For your consideration…

You may have seen the amazing front cover of the next issue of New York magazine. This was retweeted nearly 8,000 times Sunday night and — as far as I can tell — completely crashed the magazines servers.

Shown are 35 women who say they were sexually assaulted by comedian/actor Bill Cosby.


The cover story was six months in the making, New York magazine tweeted Sunday night. Reportedly, New York was able to get 46 women to go on the record about their assaults by Cosby. Thirty-five of them were willing to pose for these cover shots.

The group, at present, ranges in age from early 20s to 80 and includes supermodels Beverly Johnson and Janice Dickinson alongside waitresses and Playboy bunnies and journalists and a host of women who formerly worked in show business. Many of the women say they know of others still out there who’ve chosen to remain silent.

The result is one of the most powerful magazine covers I’ve seen in a long, long time.

Not sure when New York will get its sever issues under control. When it does, you should be able to read more here.

A stunning multiple-cover gimmick this week by Sports Illustrated

This week, Sports Illustrated celebrates the big World Cup win by the U.S. Women’s National Team with a cover photo.

A cover photo not just of superstar goalkeeper Hope Solo


…and not just of Houston Dash player Carli Lloyd, who scored a Hat Trick in the 5-2 championship win over Japan on July 5.


No, Sports Illustrated produced 25 alternate covers for this week’s edition — one for each member of the team, plus the coach and one featuring seven key players.

Click this for a much larger look:


Chris Stone — managing editor of Sports Illustrated — said in a staff story posted on SI‘s web site Monday:

By the time we settled on the idea, the team was in [Los Angeles] for an event that would end mid-afternoon. The photographer we wanted to shoot it, and who had shot the [World Cup final], Simon Bruty, was headed home to D.C. It wasn’t going to happen on Tuesday.

Then, New York City delivered, big-time, by planning Friday’s [gala, ticker-tape] parade, which would bring the entire team to a single spot.

So the team agreed to be shot in New York’s City Hall, both before and after the parade Friday.

Much of the media buzz about this project calls the effort “unprecedented,” but I recall a similar project that was smaller in scope — slightly — but also done by a newspaper with significantly fewer resources than Sports Illustrated.

Matt Erickson — who, 11 years ago, was presentation director of the Times of Northwest Indiana in Munster, Ind…


… built alternate covers for the paper’s 2004 high school football section so that all the area schools could be on the cover that year.

The catch: There were 29 schools in the area. So Matt built 29 covers.

Insane, perhaps. But a hell of a talker.

The project earned two silver medals and judges’ special recognition in the annual SND contest. If you’ve got a 26th edition of Best of Newspaper Design handy, check it out on page 43.

Matt is now assistant editor of — part of the USA Today sports group — where he covers mixed martial arts fighting.

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.

Washington Post’s Alberto Cuadra moving to Science magazine

Award-winning infographics guru Alberto Cuadra has left the Washington Post.


Alberto tells us:

I will be the Managing Editor of Graphics for Science, in their digital division.

The idea is to bring their culture — very print-centric at this moment — to a more web/mobile/social/ multimedia zone. Very exciting and very imposing at the same time

I will start on July 20.

Alberto’s colleague Richard Johnson posted this sketch Richard did of Alberto at work during his last week at the Post:


Alberto worked his last day Thursday.

A 1992 graduate of the University of Navarra, Alberto worked with el Mundo in Madrid and then Reuters before joining the Houston Chronicle in 2004 as a senior graphic artist. As then-graphics editor Jay Carr wrote a few years ago:

With an ability to create a wide variety of stunning visuals and a constant drive to never do anything “ordinary,” Alberto put the Chronicle’s graphics department on the map. In 2006, the Chronicle was one of four papers worldwide to be cited for “use of graphics” in the annual Society for News Design competition. Without Alberto, this wouldn’t have been possible.

Alberto moved to the Post in 2010. A few samples of his work:





The aging brain

In addition, I have a fairly extensive collection of Alberto’s work that moved on the Washington Post wire that I used on my Focus pages in California. Typically, I’d re-edit the heck out of them — because, y’know, I rarely had room for both the graphic and the story. So I’d edit the story down to an intro graph, punch up the headline and then move things around just a bit to make the graphic the lead element — or the only visual element — on the page.

