Boston Globe sports graphics maestro Luke Knox moving to ESPN

Luke Knox — for the past five years, an ace visual journalist for the Boston Globe — announced Friday on social media:

In a year of exciting changes, I have another one to report: I accepted a job this week with ESPN The Magazine and we are moving to Connecticut!


Starting next month, I will be Associate Art Director for Infographics and will build graphics for the mag and It’s an absolute dream job, working for [creative director] Chin Wang and alongside folks like Paul Wallen.

I’m sad to leave all the incredible colleagues at the Boston Globe from the past five-plus years, and I owe that place everything. But for Jen, the kids and myself, it’s an amazing opportunity for everyone and we are ready to get to know our new home state!

Luke tells us:

I finish [at the Globe] at the end of the month and start [at ESPN] Aug. 10.

A 2002 graduate of UNC-Asheville, Luke spent two years with the Pensacola News Journal in Florida and then a year-and-a-half at the Albuquerque Journal before joining the Arizona Republic in Phoenix in 2005.

He moved to Boston in 2010 as a sports design supervisor. He moved to graphics in 2013.



In particular, I love that Tom Terrific piece. I dissected it here in the blog when it ran — in February 2011 — and I still use it in many of my slideshows. In fact, I sent a JPG of it to a friend just this past weekend (Hi, Marcia!).


In addition, Luke reportedly works for my design firm. Heh.

Find Luke’s portfolio here and his Twitter feed here.

The new graphics editor of the Boston Globe: Tonia Cowan

Tonia Cowan — for the past eight years, graphics editor of the Globe & Mail of Toronto — is the new graphics editor of the Boston Globe.


She starts her new job today, in fact. Friday was her last day at the Globe & Mail.

A 1989 graduate of McMaster University in Hamilton, Ontario, Tonia spent four years as a news artist for the Canadian Press before becoming deputy art director for the Associated Press in 1994. In 2000, she moved to Newsweek as an artist specializing in 3D graphics. She became graphics director of the Toronto Star in 2004 and leaped to the Globe and Mail in 2007.

I should add that Tonia is one of my favorite people in the world. She, Kris Viesselman and I taught together for a week in Manila, back in 2007.


For a while, Tonia kept a very cool sketch blog. I once posted her field guide on how to identify Canadians during winter:

Another time, I posted examples of watercolor work she did on deadline for her paper.

She told me:

I’ve learned that watercolors are hard. I mean, really really hard.

Possibly the coolest thing of Tonia’s I ever posted was this terrific International Space Station diagram:


The diagram attracted not only my attention but also that of Canadian astronaut Chris Hadfield. Who just so happened to be in orbit at the time.



Later that year, Tonia pulled out her sketch pad again and dropped in on the Toronto Film Festival.


You recognize Sandra Bullock, right?

Tonia even managed to put herself into one of her graphics from the festival:


And those are just the samples of her work I’ve blogged about recently. Find much more of Tonia’s work in her online portfolio. Find her Twitter feed here.

Why build maps repeatedly when you can make a tool to build them for you?

Many of us graphics types keep a number of templates that we constantly pick up and modify from day to day, from story to story, from graphics assignment to graphics assignment.

And then there are those geniuses who go a step beyond and create software to do those repetitive tasks for them.


Enter Patrick Garvin of the Boston Globe. He’s created his own open-source online tool that will turn Excel data into those chloropleth maps that we use so often.

He calls the tool Mr. Map Generator and it’s very, very cool. Especially since he’s giving it to us for free.

Here’s how Patrick describes the tool:

The user copies the contents of a spreadsheet, pastes that into a field, clicks a few buttons and then has code for a responsive, color-coded map that can be used on any browser on any platform. It can also be modified to be used in a vector file.

The reaction via social media Tuesday was strong and swift:


Patrick tells us:

I created Mr. Map Generator this past summer. I had just finished updating my gay marriage timeline


…and felt this void now that the timeline didn’t require daily heavy lifting. I wanted an evergreen project that I could work on in my slow times at work.

In the year or so since I had originally launched my gay marriage map/timeline, I found myself using the SVG of the U.S. map a lot. I had repurposed it for a web map about state by state insurance numbers and then gotten the idea to save that file as a PDF so I could use it for the print version.

From the summer of 2013 through the summer of 2014, I found myself repurposing the U.S. SVG a few times so that I could make color-coded maps. It saved time to reuse an old file, but I wondered if I couldn’t find an even easier and more efficient way.

Around the time that I had wrapped up version 2.0 of the gay marriage timeline, Chiqui Esteban and Gabriel Florit were both making web graphic generators for our department to use. These were in-house tools that helped graphic artists and web producers make web graphics that played nicely with Methode, our CMS.

Méthode, for those of you not familiar with it, is the Globe‘s front-end system — also used by the Wall Street Journal, the Financial Times, the Times of London and the Washington Post.


My friends at Media24 in South Africa use it, too — except they call it by the name of its corporate parent, Eidos.

Patrick continues:

As I was looking for projects and was already considering ways to streamline my process of making color-coded maps, I followed Chiqui’s and Gabriel’s leads and began on a tool myself.

I was very much influenced by Shan Carter‘s Mr. Data Converter website.


It has such a simple-and-easy-to-use interface. I wanted something as simple that would be of ease for web producers and graphic artists that might not feel comfortable yet with JavaScript.


As of now, Mr. Map Generator has more steps than Mr. Data Converter, but I tried to keep that same feel. It might seem daunting to novices, but I wanted the steps to have screen grabs that explained things. I’ve found that in the explainers I’ve sent to staff members on other projects, screen grabs make a huge difference.

Therefore, you’ll want to bookmark this post — the one in which Patrick walks you through how to use Mr. Map Generator.


He shows you how and where to enter your data and then what to do with it.


In the end, you can generate files to post to your web site or PDF vector files that you can then open in Adobe Illustrator…


…for incorporation into your print graphics. Easy peasy.

Currently, Patrick has templates for U.S., Massachusetts and Boston area maps — with more to come, he says.

The Massachusetts maps really paid off. Color coding 351 shapes by hand in Illustrator is a nightmare and can introduce errors. That anxiety is significantly reduced when the process is automated.

