinated. The Boston Globe also carried its 1963 front page as part of a four-page special tribute to President Kennedy.
Here is a centerpiece story visual that engages and seduces.
The front page of the Minnaeapolis/St. Paul Business Journal
Icon is the new magazine of Spain’s El Pais
Here is cover of the Italian Icon
Wonderful to see the newly arrived magazine for men from Spain’s El Pais. It is called Icon, and it is all about the contemporary man, how he works, dresses, parties, falls in love and carries on with his life. Also, art, design, and culture will be an integral part of the magazine’s contents.
The surprises are at two levels. First, we all read the sad economic forecasts coming from Spain, where unemployment among the young is about 56%. Second, here is a Spanish newspaper creating a new print publication. Two reasons to celebrate.
Icon Magazine’s ambition is to target young men.
Originally created in Italy in 2011, Icon will be distributed free with El Pais 10 times a year. Icon is the result of a collaboration between Mondadori International Business and Promotora General de Revistas y Ediciones EL PAÍS. In addition, single copies of Icon will be available at press kiosks.
In its Spanish version, Icon will continue the successful Italian formula: the life and times of the contemporary man and icons that represent it, through the eyes of leading photographers and internationally recognized journalists.
The printed edition will be enhanced digitally to incorporate photo galleries and videos of the subjects in each issue.
Take a good look at this front page of The Onion: soon there will be no print product, only digital
The satiric publication, The Onion, is halting its print version in Chicago and its two other remaining markets with its Dec. 12 issue.
Closings of print editions is always sad, but, as the president of Onion, Inc., Mike McAvoy, was quoted: “It’s sad to see a print edition no longer exist, but it’s important to see the Onion succeed.”
The consolation for those of us old enough to remember when closings REALLY meant closings of publications that we would not see again, is that they now live digitally, as will revered The Onion.
Expansion is also in the horizon for The Onion, via television, as it has contracted with Amazon.com Inc.‘s production studios this year to create a TV series called the Onion News Empire.
Nowadays, we are witnesses to what I refer to as “partial death” for a variety of publications that cease to exist in print, but live digitally forever.
Don’t miss this piece titled The closest I came to buying a newspaper, written by Virgin CEO, Richard Branson, with a rather enthusiastic voice (while praising the new design of London’s The Independent, which he says he likes, because “having always put a great deal of emphasis on design - and just relaunched our own website - we recognize great style when we see it!“).
The award winning pages of Moscovskiye Novosti: the first Russian newspaper to receive recognition from The European Newspaper Award competition
It is great news and a little bit of history for my friends at Moscow’s Moskovskiye Novosti newspaper, one that we have had the honor of working with as it was brought back in circulation in 2011.
Moskovskiye Novosti has continued to evolve, and it is that evolution, from a text driven traditional newspaper, to a dazzling magazine-like format, that has caught the attention of the judges in the 15th annual The European Newspaper Award competition.
This is the first time a Russian newspaper has been recognized at The European Newspaper Award as Moskovskiye Novosti has received a judges’ special recognition for its very magazine-like design, and for a two page infographic report.
I asked Ilya Ruderman, Deputy Editor-in-Chief - Art Director, RIA Novosti, how he and the team felt about this accolade:
We began redesigning the newspaper back in 2011 with the active involvement of renowned newspaper and magazine designer Mario Garcia. One of the key decisions was to include large, complex infographics as a distinctive element in the revamped newspaper, and Mikhail Simakov began working on this with his team.
The new art director, Anton Stepanov, led the next effort to redesigning the paper, and in the fall of 2012 the new layout impressed everyone with its innovative front and back full cover spread and unusual graphics. Alongside infographics, images also play an important role in the newspaper layout. Anton Marast and Timofei Yarzhambek cope perfectly with the fast pace of a daily newspaper. As its art director, of course I was very happy to receive this unique award, but I am still never satisfied because you can always find things that need to be improved. We are still working on the graphics and the layout, and have recently introduced an English-language insert The Moscow News which also posed a few challenges in terms of design. Working on the newspaper is very interesting and I think this is one of the best things about MN.
Anton Stepanov, Art Director, Moskovskiye Novosti & The Moscow News, had this to add:
Over the last two years, this newspaper has gone a long way, from a traditional newspaper format to a daily magazine. This transformation would not have been possible without the new concept of the newspaper proposed by the editorial team. The new structure of the newspaper content has to be presented in a different way. As a result, we use unconventional formats for a newspaper. Photos and illustrations play a very important role – they form a core of additional information, while the content is structured around it.