Here are three modest examples of this:


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

Robert Newman named creative director of This Old House magazine

Magazine visuals guru Robert Newman announced on social media this weekend:

I’m very happy to announce that I’ve been hired as the creative director of This Old House magazine.


I start work there on May 4, and am excited to be joining the talented team led by editor Scott Omelianuk and including director of photography Denise Sfraga and art director Jamie Dannecker, as well as many other good folks. This Old House is a forward-looking, multi-platform brand, with energetic projects of all kinds. And just as exciting, it has a vibrant print magazine and a passionate audience. It’s going to be a lot of fun (and very challenging!).

A 1974 graduate of the College of Wooster in Wooster, Ohio, Robert spent more than 26 years in visual leadership positions of a number of publications: Guitar World, the Village Voice, Entertainment Weekly, New York, Details, Vibe, Inside, Real Simple and Fortune.

A few samples of his art direction over the years…


Find more at his web site.

Robert spent four years as a consultant, working with clients such as AARP magazine, JCK magazine and TV Guide. He got into iPad design, helped set up an iPad app for Reader’s Digest and then was hired as that magazine’s creative director. He worked there for a year before going back into consulting in 2012.

In addition, Robert is a member of the board of the Society of Publication Designers.

In March 2013, Robert was visiting family in Florida when he suffered a seizure and then severe head trauma in a fall during that seizure. He was rushed to a hospital but then suffered a brain hemorrhage. He was in a coma for weeks, in a respirator.

He spent the past couple of years recovering from that incident — aided, in part, with his friends in the visual journalism world (see here and here).

Find Robert’s Twitter feed here.

Carrie Gee joins Time magazine as a senior art director

Now, both members of the World’s Cutest Couple™ are senior art directors for Time magazine.


Late last month, Carrie Hoover Gee left her job as design director for AdWeek. She started work at Time on Feb. 26. Her husband, Martin Gee, has worked there since last summer.

A 2007 graduate of Michigan State University, Carrie served an internship at the Virginian-Pilot in 2006 and then, as the first-ever winner of the Society for News Design’s “the Intern” contest, worked at the San Jose Mercury News the next year. She became A1 news designer for the the Portland Oregonian in 2007 but left two years after her fiancé, Martin Gee, started work for the Boston Globe.

She and Martin got married in 2011 at New York’s Museum of Modern Art…




…and Carrie started work that summer as a designer for Ready-Media and the Font Bureau in Boston and art director for Edible Vineyard magazine. She moved to AdWeek in 2013.

Both Carrie and Martin will be featured speakers at the SND annual workshop next month at the Newseum in Washington D.C. Find a nice Q&A with them here.

Find Carrie’s web site here and her Twitter feed here.

A Q&A with the Harvard Business Review’s Matt Perry

Former San Diego Union-Tribune graphics editor Matt Perry traded coasts over the holidays, moving to Boston to become a senior information designer for the Harvard Business Review.


Just in time for the snowiest winter in the recent history of Boston.

Great timing, huh?

The Harvard Business Review‘s parent unit — Harvard Business Publishing, which was founded 21 years ago — is a nonprofit subsidiary of Harvard University’s business school. It employs about 350 people mostly in Boston but also in New York City, India and the U.K.


In addition to the magazine, the unit publishes books, blogs, webinars and a bunch of other stuff, too.

Matt answered a few questions for us about what brought him to the other side of the contintent:

Q. What can you tell me about your new job? How is it different — if it is different — from the newspaper world?

A. My job at Harvard Business Review is similar, yet significantly different, to what I did in my past newspaper roles.

I’m still creating information graphics — researching, pitching, executing, editing and so on — and still using the same software. But I’m not doing graphics that span the spectrum of topic areas a general-interest newspaper tries to cover. Instead, I’m focusing on subjects more in line with HBR’s mission, which is how to improve the practice of management in a changing world.

