The Dallas Morning News highlights a year’s worth of coverage for the 50th anniversary of the JFK assassination with a 12-page special section. Here’s an inside look at the section by designer Marilyn Bishkin and artist Michael Hogue.
SND members can vote for the officers from Oct. 14-Nov. 7. The winners will be announced at the annual workshop.
ESPN has dominated the 24-hour field for so long it’s worth stopping to assess things now that we have a new entrant, FOX Sports 1. The sports network launched last month and features college football, NASCAR, soccer and UFC so far. It also has its own newscast, FOX Sports Live, and a fresh design.
Tiffany Grandstaff is leading Digital First Media’s company-wide print redesign initiative aimed at bringing a common visual identity and improved design to DFM’s portfolio of daily newspapers.
Each week, newspapers put their best foot (and stories) forward in their Sunday editions. This week, The Los Angeles Times shares its most recent project.
On August 18 the Sun Sentinel published a huge investigation revealing Florida’s failure to keep the most dangerous sex offenders locked up. The story warranted a different visual approach, but creating the Sun Sentinel’s first fully responsive, multimedia-packed site wasn’t without its challenges.
As creative director for American City Business Journals, Jon Wile has his hands full. On top of dealing with the logistics of handling 40+ publications, he’s leading the brand redesign alongside Garcia Media. Wile talks with SND about the process.
Journalists are in the business of breaking news. But how do you deal with it when your paper becomes the story? I found out on Monday afternoon when Don Graham announced the sale of The Washington Post.
Papers and books crowd Indiana University lecturer Steve Layton’s desk. Next to where he sits is last year’s Society for News Design hardcover, Best of News Design. Under it is the 2011 book, and under that are the printed pages that will become the 2013 edition. It’s the 34th year of existence for the book, but it’s IU’s first year to design it.
Variety Creative Director Chris Mihal reminds us that when pitching ambitious projects, showing is better than telling.
After a three-year sabbatical, the Graphics Garage is back. This time it’s in Orange County, California at The Orange County Register, Saturday, August 3. This workshop is designed with the local community in mind. It’s not about showing others what we do at the newspaper. It’s about the skills we use to do what we do in visual communication and teaching the participants how to apply those skills in their fields.
I first met Mark Johnson at SND St. Louis in September 2011. The now 35-year old CEO of Zite — a personalized magazine app acquired by CNN earlier that year — was the definition of unassuming. Sporting a curly fro, eyebrow ring, t-shirt and backpack, I actually mistook him for a college student. Our first conversation had us discussing everything from cocktails and news design to architecture and taxidermy. Here, Johnson talks innovation, personalization and user-experience design in media.
When Bloomberg Businessweek released the July 15 cover this morning, the reaction on Twitter ranged from “brilliant” to “inappropriate for young readers.” SND caught up with Creative Director Richard Turley, who gave us some insight into the stimulating cover.
Alberto Cairo’s new book about information graphics goes beyond the basics – and explains both process and theory. Ole Munk takes a closer look.
We’re ready to start unveiling workshop information for SND Louisville, and the countdown is now underway. We’re pretty far along curating a great lineup of speakers. We’re excited, and not very good at keeping secrets; so, we’re not going to wait for one big reveal a couple months before the conference when the schedule is set. We’re announcing five speakers this week, and every week after we’ll unveil at least two names.
The decision of the leadership of the Chicago Sun-Times (and its sister publications) to lay off virtually all of its photographers and most of its picture editors is simply the most recent — albeit the most extreme — example of the continued devaluation of content and journalists by those on the business side of our industry. While the challenges faced by media companies today are daunting and well documented, and efforts to rethink old models are being rolled out almost daily, we are concerned about the unintended consequences of a decision to replace decades of photojournalistic experience with reporters with smart phones.