Members of the MN team include: Mikhail Lebedev, who leads the layout team; Alexei Ptitsyn, Konstantin Kakovkin, Anton Maryinsky and team leader, Mikhail Simakov-infographics; Natalya Gvozdeva, Anastasia Yarullina **and **Marina Laba—designers.
Evolution of a design: The front page on the left, very text driven and conservative was the original editorial team’s idea of what the new Moscovskiye Novosti should look like. Common sense prevailed and a more contemporary looked made it out on that first day of the new MN in 2011
The new Moscovskiye Novosti paved the way for the MN of today: more informational graphics, more generous use of white space through inside pages. The stage was set for this new magazine-style MN that is an award winner and a crowd pleaser
Evolution of a design: the contemporary look in the newspaper format gave way to today’s magazine-style smaller format.
As I have visited with the Moskovskiye Novosti team in the past year, I was very happy to see the major evolution of this newspaper, and kept thinking of how difficult it was for me and my team to get the original editorial team to advance beyond a very text driven newspaper where visuals were NOT welcome at all.
Goes to show that publications and projects follow stages of evolution, and that the people involved have a lot to do with what happens: the Moskovskiye Novosti of today, the award winning, visually surprising daily, would have shocked the original editorial team, and that was, gasp, less than three years ago.
Congratulations to the Moscovskiye Novosti team for this honor and for pushing for innovation daily.
Moscovskiye Novosti is published in Moscow and has a circulation of 31,800 copies daily, 98,000 on weekends. The newspaper is published in
Russian, with an English section once a week. The newspaper employs 15 journalists and four layouters.
How users engage with the media quartet
Today is the day Moscovskiye Novosti comeback premieres
In Russia: rebirth of a legendary iconic newspaper Moscovskiye Novosti
Russia report 2: Designing Moscovskiye Novosti across the platforms
The French newspaper Libération removed all images from its November 14 to show the power and importance of photography at a time when the industry’s woes force publishers to make cuts, which usually start with photographers and visual journalists.
Front page of Boston Globe, with image from photographer, John Tlumacki, who recorded the Boston Marathon bombing (https://nppa.org/node/60892), sharing his images of carnage with readers around the world
The numbers tell the story: in the past five years, the number of visual journalists eliminated from many newsrooms has increased. It dwarfs the number of other journalists whose jobs are considered a surplus.
But even the use of the word “surplus” seems to be so badly used .
No one questions the value of what visual journalists do. The work of designers, photographers, illustrators and info graphic artists is indispensable to enhance content. It is no secret that most of us enter a newspaper or magazine page (or the screen, for that matter) via a visual. It is that photo, illustration or video that first seduces us into reading the content.
Every single Poynter EyeTrack research in which I have participated has yielded similar results: it is the image that becomes the first point of entry.
So, why should photographers, especially, bear the brunt of job cuts?
Jim Michalowski, a visual journalist, editor and treasurer of the National Press Photographers Association, sees it this way:
“There’s a difference between a reporter or writer and a photojournalist – yes, it’s true, practically anyone can use an iPhone to make an image, but professionally trained visual journalists look at situations differently, seeking nuances that non-visual individuals may not notice, or even look for, that tell the story better than just a snapshot. Readers value exceptional visuals and radical elimination of entire photography staffs such as Chicago’s Sun-Times are not ignored – subscribers do notice the devalued product.
At this year’s Boston Marathon bombings: while spectators may have run away from the tragedy it was experienced visual journalists like Boston Globe photographer, John Tlumacki, who recorded the tragic incident (https://nppa.org/node/60892), sharing his images of carnage with readers around the world.
There are some good news, too, in the midst of this gloomy scenario.
At the Orange County Register, visual journalists have been hired as part of the publishers’ plan to revitalize that newspaper, enhance local coverage and raise the level of visual storytelling.
At the OCR hiring is on for visual journalists and the number prove it: In the last year, the graphics department grew from two to eight. And, in design, the OCR increased its staff from seven to 16. And the regional papers, which had no designers, now have 19.
Jeff Goertzen is one of those visual journalists who were recruited by the OCR, a newsroom many believe is among the most progressive in the United States in terms of its approach to doing print happily. Here is what he tells me:
When The Register started restocking its newsroom, many of the hires were graphics artists and designers. Photography still had solid staffing, but the overall visual content of The Register needed a rebirth.
The hires go hand in hand with the increase in the number of pages devoted to visual storytelling, says Jeff.
