“Design” Items

Mario Garcia on The Arizona Republic Redesign

The Arizona Republic’s redesign was an interesting exercise in trying to find a way to please a publisher who had the dream of making The Republic a New York Times-style  newspaper.  That meant he wanted a subdued approach to headlines and design and NO color.  Putting it in positive terms: classic design.

When the publisher of The Arizona Republic, Pat Murphy, commissioned me to redesign his newspaper, he had brought to our discussion a clearly defined blueprint of what he wanted his newspaper to look like: “Make it elegant,” he said. “Also let it look like a classic, reliable newspaper, one that readers will feel comfortable and safe with.”

Truthfully, I hated it.  Mario Garcia didn’t care for it either. He was very kind in an article he wrote for Newspaper Techniques, the monthly newsletter of IFRA.  He was also said some very kind things about me.

The Arizona Republic, is totally paginated (triple-I), which facilitated the idea of a half-column concept. Into the third month of the redesign, the newspaper hired an assistant managing editor for graphics, Howard Finberg, who came from The San Francisco Chronicle, and had served as graphics editor of The Chicago Tribune, as well. With his impressive credentials and experience, he became a full partner in the process, refining the use of informational graphics, guiding the every day logistics of the redesign, and hiring new designers for the different sections.

 

Arizona Republic Announces Redesign (and My Hiring)

The Arizona Republic’s newsroom newsletter, EN, announces the hiring of Mario Garcia to redesign The Arizona Republic.  And, burying the lede [grin], my hiring.

TWO MORE STEPS have been taken in our continuing effort to improve The Republic: A contract with Dr. Mario Garcia of the Poynter Institute to redesign the paper, and the hiring of Howard Finberg of the San Francisco Chronicle as our new assistant managing editor for graphics.

Garcia’s redesign of The Republic will begin in July with research to understand how readers and editors perceive the newspaper. He will be here the week of July 6. The schedule will give him a chance to live up to his nickname, “‘the Human Hurricane”.

I just love the irony that years later I would be working at Poynter, although Mario would be gone. The world is a small place.

Perhaps My First Poynter Faculty Appearance

While I can’t be sure, I think this is the seminar where I did one of my first Poynter teaching sessions.  I know I attended Poynter as a participant earlier than this date.  It is all a bit cloudy.   Here’s the description:

“Newspaper Design Seminar at the newly named Poynter Institute for Media Studies January 29-February 4, 1984. The emphasis of this seminar will be the layout and design of news pages’ with special emphasis placed on preparation of graphic packages and material for the 1984 Presidential elections.”

The seminar was led by Mario Garcia.  A few years later, he and I would be work on the redesign of The Arizona Republic.  Other faculty included: Phil Nesbitt, Michael Keegan, David Griffin, Michael E. Foley and Roy Peter Clark [who is still at Poynter].

It is interesting to note the prices:

Cost for the seven-day seminar is $400 plus hotel and meals. We have reserved a block of rooms at the St. Petersburg Beach Hilton Inn at $61 per night for single accommodations.

In 2013 dollars, the seminar would cost: $897.28; the hotel would be $136.84.  The invite letter is here.

The State of Newspaper Design

Design magazine, the publication of The Society of Newspaper Designers [SND] asked a number of editors to write about various aspects of the state of newspaper design.  I used my article talk about three key things:

  • Training [aka development]
  • Technology
  • Organizational structure

I like what I wrote about technology.

Technology: I’m not sure computers have been a blessing for journalists. I’m not interested in what kinds of tricks we can do with them but the facility with which we can do our jobs.

This edition‘s cover listed so many friends and industry colleagues.

Pagination: Implementation & Human Factors

One of my roles as Assistant Managing Editor of The Arizona Republic involved steering Phoenix Newspapers [PNI] into its next generation of pagination, the electronic design and production of newspaper pages.  In early March, 1993, the Newspaper Association of America held a Prespress Technology Symposium in Phoenix, AZ. I gave two speeches at that conference, one on how The Republic implemented its system.

If you were to create an adage about the installation of a pagination system it might go something like this:

Installing a pagination system is much like building a ship while already at sea – it is possible, but be prepared to get wet.

The second speech involved the human factors in pagination:

A design department using pagination can be one of two things:

  •  A creative department using a specialized electronic tool
  • A service or production department using new tools but following the direction of the paper’s editors

A design department using pagination can’t be both.