Color coded maps are common for graphics departments, and I think that simplifying the process has saved us time to focus on more complex projects.

Here are the links to save:

A 2004 graduate of the University of Missouri, Patrick spent a year-and-a-half at the Myrtle Beach, S.C., Sun News before joining the Times-Union of Jacksonville, Fla., in 2006. He moved to Boston in 2010.

In addition, Patrick does stand-up comedy on the side.


Find Patrick’s blog here, his portfolio here and his Twitter feed here.

A sampling of Super Bowl pages from the Boston Globe

Joe Moore, sports designer at the Boston Globe, shared a selection of pages from before and after the recent Super Bowl.

I can’t remember who won that game. Some guy in a shark costume, I think. But, for some strange reason, the Super Bowl was a huge story for the Globe.

Anyway, Joe tells us:

We had 30-40 pages of Super Bowl content in the week leading up to Sunday’s game, followed by a 32-page Score section, which is our weekly NFL gameday section. The following Sunday, we ran a 28-page commemorative special section.

Here, he walks us through the pages. Click any of these for a much larger look…

Thursday, Jan. 22:
The 1/22 sports cover featuring reaction from Deflategate.


Wednesday, Jan. 28:
Profile of Matt Patricia, the defensive coordinator. Illustration by Rafa Alvarez.


Thursday, Jan. 29:
We answered the question: Do you have to be smart to be a Patriot? Illustration by Rafa Alvarez.


Friday, Jan. 30:
A look at Ernie Adams, the man behind the curtain for the Patriots.


The photo there is by the Globe‘s Jim Davis.

Seahawks and Patriots stats on facing pages.


Just look how simple those pages are. Look at all that white space. Just gorgeous.

Roger Goodell bombarded by Deflategate questions.


That features another photo by Jim Davis.

Sunday, Feb. 1:
Comparing the personalities and coaching styles of Bill Belichick and Pete Carroll. Illustration by Rafa Alvarez.


Here’s one I showed you last week. I like a lot, though, so let’s see it again:

Doubletruck graphic by Luke Knox breaking down 25 of the most memorable plays in Super Bowl history.


Monday, Feb. 2:
The cover of our Score section.


The photo is by Larry W. Smith of EPA.

Thumbnails of every Super Bowl program to date.


Comparing the first three years of Tom Brady and Russell Wilson’s careers.


That was compiled by Sean Smith.

Sunday, Feb. 8:
The commemorative cover for the special section that ran the Sunday after the Super Bowl.


Yep, that’s another Jim Davis picture.

Stats recap of regular season.


You guys know how much I dislike bubble charts, but this one seems very clear and easy to read. As does the bubble charts on this page:

Every one of Brady’s 53 record postseason touchdowns.


A 2006 graduate of the University of Missouri, Joe Moore worked as a reporter, copy editor and graphic artist for the Missourian.


He spent five-and-a-half years as a graphic artist and multimedia coordinator for the Daily Journal of Vineland, N.J., before rolling into the Gannett Design Studio in Asbury Park in 2012 as lead sports designer. He moved to the Globe a little over a year ago.

Find Joe’s NewsPageDesigner portfolio here.

Average daily circulation for the Boston Globe is 225,482.

Previous blog posts about this year’s Super Bowl:

They’re getting a little punchy up there in snowed-in Boston

Dan Zedek, assistant managing editor of the Boston Globe, tells us:

A small number of us made it in through the latest blizzard and were brainstorming about the best way to show the overwhelming amounts of snow we’d gotten. I remembered a series of graphics we’d done a decade ago measuring the snowfall each day against Celtic great Robert Parish and said I’d like to do an updated version.

Here’s what Dan and his staff came up with:


Using the modestly-statured Dustin Pedroia seemed like a natural. Initially, you could see his batting helmet, but as the evening progressed and the snow total mounted, he was submerged and I added a bat to the graphic to mark his place.


Other local sports celebrities used for measuring sticks: Patrice Bergeron of the Bruins, the Patriots’ famed Gronk


…and, head but not quite shoulders above the white stuff: Seven-footer Kelly Olynyk of the Boston Celtics.


Dan tells us:

The graphic has taken off online where it’s been shared on 177,000 Facebook streams and on sites like Deadspin



Getting home from work last night, now that’s a whole different story.

Average daily circulation for the Boston Globe is 225,482.

Super moments of super Super Bowls

One of the more inventive Super Bowl previews that made the round this year was this amazing doubletruck spread featuring 25 goldent moments in the history of the Super Bowl, written, compiled and designed by Luke Knox of the Boston Globe.


Click that for a much, much larger look.

Luke tells us:

The idea was to illustrate the 25 biggest moments, rather than plays, since some of them are things that happened off the field.

But my boss, graphics director Chiqui Esteban, did a pretty great soccer graphic a while back along these lines…


[Read more about this here.]

… and we talked about how we could do a Super Bowl version once the Patriots started getting deeper into the playoffs. Luckily, sports editor Joe Sullivan was on board and helped clear the way for some space to run the graphic.

I came up with a list of 25, plotted out the paths and locations from YouTube clips, and then started creating the illustrations. I’m not someone with a background in creating this type of artwork, and I was definitely out of my element trying it. But it was a lot of fun!

My favorites were the Lynn Swann catch…


… Parcells’ gatorade bath…


…and John Elway’s headlong dive against the Packers.


While the style was intentionally very simple, I did try hard to be accurate in team colors, shoe colors, jersey numbers of nearby players, etc. Credit to Chiqui and fellow graphic artist Dave Butler in particular for good advice on keeping the ilos as simple as possible and to give them a cartoonish feel.

Chiqui came in at the end for some good edits and refining of the lines and shadows, so it was a team effort.


A 2002 graduate of UNC-Asheville, Luke spent two years with the Pensacola News Journal in Florida and then a year-and-a-half at the Albuquerque Journal before joining the Arizona Republic in Phoenix in 2005. He moved to Boston in 2010 as a sports design supervisor. He moved to graphics in 2013.

Find Luke’s portfolio here and his Twitter feed here.

It’s a mad, mad, mad, mad football preview section cover

Did you see the front of the Boston Globe‘s NFL football preview section?