Since CEO and publisher, Aaron Kushner arrived, here’s what has happened at The Register: In photography, before, T**he Register’s** OC Varsity section ran only once a week. Now we run it three days a week year around. Each page has about 10 photos covering more than 40 games a week. This trend extends to our 25 regional papers as well, which have all been redesigned to full broad sheet. In September alone, we photographed 656 high school sports games and published 2,201 photos in OC Varsity and our regional papers. We also have 15 new special sections, which showcase strong visuals on the covers and inside.
In graphics, in the last year, the graphics department grew from two to eight. And we went right to work. In that time period, we’ve published nearly 40 full-page graphics and 5 double truck graphics. We’ve published more than 20 center piece graphics on our 1A and roughly 10 centerpiece illustrations on our 1A as well.
We also have three Focus pages that run daily. These pages, which are researched, written and designed by Focus page editor Charles Apple and wire desk chief Gene Harbrecht, also showcase full-page graphics and strong photography to tell the story on a daily basis.
Jeff also mentions that with all this visual content pouring into the The Register’s pages, one can’t undermine the importance of having journalistically-savvy designers who know how to package visually-driven content with good reporting.
(See various examples of The Register’s visual storytellers’ output here).
Furthermore, as multimedia storytelling becomes more popular and necessary as part of how we cover stories, the need increases for the work of visual journalists. In fact, the creation of a multimedia story package begins with a story, a writer and a visual journalist.
This is why it seems so ironic to me that visual journalists be targeted as the first groups where cuts can be made.
Time to rethink those strategies. Time also to assess the value of the work visual journalists do at a time when the demand for their talents and skills increases as we move into more sophisticated and visual storytelling techniques.
The National Press Photographers Association provides visual journalists accelerated training in multimedia, news video and advanced storytelling to elevate the impact of visual journalism in print, on-line, mobile and broadcast. For more information:
Visual jobs in newsrooms have fallen by nearly half since 2000
At newspapers photographers feel the brunt of job cuts
French newspaper removes all images in support of photographers
About Jim Michalowski
USA Today, Nov. 15, 2014: Logo and Cherokee ad do the sponsored ad tango
Notice those “silent ads” on page ones of the newly redesigned and rethought ACBJ business weeklies: Minneapolis/St. Paul Business Journal and Nashville Business Journal.
That tango between those two sometime cool partners, or even cold adversaries—- advertising and editorial—-continues to get friendlier and better all the time.
I have seen it coming,first in those early online editions of newspapers in the early 2000s—the rise of what I refer to as “silent ads”, where a brand is promoted, but not a specific message. You would see, for example, a United Airlines ad, a small unit, smack in the middle of a navigator to the various sections of the website. So, between the news categories of Local and Opinion, you would see the logo of United Airlines, or Marriott Hotels.
This would result in more eyeballing for the “silent ad” as users turned to that most important tool in a website: the navigator. And while most news websites continue to display those sometimes ugly banner ads (that can easily be ignored), one cannot ignored a strategically placed “silent ad”. In a way, there is nothing visually silent about those ads.
I liked them from the start, and so I have incorporated them into dozens of “print” project redesigns, in most cases with great success (See the front pages of these American City Business Journals here, for example).
That was in the early 2000s, however, and that is how the flirting and the courting of ads and editorial began.
Today, the union gets stronger, more formalized and it carries the guarantee of what some of us had already suspected: advertising is information, too, and users like advertising messages that inform them.
Better yet, they like advertising that tells stories.
For the best brands, today’s strategy is not about placing their product in your face, but about telling a memorable story that reflects the brand in your brain.
Today, more and better examples of the union of advertising and editorial content. With a more robust union comes a new name to describe the combination, as in branded content, or, even better, branded journalism.
Branded or sponsored content on many websites mimics the editorial content that surrounds it, making it difficult for users to ignore it. And, why should they?
It’s all about the company we keep, of course, so when such titles as The Economist and The New York Times get to the dance floor to do the ad/editorial tango, people take notice. It’s Dancing with the Stars, circa 2014, the year I predict when we will see more branded journalism clamoring for our attention.
Meredith Kopit Levien, exec VP-advertising, for The New York Times, announced that The Times is planning to introduce branded content units into its redesigned website, scheduled to rollout in the first quarter of 2014.
“As part of our redesign, there will be new ad products … and at least one unit will be branded content,“ she said.
We will watch with interest. And so will ad managers who handle print editions of newspapers.
Only last week, USA Today married its own logo to a six-column photo of a Cherokee Jeep. The ad was totally silent (or as silent as a Jeep aiming at the logo—and the reader—on Page One can be), and it only included, in small type, the jeep.com/cherokee website.