This is the fundamental linchpin of any discussion about the human factors of pagination. How to manage the people doing the work.

 

How a Graphics Editor Works at the Chicago Tribune

The first edition of the journal of the Society of Newspaper Designers (SND) featured excerpts of a speech I gave the the organization’s first convention.  The gather was held in Tribune Tower, in a meeting room called Campbell Hall (if memory serves).  That meant we probably had no more than a couple of hundred folks in the room.  The editors of Design took a transcript of my speech and turned into an article.  However, I didn’t know any of this until publication.

Reading it over today still gives me lots to cringe about — I was a bit arrogant.  OK, I was a full of self-importance about this new role.  The Chicago Tribune was the leader in informational graphics.  And I was the Graphics Editor.  I wished I had remembered to talk about how this was a team activity, not a solo sport.

However, I still like my conclusion, that all of the work we do is about making it better for the audience:

You can have the prettiest looking graphics in the paper and it doesn’t mean anything  if  it doesn’t  communicate with readers. That’s the most important thing as far as the Tribune and the graphics editors go. If we’re not communicating  with  the reader, we’ve lost it all. It’s my job to go for it.

Not sure what I was going for, but I guess we did.

Here’s the article from Design

Transcript pages from a 1999 American Press Institute seminar presenting newspaper design survey results

Is There a Disconnect Here Someplace?

This is a transcript section from an American Press Institute seminar held in October 1999, where I presented the results of a design and visuals survey I coordinated. It was a follow-up to the survey we did for the 1988 J. Montgomery Curtis seminar, Newspaper Design: 2000 and beyond, with a nod to the survey the Society of Newspaper Design did in 1992. We reused a lot of the same questions so we could see what had changed.

This just goes to show you that if you volunteer to do something, you get to do it again.

The numbers: 628 responses in 1988; a little over 1,200 in 1999, about 200 of those from a Web site we built for the project. Sixty percent came from designers, 40 percent from editors. Ninety percent worked at dailies, and about 45 percent at papers over 100,000 circulation. One notable difference from 1988 — we didn’t ask about color or the use of computers. By 1999 those were givens.

We organized the discussion around five areas: the importance of design, the importance of visual elements, people, the relationship between online and print (new that year), and where all of this material was going to fit in the future.

As for the importance of design, the survey showed that it remains strong in the opinion of both editors and designers. And as for visuals, we’re also optimistic. And that’s the good news. The bad news is there appears to be a big disconnect between editors and designers in how they view the world.

Some of that disconnect showed up in the self-scoring. Asked to rate the quality of newspaper design across the industry on a 1-to-10 scale, 13 percent gave the industry an 8 to 10 and 71 percent put it in the 5-to-7 range. Asked about their own newspapers, more than half rated themselves 8 to 10. As I said at the time: the industry sucks, but we’re doing okay at our own newspaper.

Warren Watson of API‘s staff took the results to some 50 publishers, editors, designers and educators for reaction, and it wasn’t flattering. Terry Quinn of Thomson Newspapers called the 1980s an infatuation period with design. Darrell Moen said design had simply become institutionalized — not special anymore. Around the table, Mr. Sutton put a sharper point on it:

I do think most editors see design simply as layout, and I believe there is a design backlash, because some visual journalists have too much of a “make it pretty” mentality.

The section on informational graphics was the one that stung. As a former graphics editor who toiled in that vineyard when we had nothing but rocks and stumps, I wondered aloud whether informational graphics had just been a fad. Others weren’t ready to concede that. Marty Petty argued that graphics still engage readers and that the failure was in execution — chasing the big, sexy stuff instead of the basic maps and charts that inform. Mr. Curtis tied it to incentives:

Today, editors don’t value them highly anymore because they aren’t rewarded for them, and if you aren’t rewarded, you don’t do it.

On people — which I said then, and still believe, is the greatest challenge — 80 percent of respondents found hiring qualified visual journalists either very difficult or about as hard as it had always been, and the survey said it was getting worse. Asked where they’d put additional staff money, respondents put reporting first at 53 percent, design at 37 percent, online at 30 percent, graphics at 28 percent, photography at 27 percent and illustration at 13 percent. Roger Fidler noted that at Kent State most of the better students were looking at the Web and electronic publishing, and saw newspapers as passé.

The online results astounded me. Only 10 percent thought it highly important that a newspaper’s Web site look like the printed newspaper; 50 percent said it wasn’t important at all. So much for brand. And on leveraging print journalists online, the responses split roughly in thirds — including a third who thought it wasn’t very important at all.