It’s in the style of a classic Mad magazine fold in.


The Globe‘s lead sports designer, Joe Moore, tells us:

The Patriots are a shoo-in for the postseason, as usual, so the regular season is just a means to an end. So after an end-of-the-day brainstorming session with [assistant managing editor] Dan Zedek, we had the idea to literally fold over the regular season, revealing just the Lombardi trophy.


We commissioned Ward Sutton to do the illustration, who is a contributor to Mad magazine. He perfectly mimicked the classic fold-in style of the magazine.

Ward knocked it out of the park, no surprise here.


Ward adds via his Facebook page:

Before doing this piece I checked in with Mad and Al Jaffee and both gave me their blessing to do a riff on one of their trademarks.

Joe tells us:

It was truly a team effort, with Sean Smith, John Carney and assistant sports editors Greg Lang and Jim Hoban pitching in to craft headline type on the cover that worked both folded and folded. That was no easy task, I can assure you.

A 2006 graduate of the University of Missouri, Joe Moore worked as a reporter, copy editor and graphic artist for the Missourian.


He spent five-and-a-half years as a graphic artist and multimedia coordinator for the Daily Journal of Vineland, N.J., before rolling into the Gannett Design Studio in Asbury Park in 2012 as lead sports designer. He joined the Globe in January.

If you think the fold-in page was clever, check out Joe’s college football preview cover from a couple of weeks ago:


Find Joe’s NewsPageDesigner portfolio here and his Twitter feed here.

In addition to Mad, Ward Sutton has drawn for Time, Entertainment Weekly, Rolling Stone, the Nation and the New York Times.


His strip, Sutton Impact, ran in the Village Voice for 12 years. He also appeared in TV Guide every other week for years in a feature called That’s Entertoonment.

Find Ward’s web site here and his Twitter feed here.

The Boston Globe’s Chiqui Esteban on everything from mouseovers to responsive design

Over the holiday weekend, Jonathon Berlin of the Chicago Tribune and the Society for News Design posted a nice Q&A with Chiqui Esteban, graphics director of the Boston Globe, about the interactive work the Globe has been doing lately.

An excerpt:

Alexa McMahon, our Arts producer told me the new issue of the “Most Stylish Bostonians,” a yearly special section, was coming together and she was wondering if we could do something for the site to present the featured people. I started thinking about what we could do, since there is not much information common to all and the only important thing was how they dressed and who they were.

Talking with Alexa she told me that the photo shoot was yet do be done, so if I needed something from it, I could ask for it. So that’s when I had the idea. We asked our great photographer Dina Rudick to take at least two photographs of each of the “awarded” Bostonians.
One posing and the other doing something crazy like jumping, raising a hand.


The photos she got were just what we needed and much of the good of this graphic comes from that amazing work. After that, the execution was easy.

Q. Talk a little about how you think about that type of interactive project in a responsive sense. I was wondering what would happen and I chuckled when I narrowed the browser and the people nudged over. Elegant solution!




A. Working responsive means that many times we work with groups of blocks that stack in different ways depending on the width. In this case that was even easier, because each person was a different block that could work individually, so we can stack them and break them wherever we considered it was necessary.

Find the entire Q&A here.

A 2002 graduate of the Universidad de Navarra, Chiqui worked at el Mundo, la Voz de Galicia, Diario de Cádiz and Publico.


In 2009, he founded de Nuevas Narrativas for LaInformacion in Madrid, Spain, which he went on to direct for three years. He moved to the Globe in 2012 and was promoted to his current position in November.

Chiqui also blogs about news graphics. Find his web site here and his Twitter feed here.

Boston Globe’s Robert Davis moving to Washington Post

Robert Davis, assistant design director for news at the Boston Globe, is moving to the Washington Post.


Robert posted this weekend on Facebook:

I have accepted a job at the Washington Post, where I will design Sunday page one and projects, and even do some digital design work, too.

It’s a bittersweet move for us. The decision over whether to leave Boston was agonizing; we truly love this city and I’ve never had a more fulfilling job than the one I have held at the Globe. But this opportunity was too good to pass up.

Robert expects to make the move by the middle of June, he says.

A 2002 graduate of the University of North Florida, Robert spent a year-and-a-half as an assistant editor, editorial page editor and designer for the Jacksonville, Fla., Business Journal and then two years as a designer and copy editor for the Florida Times-Union of Jacksonville — first for a community news section and then later for the business section.

He moved to the Globe in 2007, where he designs A1 and metro fronts. He was promoted to his current position last August.

A few samples of his work:





See more in his NewsPageDesigner portfolio.

How the cover came together for one of the year’s hottest nonfiction books

My old Rock Hill, S.C., Herald colleague Doug Most has gone on to have an interesting career.


He covered Chris Christie long before the man had the power to shut down the George Washington Bridge. He oversaw a major revamp of the Boston Globe Sunday Magazine. And as a deputy managing editor at the Globe, he’s worked with my enormously talented friends Martin Gee and Ryan Huddle.

And now he’s written a book that’s taken off in a big way. The book is called The Race Underground: Boston, New York, and the Incredible Rivalry That Built America’s First Subway. The book has received love from the Economist and the New York Times. Amazon named it a Best Book of the Month for February.

Last week, he was on MSNBC’s Morning Joe:


The official blurb:

We bound down stairs taking us deep beneath the streets to ride subways. We bury our faces in our books and phones while being whisked through dark and mysterious tunnels. It wasn’t always this way. Building America’s first subways was a complicated, terrifying journey filled with thrilling breakthroughs and horrific tragedies. In The Race Underground, (coming February 2014 from St. Martin’s Press) Doug Most tells the story of two great cities, Boston and New York, trying desperately to relieve overcrowded streets by convincing their citizens there was only place to go. Down.

The book sells on Amazon for $20.96. The Kindle edition is just $12.74.

It sounds like a terrific read. Doug tells me:

I’ve always been a journalist who appreciates the visual. I did a blog post of my own with the book designer who designed the cool cover for for my book.

That designer was Portland, Oregon-based Ian Koviak of Here’s an excerpt from Doug’s post:

Q: After you read The Race Underground, what struck you the most in helping you create a design?