The reason this union between editorial and advertising is so sweet is that everyone benefits: the brands that find their messages cushioned around titles that command attention for their editorial content (and history), with the publications that desperately need the revenue that comes from such unions.
Of particular interest to publishers (and advertisers): Branded content works well in mobile devices. For example, Politico and The Atlantic, among others, see native advertising as one of the key strategies to closing the “mobile revenue gap” — the difference between their large and growing mobile readership and their relatively small mobile revenue.
For 2014, the arrival of more branded content in all platforms, and, who knows? Perhaps even projects where entire campaigns are planned and carried out around a subject between advertisers and editorial teams.
Storytellers will be needed who can do this dance well.
—An ever growing audience that wants to be informed and entertained at all times. Branded content that is excellent excels at both.
—Brand managers who are concluding that by partnering with publishers they do more than sell a product, they sell a story that, in turn, reinforces their brand.
—We are likely to see all advertising planned via two tracks: a) one devoted to the more traditional direct-response sales pitch—selling a product, b) one devoted to selling a story, not a product, as when an airline does not sell you a seat, but a story that it wants to attach to its brand.
—Publishers are more ready to establish good relationships with advertisers who wish to tell a story via their newspaper/magazine.
—Publishers/advertisers are cementing their mutual trust, eliminating questions of ethical standards. In fact, publications are beginning to draft documents that spell out how branded content will be handled.
New York Times Ad Chief: Branded Content Units Coming Soon
Why sponsored content is promising for news organizations
Sponsored messages cuddling up to editorial content
Interactive, sponsorship ads: the new marriage of digital advertising, editorial
Ralph Lauren and the Times: a marriage made in tablet advertising heaven
Ads on Page One: some work, some don’t
The iPad Ad Lab #1: Wrap that ad around a story
iPad Ad Lab #4—Those comfy advertising suites
iPad Ad Lab #3—Rules of engagement
The iPad Ad Lab #2: Kill those banners
iPad Ad Lab #4—Tablet advertising that tells a good story
It’s time to do more experimenting with advertising in print
Why we need to create better advertising concepts for mobile platforms
Front pages that project stories (and readers) to the next level
Advertising across the media quartet: the Aftenposten model
TAKEAWAY: Francesco Franchi, author of the new book Designing News, talks to us about the future for media and the ideal profile of editors and designers who have the professional skills to take content and make it flow through different platforms.
A few days ago we reviewed Francesco Franchi’s new book Designing News and celebrated this new entry into the library of news and news design. Francesco is art director, Il Sole 24 ORE, in Italy.
At the time of the review, I asked Francesco a few questions that were fresh in my head the moment I finished reading his 240-page hardbound book, which abounds in illustrations, charts and explanatory texts.
Here is my interview with Francesco Franchi:
Your book is realistic, but also optimistic, about the challenges and opportunities that we in the media face today. On what do you base your optimism?
I think this is the most interesting and ambitious time for a designer to be working in the newspaper market. There is a lot going on in the newspaper sector all over the world: a continuous series of redesign projects, as editors rethink their strategies, analyze what they are doing and how, and seek new solutions and new tactics. The advent of the tablet has also created a whole new market that remains to be discovered and invented.
I don’t think we have to be pessimistic. The death of the newspaper, often denied but much feared, may be avoided by adapting to the new circumstances. And to some extent, the change has already begun — tangible products made of paper newspapers are mutating to intangible services for knowledge. Design can play a strategic role in this transformation, but it can only be of value if it manages to capture the meaning of things.
In terms of digital: where in the world are you seeing the best examples of newspapers and magazines that have made the transformation to a multi platform media world successfully?
Apart from the New York Times, the Guardian and Reuters — which are some of the case studies described in my book Designing News, — many news organizations across the world are experimenting and innovating in digital.
Circa, for example, is a new app which aims to revolutionize how we get breaking news.Vox Media is developing beautiful longform storytelling; while Gawker Media is working in truly interactive news platform where readers should be able to contribute stories, get them on the front, determine headline and image size that their friends see, rebut stories, etc.
The Washington Post, which has just launched Topicly — a visual news platform which groups articles by theme and links them under an image in a grid, — and Al Jazeera are also companies to look at in the near future. New forthcoming startup companies are also trying to follow the success of Buzzfeed but focusing on niches.
I especially enjoyed your chapter about Rethinking, and your approach to printed publications: where do you see printed newspapers and magazines, let’s say, 10 years from now?