Then there was space. Sixty percent said they had more room for visual packages than five years earlier, and looking ahead, everybody expected still more — this with the 50-inch web coming at the industry.

Everybody thinks they’re going to have more space in the future…what planet were these people on when they answered this question.

Two quotes from the session have stayed with me. Juan Antonio Giner, relayed by Warren: “newspaper design is dead; news design is alive.” And Mr. Lockwood, closing the argument with the Bauhaus:

Laszlo Maholy-Nagy said years and years ago from the Bauhaus that design isn’t a profession; it is an attitude. It is an attitude about information.

I ended on a deliberately hopeful note, pointing out that in Blade Runner — one of the darker visions of the late 20th century — our hero waits for his dinner while reading a printed newspaper. Reading this back now, well past the 2020 horizon we were asked to imagine, the survey’s optimism about space looks even more misplaced, and the disconnect between editors and designers turned out to be the least of the industry’s problems. But the argument about whether visual work is content or decoration never really got settled. It just moved to a different screen.

1999 American Press Institute letter from John G. Finneman confirming participation in the Newspaper Design: 2020 seminar

An Invitation To Imagine Newspaper Design: 2020

Eleven years after API’s Newspaper Design: 2000 and Beyond u2014 the 1988 seminar I’ve already posted documents about elsewhere on this site u2014 the American Press Institute decided to run the exercise again, this time looking two decades out. In the spring of 1999, John G. Finneman, API’s director of operations and administration, wrote to confirm that I’d be part of the 16th annual J. Montgomery Curtis Memorial Seminar in Reston.

This is to finally confirm that you will be participating here in API’s 16″ annual J. Montgomery Curtis Memorial Seminar, which we’re entitling Newspaper Design: 2020, on Oct. 24-26.

The letter is explicit about the lineage, and it’s worth reading alongside the 1988 material in the timeline:

As we’ve discussed, this will be a follow-up to API’s 1988 program, Newspaper Design: 2000 and Beyond.

At the time I was director of technology and information strategies at Phoenix Newspapers, Inc. u2014 a title that says something about how far the conversation had moved from the drafting table since the first seminar. The assignment, though, was the same one: put on the collective creative hat.

During our upcoming fall program, participants once again will be asked to wear their collective creative hats and envision the “newspaper” of 2020 from a design standpoint. How is it most likely going to evolve and what might it look like?

The quotation marks around “newspaper” are Finneman’s, and they do a lot of work.

The Society of News Design was again a partner, with a study organized around three buckets u2014 design, color and infographics; technology and new media; and people. Finneman credits the framing to a conference call I’d had with David Gray:

Warren told me this is what you came up with in your conference call with David Gray.

The signature element of the 1988 program came back as well. Each participant would build a front page of the future, content mix and all, for analysis and a post-seminar book.

These pages, which will once again be featured in our post-seminar book, will be analyzed in advance by Roger Black. As he did in 1988, Roger will be leading a discussion on the body of work.

The seminar was underwritten by API’s J. Montgomery Curtis Fund, which covered tuition, room and meals at the Hyatt Dulles, plus the production of the book. Participants paid their own way there. And, in a detail that dates the letter as surely as anything else in it, I was asked to send along a glossy photo and a biographical sketch.

Looking at this from 2026, the target year has come and gone u2014 and then some. What strikes me is that the 1988 group was asked to imagine 2000 largely as a printed artifact, while the 1999 group was being asked about 2020 with the web already reshaping the question. Whether any of us got it right is a matter for the front pages themselves.

Pages of an early-1990s seminar handout on the status of informational graphics in U.S. newspapers, drawn from the textbook Visual Editing

Status of Informational Graphics in the U.S.: A Swiss Seminar Handout

In the early 1990s I presented a seminar in Switzerland. Sadly, I don’t remember exactly when or where — which is why this file is going into the Archive section until more information turns up. The handout given to seminar participants also served as my speech. It draws on my then-newly published textbook, Visual Editing: A Graphic Guide for Journalists (1990). The document credits Thomas Hermann with the invitation.

The talk traces the evolution of informational graphics — diagrams, maps, charts and tabular lists — from a murder-scene diagram on Page One of The Times of London on April 7, 1806, through William Playfair’s 1786 The Commercial and Political Atlas, to war maps of World Wars I and II, the space program, and the arrival of USA Today on Sept. 15, 1982. Along the way it notes that the Chicago Tribune created a graphics editor position in 1974, one of the country’s first full-time visual journalists.