A: I read parts of the book and relied mostly on the synopsis, based on the time I had. I grew up in New York and have always been enthralled by the subway system and spent much of my childhood underground getting around to school, home and Coney Island! I guess a large part of the designs that I came up with tried to capture that excitement.

Early on in the process I had researched signage used in old subway cars and terminals and tried a few ideas out with that sensibility. I also played with images from the time period in both Boston and NYC.

Two of Ron’s design concepts that were not chosen:


Ultimately I focused on an image of light at the end of the tunnel–representative of hope, the future, fear, and change. This was the selected idea. We played around with the typography/fonts a few times and shortly after had our final cover.


It was a rather painless process and I was very pleased with the final.

Q: What do you like about The Race Underground cover?

A: I like its sense of hope and a look into the future. It doesn’t give away too much. It’s not busy and overloaded. The fonts speak to the time periods and the round hole of the subway track reflects the design of the original subways in NY.

Overall, it’s appropriate for the topic but also breaks the mold in that it almost looks like a novel and not strictly non-fiction, which is something I did like about the quality of the writing. It’s not just a dry report on history. There’s intrigue and tension!

Find the entire Q&A here.

Doug and I worked together at the Rock Hill Herald, back in the early 1990s. I moved on to Raleigh, Chicago, Des Moines, Norfolk and, now, the Orange County Register.

Doug left Rock Hill around the same time I did. He spent three years at the Daily Record of Morristown, N.J., and four years at the Record of Hackensack before becoming a senior editor of Boston Magazine in 2000. In 2003, he moved to the Boston Globe, where he served as deputy managing editor over the Sunday magazine and the travel, arts, entertainment and food sections. Along the way, he wrote a “true crime” book and taught at Boston University.

Earlier this year, Doug was promoted to a new DME position in which he will develop new print and digital concepts.

Find more reviews of Doug’s new book here.

Find Doug’s web site here, his blog here and his Twitter feed here.

Inside the Boston Globe’s illustrated profile of the Tsarnaev brothers

Sunday, the Boston Globe published an epic eight-page special section that examined the lives, troubles and downfall of Tamerlan and Dzhoklar Tsarnaev, the two young men who are accused of bombing the Boston Marathon last April.

The former, you might recall, was shot dead by police and then run over by his younger brother in a chase a few days after the bombing. The latter is in custody and awaiting trial.

The Globe spent five months investigating the brothers both in the Boston area and back in the Russian republic of Dagestan. The story was written by staffers Sally Jacobs, David Filipov and Patricia Wen.

The Globe started its two stories on the front, beneath a family portrait illustrated by freelancer Josie Jammet.


Click that — or any page here today — for a larger look.

The presentation was designed by assistant managing editor Dan Zedek. This was the front of section V, where the jumps of the stories were presented.


Pages two and three reply mostly on pictures taken in Dagestan.


Pages four and five are led by more illustrations.


Notice the little silhouettes of the brothers, used in quote boxes here.

Page six, below left, wraps up the section on Tamerlan Tsarnaev.


Page seven, above right, is the first of two full pages on Dzhokhar Tsarnaev.

Here’s page eight, the back page of the section.


Dan urges us all to check out the online version, which was not put behind the paywall this time:

Very cool online version, too, design and development by Elaiana Natario and Gabriel Florit.


The story is a fabulous read, of course, so I recommend it strongly.

Remember the little silhouettes? For the online version, they become a navigation tool — a way of leaping between the two parallel stories of the two brothers. Note the tiny strip across the top here.


I have to admit, though, now that I’ve taken the time to read that online version, that I don’t quite understand the backlash against the online presentation — an backlash that was documented in a Storify Sunday and Monday by Mindy McAdams.

Here’s a brief excerpt:


I told Dan:

I saw the big storified debate on that presentation today and made a mental note to go check it out when I have time.

I’ve probably read a good dozen or so “Snowfall”-like online stories and only a couple have been distracting to me. Plus, I suspect they play better on an iPad than they do on a laptop.

So, what do you think? At what point, does the “Snowfall” approach distract from the story?

What kind of feedback are you getting?

Dan replied:

Mostly positive feedback so far.

I couldn’t agree more about the distraction problem. That’s the why the Twitter chatter was so puzzling: you’ll see that ours is way simpler than most. Nothing moves unless you tell it to move (words to live by!)

Take a look and tell me what you think. It’s a long story, but pretty incredible job of reporting here and in Dagestan, I think.

I agree: While the story does have an extended vertical scroll, there is no parallax scrolling, there are no moving images or embedded video or interactives.

This really isn’t a “Snowfall”-like presentation at all, as far as I can tell.


Seems like good, old-fashioned storytelling to me. So I’m baffled by the backlash. Did Ms. Moore read the same story that I read? What am I missing?

Find the story online here.

Gannett sports designer Joe Moore moves to the Boston Globe

Dan Zedek, assistant managing editor of the Boston Globe, announced back in October that sports designer Luke Knox is moving to the Globe‘s graphics department.

Thursday, Dan told the staff of the Globe:

Luke is a tough act to follow, but we’re fortunate to have a rising star in sports design joining us.

Joe Moore is the lead sports designer at Gannett’s Asbury Park Press design studio where he’s put a strong stamp on a host of papers in the Northeast.


We were impressed by Joe’s ability to create smart, high-impact pages while juggling an incredible workload. Equally notable were the testimonials from the editors and designers he works with: to a person they talked about his talent, temperament, and generosity as a collaborator.

Joe will start at the Globe on Jan. 6, Dan adds.

A 2006 graduate of the University of Missouri, Joe worked as a reporter, copy editor and graphic artist for the Missourian. He spent five-and-a-half years as a graphic artist and multimedia coordinator for the Daily Journal of Vineland, N.J., before rolling into the Gannett Design Studio in Asbury Park in 2012 as lead sports designer.

A few samples of his work:






Find more in Joe’s NewsPageDesigner portfolio.

Find Joe’s Twitter feed here.