The advent and popularity of the tablets — portable, small, easy to handle — have given publishers the incorrect impression that the transition from print to digital could be made by simply transposing the old content onto the new accessories, with just a few adjustments in size and a few multimedia additions to justify the change of platform.
In the latest chapter of my book, the re-thinker understands the transformations currently underway in the world of information, lives with the new technologies, adopts new languages (making the most of the opportunities offered by infographics), and seeks to implement a process of rethinking the entire system. The re-thinker brings a new epistemology of professional practice, not just implementing decisions made from above or coming up with a new graphic look but actively participating in the process of rethinking the whole experience of use, distribution, access, and ￼sharing of content. Seen in this light, newspaper redesign is not just a matter of redrawing but replanning the whole system.
Where will we be a few years from now with the content we put into tablets?
I do not think that the form which magazines and newspapers are assuming now through the tablets will be their form of the future. I think that it is still quite hard to reach the good balance, the rhythm and the attention to details in the tablet versions like we are used to see in print publications.
Tablets are good for long form reading, they are good for interaction, but editorial design goes further: it embraces journalism, it develops a journalistic idea and it is based on storytelling. It’s not a matter of how much interaction and special effects we can add throughout tablet versions to a magazine. The effort is to design interesting products starting from good journalistic ideas. An editorial concept can no longer be simply reduced to a “digital replica”. All aspects of content management, from creation to distribution, must reflect the concept to ensure that it is expressed in full.
Offering a grid for interpreting the world through a specific selection of stories is still important, but not as essential as it once was. Content, in fact, is increasingly free to flow and combine in new ways of reaching readers, who have more and more power to customize. Rather than offering a point of view, they suggest ways of managing knowledge and interacting with information. This is why the role of the designer must change. The importance of graphic identity, and even more, of visual storytelling, is not decreasing. To the contrary, managing to reconstruct a consistent reading structure that gets the reader involved without excluding opportunities to customize, socialize, break up stories and put them back together is one of the major challenges facing the new designers.
What type of storytellers will we need for what you are describing?
Translating an editorial idea into the new context requires professionals that are capable of analyzing reality through a holistic approach, capable of suggesting models of interpretation that first of all help to define the purposes of the publishing initiative and secondly set forth consistent working strategies.
At present, the ability to offer a perfect reading experience on a multitude of different media appears to depend on both the availability of people and time and the ability to integrate all the different professional skills in a single workflow, not viewing the different platforms as discontinuous elements but, on the contrary, working with them as integral parts of a single process. In an article in his blog (http://www.subtraction.com/2011/10/27/where-are-all-the-ed-ex- designers), Khoi Vinh (former digital design director of the New York Times) underlines the importance, in today’s new editorial panorama, of a new kind of designer whom he calls an “editorial experience designer” (ed-ex designer), a figure “who can build a great digital product out of great editorial content.” Bringing together these two sets of skills, which were until recently far removed in a single professional figure, requires an open and forward-looking overall vision and concept of design. The simultaneous presence of the two types of skills makes it possible to comply with the conventional principles of editorial design and user experience on the one hand, and go beyond them by innovating on the other. The years ahead of us will bring some exciting challenges. Learning to change is the most important thing we can do.
Our review of Designing News
What makes our times fascinating (and challenging) is that it is a period of experimentation for the media. The most adventurous media companies are going out to try new things, not always knowing how they will turn out.
I like to be involved with such companies, where someone says: How about if we do this?, then someone in authority answers: Why not?
Of course, there will be fear and a bit of trepidation. It’s like walking in the swamps of the Everglades, not knowing what will turn up. Well, maybe not that bad, but you get the point.
And so, as I peruse the media commentaries on a daily basis, at a variety of sources, like many of you do, too, I am fascinated to see the contrarians at the gate.
This past week, we had two such reports, both worth reading:
This Week in Tablets: Are tablets the savior of print magazines?
In this piece, George Jones, a founding editor of Tabtimes, argues that, while Google CEO Eric Schmidt may think that magazines and tablets make good companions, as he told the Magazine Publishers Association recently, Jones says it’s beginning to become clear that tablet adoption of magazines is “sluggish at best.“ (See a short item about the Eric Schmidt presentation below)
In August, Ad Age reported that the entire universe of digital magazine subscriptions totaled 10.2 million subscribers in the first half of 2013, and that, on its own, the gaming magazine Game Informer accounted for one-third of these subscriptions.