I asked Matt to explain the sample pieces he sent me. Click any of these for a readable view.

Matt writes:

The orchestrator model (a two-page spread in the magazine) piece is an example of something I did to explain the author’s concept.

JulAug14 SPOT Arons.pdf

My work in newspapers primarily involved data-driven charts and maps, so it’s been nice to expand my skills by working on process/idea graphics such as this.

We try to work a data-driven element into the magazine’s Idea Watch section, and the slopegraph of global connectedness is an example of something I built for that.

1001 Mar15 IdeaWatch.indd

This final attachment is an example of a Vision Statement, a self-contained two-page spread in the magazine that is intended to be a data- and/or visuals-driven piece. (And yes, I know Alaska and Hawaii are states, but it was decided that since this wasn’t breaking news – the piece focused on the philosophy of how one approaches visualizing data – having the lower 48 states was sufficient to drive that point home.)


Three of us – Matthew Guemple (a senior designer), Scott Berinato (a senior editor) and me – worked on this piece.

HBR is a sharp, beautiful and insightful magazine/website, and I’m honored to be part of the team here.

Now, let’s pick up with the Q&A. Matt says:

The pacing has been a big change too, in that there’s not a daily print deadline I’m racing (and often staying late) to hit — we’re working far in advance. There are internal deadlines and targets, of course, but there’s a much bigger focus on thinking through multiple options for a graphic and refining approaches.

Along those lines, there are significantly more levels of proofreading and editing too, which is great. And I’ve adapted to getting out of work in time to eat a dinner that’s 1) not always fast food and 2) not always consumed at my desk. That’s pretty awesome.

Q. When did you start?

A. My first day at HBR was Dec. 1. Prior to moving to Boston, I had been working in a freelance capacity for them since May.

Q. What’s it like being on the East Coast again? Tired of the snow yet?

A. My only experience with the East Coast before now was a summer internship and winter holiday temp work in NYC. I grew up in northern Indiana though, so I’m familiar with snow.


That said, this is my first “winter” in 14 years, having lived in either New Orleans or San Diego since 2001. And there’s been an insane amount of snow in Boston this year — I’ve never seen anything like it, both in terms of the amount that’s fallen in such a short window and how much has accumulated because it’s been too cold to melt off.


I can’t say I’m truly tired of it, as I had been missing seasons (and weather in general) after a decade in San Diego, but an occasional non-snowstorm weekend would be nice.


And it turns out that my beagle loves snow — it’s her first true winter after 13 years in Southern California — so she’s had a blast this year.

A 2001 graduate of Ball State University, Matt worked for the student paper there, the Ball State Daily News, served an internship for the Portland Oregonian and freelanced for the Times-Union of Warsaw, Ind., the Star Press of Muncie and the Associated Press.

He spent three years as an artist for the New Orleans Times-Picayune before moving to the San Diego Union-Tribune in 2004 as a news artist. He was promoted to senior news artist in 2006, to graphics editor in 2008 and to director in 2010.

Matt left U-T San Diego in February of last year. A few samples of his newspaper work:






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

Read more about the Harvard Business Review here.

Martin Gee returns to print design… at Time magazine

Martin Gee — for the past year-and-three-quarters a senior designer for Huffington, the Huffington Post‘s iPad project — has been named  senior art director at Time magazine.

Martin made the announcement this morning via social media. His friends have known for several days, however, that he was departing Huffington. On Friday, he posted a last-day-of-work selfie with his boss.


He tells us:

I’ll be doing mostly print (which I miss dearly), some iPad and web, and definitely illustration!

He’ll start work at Time on July 14,

Martin studied illustration at San Jose State University and interned at the San Jose Mercury News and the Miami Herald before joining the Orange County Register in 1998. In 2000, Martin left newspapers to work as a designer for the House of Blues. He leaped back into news design with Chicago’s RedEye in 2005 and then slipped over to the mothership Chicago Tribune before moving back to the Mercury News in 2006.

In 2008, he became art director of the monthly Oregon Business magazine. In 2010, he moved to the Boston Globe as features design supervisor. He joined Huffington in 2012.