Chiqui Esteban named infographics director of the Boston Globe

Assistant managing editor Dan Zedek of the Boston Globe wrote to his staff last week:

I’m extremely pleased to announce that Chiqui Esteban is the Globe‘s new infographics director.


When Chiqui joined us earlier this year from we knew that he was a dynamo, but it’s been truly astonishing to see his energy and creativity in action. We’ve produced more interactives since he walked in the door than in the two years preceding and his work for print has been no less prolific and sophisticated. Everyone he’s worked with has been impressed by his smarts, hard work, good humor, and generosity as a colleague. He’ll lead a small but exceptionally talented team and work closely with our data visualization specialists.

Speaking of which, we’ve scored a real coup adding Russell Goldenberg to our digital design team where he’ll join Gabriel Florit doing data visualization beginning December 9.

Russell is currently Hacker-in-Chief for Engagement Game Lab in Cambridge and teaches at Emerson College. We were knocked out by his passion for storytelling in new forms and he was equally thrilled to have the opportunity to work with our reporters and editors.

Please join me in welcoming and congratulating both Chiqui and Russell.

I have to admit, I don’t know Russell or Gabriel. But Chiqui, I know.

A 2002 graduate of the Universidad de Navarra, Chiqui worked at el Mundo, la Voz de Galicia, Diario de Cádiz and Publico. In 2009, he founded de Nuevas Narrativas for LaInformacion in Madrid, Spain, which he went on to direct for three years. He moved to the Globe in 2012. Chiqui also blogs about news graphics.

Find his web site here and his Twitter feed here.

Inside the Boston Globe’s commemorative Red Sox section

Sunday, the Boston Globe published a huge special section commemorating the World Series victory by the Red Sox.

Sports designer Luke Knox tell us the section printed Friday, was distributed at the parade Saturday and then inserted in Sunday’s paper.

As usual, click on this page — or any other page here today — for a larger look.


Luke designed the cover himself, he tells us:

The cover is a striking John Tlumacki photo, and little else. You might recognize the name, he’s our shooter who got many of the definitive shots from the bombing at the finish line.  This image is a great combo of fans, the flag and the team.  Says it all.

The section is 40 pages, with a huge chunk of that filled by advertising — only 22 of 40 have editorial content on them.

Luke didn’t send us the full-page ads, but that’s OK — very few of you would be interested in those. However, Luke points out that some of the ads on the pages he did send us are pretty funny. So be sure to check them out… especially if you’re a Sox fan.

Luke writes:

Marty Pantages and I teamed up on the inside pages.

Page two contains the lead story by Bob Hohler and a trophy shot by staffer Jim Davis.


Luke explains page six:

We did Sox player capsules and spread them out over the section to deal with all the rocky ad stacks. Twenty-six total players were featured, over eight pages. We listed starters first, then the bench, then starting rotation, then other pitchers.


Graphics-wise, we didn’t have a lot that we hadn’t already done, but pages 8 and 9 had some basic graphics by me.


Page eight, on the left, is a timeline of the season featuring ten key games. Page nine is a month-by-month review of the season. Data for the latter was compiled by Sean Smith.

Luke, as you might recall, is leaving the sports desk shortly to join the graphics desk.

Page ten features more player capsules.


Note the funny beard-themed ads Luke had mentioned.

Pages 12 and 13 recap the playoffs. Luke tells us:

We tried to stick with staff art since we had so many shooters at each game. And they didn’t disappoint — Stan Grossfeld‘s iconic photo from the ALCS makes another appearance here in a different crop.


The two stories were written by columnist Dan Shaughnessy.

Luke pushed two more caps onto page 14…


…and three more onto page 16.


Full-page recaps of each game of the World Series followed.


Lead art there was by staffer Barry Chin. The story was by Nick Cafardo.

Luke writes:

Page 21 has a gorgeous franchise history graphic by David Butler.


Game Two fills page 22.


The story is by Nick Cafardo and the photo is by Jim Davis.

Three more caps appear on page 24…


…and nine stretch across pages 26 and 27.


The game three recap on page 28 (below, left) is by Peter Abraham. The lead photo is by Jim Davis.


The Game Four recap on page 29 (above, right) is by Christopher L. Gasper. The lead art is by Barry Chin.

The Game Five recap on page 32 (below, left) is by Peter Abraham. The lead photo is by Stan Grossfield.


And the Game Six story is by Dan Shaughnessy. Lead art is by Bill Greene.

The last three player caps ran on page 36.


Luke tells us:

We capped off the section on page 39 with a photo page that takes the reader inside the Fenway locker room for the wild celebration.


The lead art is by David J. Phillip of the Associated Press with secondary photos by staffers Jim Davis, Bill Greene and Barry Chin.

Average daily circulation of the Boston Globe is 225,482.

Previous blog posts about 2013 postseason baseball:

Boston Globe’s Ryan Huddle celebrates great movie monsters

Here’s our first Halloween piece of this season. It’s from Ryan Huddle of the Boston Globe. And man, is it gorgeous.

Click for an extra-large view:


Ryan tells us that he and his wife…

Aprill [Brandon] and I have teamed up again for the Globe. We did a huge monster graphic. As usual, she is doing the copy and I am doing a graphic.

I have done a few others in this style and I love doing it. It is insanely detailed and takes a lot of time to do it. I think I put about 70 hours into this.

Aprill’s fun commentary ran down the side. I’ll slice up a few vignettes for you…





The graphic was part of a package on horror movies that ran in Sunday’s paper. Here is the entire spread.


A graduate of Collins College in Phoenix, Ryan Huddle spent seven years as a designer and creative services coordinator for the Hutchinson (Kan.) News. He moved to the Brown Publishing Company in Troy, Ohio in 2003 but then, two years later, became creative director of the Victoria Advocate in Victoria, Texas. He moved to the Globe in 2011.


Aprill Brandon is a freelance writer and blogger. is a columnist for the Weekly Dig in Boston, Mass. A 2004 graduate of Ohio’s Miami University, Aprill spent a year as education reporter for the Troy, Ohio, Daily News before joining the Victoria (Texas) Advocate in 2006 as an arts and entertainment repairer and as a columnist.

After she and Ryan moved to Boston, Aprill began a column for the Weekly Dig. She also continues to write for the Advocate. An e-book collecting her columns — Why Does the Cheese Always Fall? –  was published this summer.