Jones thinks that the Flipboards and the Zites of the world are “cannibalizing magazines outright. Why would anyone buy a single magazine when they can have access to all magazine content via aggregators on their iPad or Android tablet all the time?“
He proposes that magazines, instead, create partnerships themselves with outfits such as Flipboard and Zite, instead of competing with them.
I agree with Jones that these partnerships with companies that already have captured the attention of millions are important. However, it is critical to remember that both Flipboard and Zite started fresh as digital publications. They do not have to deal with the legacy of print, as do a majority of the magazines that make their way to the tablet. It would be unrealistic to think that publishers will “drop” the historical elements that characterize their brands.
A better solution for publishers/editors of magazines going tablet: partner with the Flipboards and Zites of the world, learn from them and how they do things, but also dig into your rich history to make sure that the tablet edition weaves a rich texture of past, present and future.
There is not just one way to execute the transition of a print magazine (or newspaper) to the tablet.
The Guardian’s “NSA Files Decoded” and Multimedia Journalism
Here, the talented Khoi Vinh, formerly of The New York Times, expresses strong views about The Guardian’s latest multimedia storytelling piece, “NSA Files Decoded”, which he refers to as a “multimedia extravaganza”. Vinh compares this to Snow Fall, and says that he is “pretty ambivalent about this new strain of multimedia journalism.“
As well executed as these early examples are, both this and “Snowfall” clearly cross the line from utilitarian storytelling to superfluous bells and whistles. Also, in my own personal, decidedly unscientific polling, of all the people I’ve met who marvel at “Snowfall,” no one has ever told me that they actually read it.
This argument has been a resounding one that I hear at conferences in which I participate as a speaker. “Too many bells and whistles in that Snow Fall, but did anyone read the text?,“ is a common complaint.
Whether this is inspired by a bit of jealousy, or is a legitimate concern, I am not sure, but it is definitely an argument that I have constantly heard.
I confess that I did read Snow Fall, but was more selective in the segments I read from The Guardian’s NSA piece. But, heck, that is why the writers and designers have broken up the piece into segments.
The argument can be made about traditional enterprise pieces, or series, that newspapers have ran for decades.
I was once involved as co-author at The Miami News on a 10-part series about Cuban exiles in the Miami of the 1960s. Did anyone assume that readers would read the entire series? It was written and edited as segments: The Doctors, The Children, The Politicos, etc.
I am certain that readers decided what to read. As an aside, I do know that at least one angry reader read the part where we said that not every exile was in the US for political reasons. Ouch, that made someone throw red paint at my house one night, thinking that I was an “infiltrated” communist and not patriotic enough. That was scary and an early reminder of the passion that our stories may evoke. My Mom, who woke up to the sounds of the fast-speeding car, suggested that I change professions.
But back to Vinh’s well crafted piece. He insists that he does not think people are reading these multimedia pieces.
To be clear, if you are The Guardian or The New York Times, and people aren’t reading the text that you’re putting in front of them, you are not delivering the core value that only you can deliver, that your whole enterprise is based on.
True, multimedia storytelling appeals to all the senses, and, indeed, we do marvel at them because of all that is new in the way we can tell stories.
We in this business have never been in full control of what our audience does with the material we produce. We strive to select the best content, to write it and to edit as efficiently as possible and to design it in a way that is visually appealing.
But, in the end, the audience assumes control and makes choices.
As multimedia storytelling pieces become more common place in newspapers and magazines globally, we must ask the pertinent question: What constitutes bells and whistles? What is too much razzle dazzle? How much of what appears in the story is there simply “because we have the ability to do it”?
I thought that The Guardian’s NSA piece was focused, and assigned a meaning to every element. (See our own review of The Guardian’s NSA story here: http://garciamedia.com/blog/articles/pthe_guardian_elevating_multimedia_storytelling_p)
The wisest words I have ever heard on this topic came from the great Nigel Holmes, formerly of TIME Magazine, still one of the savviest visual storytellers around. Every time I would invite him to speak to a Poynter Institute seminar, he would never leave the room until he reminded those in attendance that:
Everything must have a meaning. If you don’t give it a meaning, the audience will.
Same applies to multimedia storytelling.
Google chairman Eric Schmidt says that tablet magazines have a bright future. We think that so do tablet newspapers.
Not that anyone doubt that tablets are hot, but coming from Google chairman, Eric Schmidt, magazine publishers have one ear—-and their hopes—-up.
“Tablets are now more popular than PCs,“ Schmidt said. “You can read it, it knows where you are, it has an accelerometer. There are all sorts of stuff [publishers] can do in tablet magazines [that they] couldn’t do in print magazines.“
Schmidt continued that he envisions a time by 2018 in which “powerful, tablet-looking things” come to replace “traditional media” and where “incredibly immersive” tablet apps would be able to leverage the reader’s location data and social graphs to make the reading experience more interactive.