One of my favorite quotations, from the Austrian statistician Otto Neurath in 1925, appears early in the text:

“Words divide, pictures unite…to remember simplified pictures is better than to forget accurate figures.”

The handout also reports survey findings from more than 350 members of the American Society of Newspaper Editors, done in connection with the American Press Institute’s 1988 J. Montgomery Curtis seminar: 92 percent expected to use more informational graphics within five years, and 90 percent said graphics would play a greater role in their newspapers in the year 2000.

And a warning that still holds up:

When we run misleading graphics because of a lack of data points or “empty graphics” that are merely type-breakers, we communicate very little and take up precious news space.

The remainder of the handout is drawn from the textbook: chapters on how a graphics editor works — gathering and editing information, request forms, working with artists, fact checking — and a section on choosing the right device, with examples from The Arizona Republic illustrating tables and lists, line/fever charts, pie charts, pictograms, map graphics, and vertical and horizontal bar charts.

Tabulations from the 1988 Society of Newspaper Design membership survey, prepared by The Arizona Republic's Market Research Department and dated August 9, 1988

SND’s First Membership Survey, 1988

In 1988, as SND Region 7 director — and an assistant managing editor at The Arizona Republic — I put the Society of Newspaper Design’s first-ever membership survey into the mail. The tabulations were prepared by the Republic’s Market Research Department and dated August 9, 1988.

The pitch to members was straightforward:

We need your help. Enclosed is the first ever SND membership survey. This survey will be used to evaluate current Society programs and publications, identify the areas that should be expanded and help in the development of new services.

The methodology section explains the mechanics: a six-page self-completion questionnaire mailed to 1,500 domestic and 200 foreign SND members on May 25, 1988, with the total membership serving as the sampling frame.

There were 775 usable questionnaires returned for a response rate of 46 percent.

A few numbers that still stand out. Ninety percent said their newsroom or art/graphics department had one or more personal computers — and among those, 92 percent were using Macintosh to create graphics or illustration. Asked what would become more important at their newspaper in the next five years, computers topped the list at 89 percent, followed by informational graphics at 83 percent, design principles at 79 percent and color at 76 percent.

Members were also generous about the Society itself: 82 percent thought dues were “about right,” 64 percent said they always read Design journal, and 93 percent liked its magazine format. The soft spots were attendance and awareness — only 41 percent had been to a workshop or convention in the previous two years, and the most common reasons given were “too far away” and “too costly.”

Chicago Tribune weather page from April 15, 1983, reproduced in the Society of Newspaper Design journal with outlook, satellite and temperature maps

Weather Page Design: Chicago Tribune and Atlanta

From The Journal of the Society of Newspaper Design, No. 12, a two-part look at newspaper weather packages. My piece describes the rethinking of the Chicago Tribune‘s weather presentation — done while the Sun-Times was redesigning its own weather page and USA Today was about to enter Chicago with a full-color version. The steps: hiring a meteorologist for material beyond what the National Weather Service supplied, rebuilding the page in modular units with carefully measured type blocks, and strengthening the graphics — the outlook map, a satellite photo with an engraving overlay to hold the white state borders, a pollution outlook map, a full-color temperature bands map on the briefing page, and a simple regional temperature map for the Tribune’s eight-state region. The example page reproduced with the article is dated Friday, April 15, 1983. At the time I was the Tribune’s picture/graphics editor.

The pollution index is an example of taking a report that uses only words and defining boundaries to create a graphic display of information.

It takes an artist a few minutes to prepare because all the type has been set in advance.

The facing article is by Joe Coleman, then photo editor of the Atlanta Journal & Constitution, on that paper’s half-page color weather map, developed as part of a redesign of the afternoon Journal. Coleman credits then-managing editor Eddie Sears:

Eddie Sears, had seen the USA Today prototype and found one thing worth stealing — an expanded weather map.

Coleman also describes adding columnist Charles Salter to personalize the data, and lists cautions for anyone building a weather package — designate a person responsible for gathering data, format as much as possible, and be careful about dropping cities:

We got more calls on dropping readers’ home towns or favorite foreign vacation spots than any other changes made over the past ten months.

An interesting twist: Joe Coleman is the same Joe Coleman I would later hire as my photo editor at The Arizona Republic in the late 1980s.