Find that here and the Kindle version here. Find her blog here and a special post she wrote for her own birthday here. Find her Twitter feed here.

Find Ryan’s online portfolio here and his Twitter feed here.

More movie-themed work by Ryan at the Boston Globe:

Find Ryan’s online portfolio here and his Twitter feed here.

Average daily circulation for the Boston Globe is 225,482.

Are you doing anything cool for Halloween? Send me a PDF.

If you’re in need of last-minute inspiration, check out our previous Halloween-oriented posts, here in the blog…


  • Oct. 21: Halloween at the Victoria (Texas) Advocate
  • Oct. 28: Indiana Daily Student having fun with Halloween
  • Oct. 29: Geekazoid Friday: World’s Coolest Halloween costume… for your cat
  • Oct. 29: More BOO-tiful Halloween-themed pages
  • Oct. 29: Anybody dress up for Halloween this year?
  • Oct. 30: Yet more Halloween pages… and Halloween costumes
  • Oct. 31: Halloween pumpkin carving with the Apples


  • Aug. 5: Army Times titles show how to prepare for a zombie-fighting deployment
  • Oct. 10: For your Halloween entertainment: A graphic novel from the Victoria Advocate
  • Oct. 20: Dear diary: Today, I dressed my boss up like a spork. And got away with it.
  • Oct. 28: Four great Halloween features page treatments
  • Oct. 28: Geekazoid Friday: Kryptonite candy for Halloween
  • Oct. 31: Halloween pumpkin carving with the Apples
  • Oct. 31: When journalists dress up for Halloween
  • Oct. 31: The conclusion of the Victoria Advocate’s Halloween-themed graphic novel


  • Oct. 31: Think twice before you get cute with your news web site
  • Oct. 31: A handful of happy Halloween page treatments


  • Oct. 16: This just in: Zombies and monsters walk the streets of San Antonio
  • Oct. 23: Inside the Victoria Advocate’s wacky promotional TV ad

A look at World Series preview sections in Boston and St. Louis

The World Series begins today in Boston. And you know what that means: Very cool baseball special sections.

The folks at the Globe and the Post-Dispatch took a moment after deadline last night to send us a look at what they came up with for today’s papers…

Boston, Mass.
Circulation: 225,482

Sports designer Luke Knox sent along the special World Series section from today’s paper. Click this — or any page here today — for a larger look.


Luke tells us:

Marty Pantages laid out much of the inside pages, and did a tremendous job on deadline.

Page two focused on David Ortiz.


It’s a black-and-white picture, but check out the rainbow behind Ortiz at the bottom of the page. Hold that thought for a moment.

Page four looked at the last time these teams met in the World Series, nine years ago.


Across the bottom of the page is a look at the starting pitchers for Game One.

Page five holds the obligatory position-by-position matchups.


Page six, Luke points out, is led by…

…our hitting zone graphics, by Chiqui Esteban (with an assist from former staffer Daigo Fujiwara, who did these for years for us).


Remember that rainbow from page D2? Now, check out this other rainbow picture just above the house ad. This, too, was by staffer Jim Davis.

Luke says:

We had to scale back on a few things due to space concerns, but overall I’m pleased with the amount of layered info on the pages.

Here’s page eight…


…page nine focuses on Carlos Beltran


…and here’s page 10, featuring a story on pitcher Adam Wainwright.


Note the jump downpage, from today’s page one. Evidently, there are Sox fans who are sick and tired of Sweet Caroline. Can you imagine?

My advice: Switch to At the Copa.

Here is today’s page one, where the lead story ties the World Series back to the Boston Marathon bombing in April.


You also see the start of the Sweet Caroline story.

St. Louis, Mo.
Circulation: 187,992

The Post-Dispatch led today’s front page with a gorgeous twilight portrait of Fenway Park by staffer David Carson.


As you can see from the cover blurbs, today’s paper includes an 18-page preview section. As if that weren’t enough, tomorrow’s paper will contain a 24-page poster section.

Today’s section, in fact, wraps around the paper, says assistant managing editor for presentation Carlos Ayulo:

It will be in front of all other sections, including A, throughout the remainder of the World Series — even on off days.

World Series editions are the easiest for us to produce. We don’t have to jump stories or negotiate how much to devote on A1 vs. sports, etc. Since our fans enjoy collecting our World Series covers, we like to offer them a poster for every game of the series.

We like to go ‘Loud and Proud’ as my staff hears me say all the time — I’m sure they are sick of that line.

Here is the front of today’s wrap — once again, Weatherbird artist Dan Martin illustrated the cover:


Dan produced a number of proposals for the cover illustration. Like last time around, Carlos shared a number of them with us.

This one, obviously, was done before the ALCS was over.


Instead of a worm for breakfast, the Cardinal is pulling a Tiger’s tail out of the ground.

Dan experimented with a lot of beard jokes.



Carlos said he liked these, but found them “off topic.” This one, he says, was:

…the best of the off topic bunch. We got a huge chuckle out of this one.


This one is my own favorite. The look on the Red Sox player’s face is priceless.


Also cute is this one in which the Cardinal unravels the yarn in the red socks.


This one, too, is a scream. Carlos says it’s…

…a play off Looney Tunes’ Yosemite Sam. We laughed because he looked more like Captain Crunch.


Carlos tells us:

The theme was based around the winner of this World Series will have the most titles this century.

This one here was…

…a play on the Cardinals’ birds on the bats logo.


This one, Carlos says…

…was close. We probably would have made the Sox player run up the other side.


And here’s the one that was selected.


The front pages here are from the Newseum. Of course.

Previous blog posts about 2013 postseason baseball:

A look at Boston Globe’s baseball playoff pages

Luke Knox, sports design supervisor of the Boston Globe, writes to share some of the pages the Globe has been publishing for the American League division and champion series over the past couple of weeks.

The Oct. 4 front previewing the divisional series with the Tampa Bay Rays featured a huge graphic by Luke himself.


Click this or any page here today for a larger view.

Here was the Oct. 5 sports front, featuring a photo by staffer Jim Davis.