I would dare say that this will hopefully be happening before 2018. And, while Schmidt is referring to magazines, I believe that we will see equal developments in the use of tablets by newspaper readers. As multimedia storytelling gets better with each new example, the tablet is particularly useful for readers to engage with those stories in a platform that they favor during day and night.
Google chairman Eric Schmidt thinks tablets are key to the future of magazines
Gulf News, Dubai: Special farewell tribute to cricketer Sachin Tendulkar. Top—front and back cover (to be seen as a poster), the inside two-page poster
In Dubai’s Gulf News, a special reports in sports section to honor Sachin Tendulkar, an Indian cricketer widely acknowledged as the greatest batsman of his generation. Sachin is set for an emotional farewell when he plays his 200th and final test at home in Mumbai starting Thursday, exactly 24 years after he began his record-breaking career.
Thanks to Miguel Gomez, Gulf News design director, for these images.
“It was a team effort,“ Miguel says. “M Arshad, Design editor, came up with the idea and coordinated the project, but others were involved. It took three weeks to produce it.“
Layout: Douglas Okasaki and Talib Jariwala
Illustration and mosaic portrait: Nino Jose Heredia
Story and Research:Gautam Bhattacharyya and K R Nayar
Research of more than 500 Sachin pictures: Devadasan K P, Prasad Nair and S M Arshad
It took around three weeks to produce it.
10 facts that prove print is still in the game
Printed newspapers are more popular with older, more educated, and affluent Canadians — and therefore are an ideal environment for advertisers. Still, young adults do read printed newspapers; the free dailies have successfully captured that market.
Teenagers say goodbye to Facebook and hello to messenger apps
Sunday Times, Telegraph and Observer report increase in sales for October
Mendoza, Argentina: wine region, growing city
The new Diario Uno look: November 12, 2013
The new Diario Uno look: November 11, 2013
It’s a new look for Diario Uno, of Mendoza, Argentina. That is the wine region, where some of the best wines in the world come from (think Malbec). Mendoza is a growing city, at the feet of the Andes, where the population tends to be young and mobile, and where international renown is gained with every wine bottle exported to the global markets.
Our Garcia Media Latinoamérica office in Buenos Aires has just completed the latest redesign for UNO, which premiered the new look Monday, November 11.
Under the project leadership of Rodrigo Fino, president of Garcia Media Latinoamérica, with art direction from our Paula Ripoll, senior art director, the redesign is a refreshing for this tabloid, and one where a decision was made to maintain the same typographic fonts that had served the paper well. While many redesigns start with a change of typography, Rodrigo, Paula and the internal team felt that, as Rodrigo put it, “a good typography does not deserve to be changed.“
So readers of UNO will continue to see that beautiful Gerard Unger font, Gulliver. The challenge, said Rodrigo, was to find it a compatible sans to accompany the Gulliver: Freight Sans to the rescue. It is elegant and vibrant.
Take a look at the new UNO, where the team also worked hard to renew the content flow and how UNO adapts to presenting information across platforms.
Rediseño de la Evolución
In the Financial Times today: Doing Business in Mendoza
Gulliver typography http://www.gerardunger.com/fontstore/store-gulliver.html
Selected pages from the new ACBJ recruitment document
While the intentions of Jon Wile, the talented creative director at the American City Business Journals, may have been simply to create a recruiting tool to use at the recently concluded SND (Society of News Design) function in Louisville, he did much more than that.
The moment I reviewed a PDF of the document, I knew that we were looking at an incisive, well focused, explanation of how digital first has worked at the ACBJ‘s Project Pinstripe, of which we are honored to have been a part.
We at Garcia Media have worked closely with the ACBJ team, including Jon, as well as Emory Thomas, chief content officer for American City Business Journals. Over the course of a year, and a half-dozen workshops, we have created a formula that is flexible enough to allow for the specific and unique features of each of the titles, while establishing a foundation that ensures a similar style for telling stories and for adapting to a digital first philosophy in the presentation of content.
ACBJ includes 40 business journals across the United States and the clock is ticking as each launches with the new look and the digital first approach.
“We have been pinstriping like crazy over the past month,“ Jon writes me. “Since you last blogged about ACBJ, we’ve launched in Phoenix, Denver, Honolulu, Columbus, Dallas and Houston. Pittsburgh, Tampa and Boston launch in the next few days, which will mean we are exactly halfway through!“
What I like about Jon’s recruitment document is that it is visual and explanatory. If I were a reporter, editor, designer or web producer looking for a job (and, by the way, Jon has openings!), I would be delighted to read that:
ACBJ business journals now have their biggest audience in their 30-year history—as of latest count: 10,164,246 visitors to their web sites who viewed 46,213,860 web pages.
The result of ACBJ’s sweeping product initiatives are readily apparent to any reader, and to anyone who works at the company. Our products today aren’t simply more timely than ever before. They’re also more visually engaging, more vivid, more elegant, and more relevant. We are a company filled with people who thrive in an atmosphere of constant change and innovation – all in service to an audience that has no parallel inits influence on people, businesses and communities.Whether you’re a longtime subscriber, a potential advertiser, a first-time user or a prospective employee, there’s never been a better time to engage with the products and the people of ACBJ.
Social media surge
The business journals made large gains in social media this year, increasing monthly instances by 72%:
Subscribers for both print and digital
Paid subscriptions — print and digital from the business journal properties — have been on the rise over the last decade, growing 15% during that time frame:
How the digital first philosophy works
In terms of breaking news:
All day, every business day, our newsrooms are constantly posting breaking stories, bringing information to our audience first, and enhancing it with the kind of authoritative perspective that only business journal reporters can provide. It’s an exclusive news experience that can’t be duplicated, because no one is more single-mindedly committed to covering the local business leadership.
MOBILE WEB & APPS
The local business intelligence that flows from business journal newsrooms throughout the day is available wherever busy executives and consumers want it. Our mobile website elegantly converts the desktop experience to a hand-held environment. Meantime, the Bizjournals app provides robust and easy-to-navigate news feeds from each of our 43 cities, allowing readers to move easily from city to city.
Morning, Afternoon, Industry Newsletters
Business journals strive to be an essential part of every local business leader’s wake- up news experience. Each day, our newsrooms prepare a well-planned email edition for distribution early in the morning. Readers of the Morning Edition can start the day with the confidence that they’re well informed on the most urgent news topics in their community, and well prepared to confront the day ahead.
By 3 p.m. every afternoon, our business journals have assembled and covered the top stories of the day, and they package it all in a robust Afternoon Edition. Delivered by email, this edition is filled with scoops and interpretive analysis filed by our award- winning reporters.
Technology, Energy, Health Care and other topics unite our audiences from city to city. As such, with certain key industries, ACBJ publications have banded together to provide targeted publications for critical vertical audiences. Some of these products are distributed daily, some weekly. As with our local business news, each of these newsletters harnesses the best reporting in the business to inform top executives.
Doing print happily and efficiently
The covers of our weekly editions serve as vivid, informative gateways to the content our newsrooms have assembled and assimilated. They are, as our design consultant Mario Garcia has said, “maps to the journey.” Visually rich, digitally inspired and packed with news, our Page 1s showcase the best of what business journals have to offer: exclusive news, informed perspective, actionable data and useful introductions to the people who drive the local community day in and day out.
The lead story of our weekly edition is a signature feature of the business journal experience. A business journal centerpiece offers a deep dive into a topic or news event of critical importance and significance to the business community at large. Here we tell you not just what is happening, but what it means. These are the stories behind the headlines that every informed leader must know about.
“The key for us right now it is to make sure designers see the great work ACBJ is doing and help them understand where ACBJ is heading. We’ve made some very strong design hires this year and I want to build on that momentum. Great things lie ahead in 2014 for the ACBJ design community,“ said Jon Wile, the ACBJ creative director.
Contact Joanne Skoog Editorial Consultant
firstname.lastname@example.org 704-973-1065 @ACBJroadie
Contact Beth Hunt
Manager of Editorial Operations
DESIGN & PHOTO
Contact Jon Wile Creative Director
email@example.com 704-973-1055 @ACBJdesign
Contact Huntley Paton Online Executive Editor
firstname.lastname@example.org 704-973-1820 @ACBJ_hpaton
Charlotte Business Journal: it’s new look, new digital focus as part of Project Pinstripe
Pinstripe Project: Albany, St. Louis launch new look digital first approach
A total rethink for Cincinnati Business Courier
It’s a new Washington Business Journal
The design of the Silicon Valley Business Journal, from prototype to reality
Silicon Valley Business Journal: Creating the ultimate multi-platform operation
Lessons learned from Silicon Valley, and a look at some details of SVBJ
Lady Gaga designs USA Today logo for a day