The Oct. 6 front is led by Jim Davis’ shot of David Ortiz, just after he hit his second dinger of the night.


Note the small graphic at lower right. Luke tells us:

We try to include a graphic in some form or fashion with each live game cover.  Some have been researched by me, and some have come from our brilliant sports desk folks. It’s very much a group collaboration deciding which angle works best to address in a graphic, and then I set them up from there.

On Oct. 7, the Rays won a game. You’d think the Sox had been eliminated or something.


Once again, that’s Jim Davis art on the sports front.

Finally, Game Four was the charm. Jim’s picture of pitcher Koji Uehara and catcher David Ross led the front.


To preview the series for this year’s AL pennant, Luke went with — what else? — vintage pennants.


Luke tells us:

We were running our Sox live game stories on the regular sports front for the first round, and now we have started running separate Red Sox sections for each ALCS game. Nearly had a no-hitter to contend with in Game 1 of the Tigers series…


…and then in Game 2, we got a comeback win after trailing 5-0 in the eighth. So, needless to say, the sports desk folks are still waiting for their heart rates to go back down.

Stan Grossfeld‘s photo of Torii Hunter filpping over the wall while the cop celebrates is one of the best images I’ve ever had the pleasure of working with.


Can’t say enough about what a great photographer he is. Soon as we saw it, it was a pretty easy decision to play it big.

Average daily circulation for the Boston Globe is 225,482.

This year’s playoffs are a bit of a last hurrah for Luke: He’s departing the sports desk to join the Globe’s graphics department. Assistant managing editor Dan Zedek announced back on Oct. 2:

Luke Knox, who’s been on an incredible run as our sports designer, will move over to join the graphics team this Fall.


I’ve watched Luke’s passion for graphics grow and his abilities as an interactive designer fairly explode over the past few years, so this move is a chance for him to pursue visual journalism in a new arena. He’ll keep a foot in the sports department, working on the Sunday section even after we hire another sports designer and contributing his expertise to sports infographics.

A 2002 graduate of UNC-Asheville, Luke spent two years with the Pensacola News Journal in Florida and then a year-and-a-half at the Albuquerque Journal before joining the Arizona Republic in Phoenix in 2005. He moved to the Globe in 2010.

In addition, Luke reportedly works for my design firm. Heh.

A few samples of his work:



Find his portfolio here and his Twitter feed here.

Finally, I’ll mention this: The Globe is looking for a top-notch sports designer. Dan Zedek tells me:

It’s a great gig if you want to spread the word.

Normally, I’d be glad to write up a blog post, include samples of the paper’s pages and then talk a little about the town. But a) There are a ton of Globe pages above, and b) This is Boston. If you don’t know about the joys of Beantown, then you’re simply not the designer the Globe is looking for.

Luke adds:

The job is unbelievable. The lineage of the job (Janet Michaud, Jason McKean, Brian Gross) is off the charts.

Read more about it here.

Boston Globe’s Javier Zarracina moving to the Los Angeles Times

Dan Zedek of the Boston Globe announced recently:

It’s with a heavy heart that I tell you that Javier Zarracina is leaving the Globe to take a position as Graphics Director at the Los Angeles Times.


It’s a move that makes a lot of sense for him — his wife is based in San Diego and they’ve been commuting between coasts — but it’s a real loss for us. Javier is the best at what he does: a gifted visual artist, a journalist with real depth and rigor, and the possessor of a lively and intensely curious mind. I talk with Javier many times each day and always come away having learned something or gotten fresh inspiration for a project I’m working on. I know his extraordinary team would say the same. Simply put, he makes everyone he works with better at what they do. For that he has my thanks for all he’s done for us and best wishes for the future. Toasting and roasting is very much in order before his last day on October 18; details will follow.

I’m grateful to Chiqui Esteban for agreeing to temporarily step in to be the day-to-day point person for the graphics team after the 18th.

Javier tells us his actual title will be Graphics and Data Editor. He’ll report to the Times‘ new director of data visualization Len Degroot and will start his new job on Oct. 21.

The wife Dan refers to is Kris Viesselman, vice president for product development and chief creative officer of U-T San Diego. Kris and Javier got married back in April.


A 1987 graduate of the Universidad del Pais Vasco in Bilbao, Spain, Javier has been an artist and then graphics director for El Correro in Bilbao, deputy graphics director of the San Jose Mercury News in 2004, and graphics director of Group Vocento in Spain. He joined the Globe in 2007 and was promoted to graphics editor in 2012.

A few samples of his work for the Globe:

1310JavierZarracinaSample0A 1310JavierZarracinaSample0B 1310JavierZarracinaSample0C Grfxtemplate-JZ11 1310JavierZarracinaSample0E


See more on Javier’s personal web site here. Find his Twitter feed here.

Three features treatments for the ‘Star Trek Into Darkness’ movie

Tonight, the new Star Trek Into Darkness movie opens around the country. In fact, it actually opened last night on some Imax screens.

Most of the reviews I’ve seen are pretty decent. I don’t know about you, but I can’t wait for Saturday, which is the first chance I’ll have to see it.

In the meantime, here are a few Star Trek features treatments…


Boston, Mass.

Circulation: 225,482

Let’s start out with this fun illustration by my good friend Ryan Huddle of the Boston Globe.

Note the little “v” in “Movies.”


My favorite part is the little character vignettes across the bottom of the page. They’re wonderfully detailed. But only up to a point.


Ryan also spent a lot of time creating a vector illustration of the Enterprise.



Once Ryan had the ship nearly finished, he could begin piecing together the rest of the page. The columns you see here on either side didn’t make it into the final page.


Another last-minute add, Ryan tells me: The little red tribbles along the bottom of the page.



Washington, D.C.

My old pal Robert Dorrell writes:

As is the case with quite a number of graphics editors out there, I’m a huge Star Trek fan.

I have been since about 1970 when I first started watching the syndicated reruns of TOS on a UHF television station in the Kansas City market. Then, lo and behold, a similar station an hour away in Topeka, Kan., started rerunning the show as well, and has fate had it, that station did so in the hourly time slot immediately after the K.C. area station’s Trek broadcast would finish. With the result being that every day after school, I got to watch back-to-back episodes of TOS, although the Topeka broadcast was a bit snowy on our family tube.

Once, my Mom spotted me re-watching the same episode on the same afternoon, and she demanded on the spot that I go outside.

Anyway, I was hooked for life on the ethos and optimistic spirit of Trek. I built the plastic model kits of the ships, and actually attended one (and only one) Trek convention at a suburban hotel when I was 12. Jimmy Doohan and Nichelle Nichols appeared, which was cool. But the convention environment scared me, so I never went to another after that. In 1978, when word spread that Trek was going to be brought to the big screen, I started hyperventilating. Too bad the Motion Picture was so awful. Thank goodness Khan saved the franchise.

Here’s Robert’s page. Click for a much larger view.

Star Trek: a series on the edge of forever

Robert continues:

I wanted to compare and contrast the actors, characters…


…ship and atmosphere of TOS with the alternate timeline reality set up by J.J. Abrams‘ 2009 reboot. I decided to create two L-shaped bracing sets of mug shots and character descriptions, then anchor the top and bottom of the page with images of the Enterprise, reboot and original.

The rest was sort of easy: describe the bad guy, with a nod to the geek universe rumors about that character…


…and then I had some opinionated fun citing what I feel are the high and the low points of all six of the TV series which Trek has generated since 1966.

This part is absolutely a scream. If you’re a fan, please take some time to read it:

Star Trek: a series on the edge of forever

Robert adds:

All the images are from Paramount. A significant amount of Photoshop editing was required to get those treated just right. The new and old Kirks and Spocks kind of make the page work.

I tried to write the copy in a spirited way, from the fan’s point of view. Memory Alpha, the Star Trek wiki site, is amazing; those folks have way too much time on their hands. That site made the research a snap.

The whole page took about a day and a half to finish, although, full disclosure, I was updating a format I had originally built to mark the 2009 film, but which was never published. Is that similar to how Scotty always multiplied his estimated time for repairs by a factor of two?

Somewhere, Ricardo Montalban is shaking his head at my fan’s folly, gritting his teeth, and saying: “To the last, you will grapple with Trek … from your fan’s heart, you geek at me, for the fans’ sake, you spit your last page at me!”

Um… right.


Santa Ana, Calif.

Circulation: 280,812

Gee, I think I’m in trouble, trying to follow a performance like that.

I’m a longtime Star Trek fan as well. I’m just barely old enough to remember watching the original TV series during its first run from 1966 to 1969. I was 7 years old when Star Trek was canceled by NBC.

And I, too, met James “Scotty” Doohan once. I got him to autograph a caricature I had drawn of him.


A friend at the Boston Globe asked me recently how I planned to work a Star Trek angle into my daily Focus page at the Orange County Register. At first, I just laughed. My page appears in the A section. That’s no place for entertainment news.

But later, it occurred to me: Of course I can work it in. All it needs is the proper angle.

I’ve been doing lots of science angles, so I chose to focus on the various technologies that Star Trek predicted that have come true today. And because technology was the theme of the page, I decided I’d lead the page with Scotty.

Click for a much larger look.


I tried to have a little fun with this page — if not in the design, at least in the writing. The “transparent aluminum” bit below is fairly straightforward. But I was particularly proud of the “downsizing” blurb further down.


This ran inside the A section of today’s Register. In addition, a review ran in the features section and there’s a cool story and page running Friday as well.

Did you do something cool for your features section regarding the new Star Trek movie? Send me a PDF and tell me about it. I’d love to post it here.

Inside the Boston Globe’s eight-page ‘102 Hours in Pursuit’ project

I mentioned this past weekend that the Boston Globe ran a comprehensive recap of the events of two weeks ago.

The project kicked off on page with with this fabulous picture of the second explosion going off by Globe staffer David L. Ryan.


Assistant managing editor Dan Zedek sent us the inside pages for the 102 hours project. These pages were designed by Robert Davis, Dan tells us.

The project picked up with page A17. The aftermath picture here — which, in some ways is even more haunting than the ones with people in them — is by freelancer Aaron Tang.


Click that — or any of these pages today — for a much larger view.

Page A18 picks up the narrative and takes it through that Monday.


The graphics — which run throughout the project — are by Chiqui Esteban, David Butler, Patrick Garvin and James Abundis and Javier Zarracina. Correspondent Kevin Golden also contributed to the graphics.

The lead picture up top is by Globe staffer David L. Ryan. The lead story was written by staffers Jenna Russell and Thomas Farragher using material contributed by no fewer than 22 staff writers and three correspondents.

Click any page here today for a much larger view.

Here’s page A19, featuring lead art by freelancer Aram Boghosian.


Here’s the center spread for the project, covering Wednesday and Thursday up to and including the two suspects carjacking a bystander that evening.


The photo at upper left is by staffer Barry Chin. The two pictures on the right side of the spread are by freelancer Aram Boghosian and Mario Tama of Getty Images

Page A22 covers the events of that Thursday night in the Watertown section of Boston.


Page A23 covers the rest of the wee hours of the next morning and on through the manhunt that took place that Friday.


The lead picture is by Aram Boghosian.

And the final page, page A24, focuses on the end game: The arrest of the suspect and the celebration across Boston that night.


The picture at the bottom of the page is by Aram Boghosian.

Average daily circulation for the Boston Globe is 225,482.

Previous blog posts on this topic:

April 15: The front of Tuesday’s Boston Globe

April 16: A look at today’s best and not-quite-the-best Boston bombing front pages

April 16: New York Daily News photoshopped its wraparound cover photo

April 17: How you cover the Boston bombings if you have no photos

April 17: An update on that manipulated Daily News photo

April 18: Wrong again, New York Post

April 19: A wild, wild night in Boston

April 19: Chicago’s RedEye puts into words what all of us are thinking

April 19: Closed-captioning fail

April 19: There’s something you don’t see every day on your agate page

April 19: The early edition of Saturday’s Boston Globe.

April 20: A look inside Saturday’s Boston Globe

April 23: Why Fox News needs a copy editor.

April 26: A wonderful cover from Boston magazine.

April 28: Two fabulous Sunday front pages.