Martin’s wife, Carrie Hoover Gee, is design director at Adweek magazine.

Their wedding in February 2011 at
New York’s Museum of Modern Art.

A few samples of his work…


Read more about that project here.


Read more about that page here.


Read more about that one here.






And read more about that page here.

Find Martin’s web site here and his Facebook fan page here. Find his Twitter feed here.

Jedi Master Martin Gee uses the Force with these ‘Star Wars’ illustrations

In his day job, Martin Gee is is a senior designer for Huffington, the Huffington Post‘s iPad project.

When freelance deadlines beckon, however, Martin leaps into a phone booth, swaps his underwear to the outside of his pants and becomes (Tadaaaaa!): SuperDeadlineIllustratorMan!


With a little help from the Force this time, of course: Martin contributed illustrations for an article on the new Star Wars movies for Entertainment Weekly magazine.


Most of those ran on the opening pages of a six-page spread.


Click on these for a much larger look.



Martin took the time to answer a few question for us…

Q. I’ve always wondered what kind of deadline freelance magazine illustrators work with. How much time passed between when they contacted you and you had to turn in final art?

A. I had about four days and luckily it was over a weekend. With most assignments, I drop everything and use every minute. Just ask [his wife]Carrie!

For Entertainment Weekly, it was a fast turnaround but I’ve had as little as two days with other magazines. This is why I love and prefer editorial work!

The issue with Martin’s work is the May 16th cover-dated edition — the one with Jim Parsons, Julia Roberts and Mark Ruffalo on the cover.


Be sure to rush out and buy one before they’re replaced by the next issue.

Q. Did you work up some sketches for them? (And, better yet: Can we see them?)

A. Definitely. I’m kinda embarrassed to show you!



Unlike illustrators like Von Glitschka and Jennifer Borresen, my sketches look nothing like my final art. It’s only happened once, with PopMech.

Here was the sketch:

Martin says:

After this sketch, I carried my green circle template with my sketchbook for awhile.

Here’s the piece that ran in PopMech‘s December/January 2014 issue:


Martin continues with his Star Wars sketches:

One of the EW art directors said he didn’t want a LEGO Yoda. They wanted more realistic and less cute (which my stuff tends to be) but still be graphic and edgy.



Q. Whose idea was it to have Darth Vader accidentally slicing though the headline?

A. It was Jennie Chang‘s, EW‘s Managing Art Director who hired me, after she saw the Vader sketch. She designed the headline and techy borders and I just drew the characters!

Random: When I was at Redeye, I drew a similar but more minimal Vader for Episode III but the editors said it looked too much like an iPod and killed it.


Q. For a moment there, I thought that was your old ninja cartoon head at the extreme bottom left of page 24.


A. It actually reminds me of Deadpool!


Q. So you did Superman…


…and Spider-Man…


…for the National and now Star Wars for Entertainment Weekly. What’s next? The president for Time magazine? The Rolling Stones for Rolling Stone?

A. Probably not but hopefully more geeky illustrations! I’ve somehow managed to carve a nice niche for myself.

Funny you mentioned the National‘s Superman: EW specifically referred to that and my Boston Globe robots…


…for reference.

When Variety called with a Amazing Spider-Man 2 assignment with Captain America, Godzilla and the X-Men…


… (and, accidentally, the TMNT)…


[They told him “mutant ninjas” and Martin thought that meant the Teenage Mutant Ninja Turtles. Instead, they meant the X-Men. But, as you saw, Martin adjusted.]

…Art Director Cheyne Gately told me “You’re genetically designed to pull it off.”

Martin says he’s:

Living the dream!

First, a little more info about two pieces you saw earlier…

And, even earlier, he had been known to pull off super-hero movie covers for g, the Boston Globe‘s weekly entertainment tab.


Here’s one he did a year ago for his “day job” at Huffington.


This one — starring a grown-up, Jean Grey-like Violet from the Incrediblesran in the Pixar Times a couple of years ago when the movie Brave came out:


Martin tells us:

The art director, Jerrod Murayama, is a fellow SJSU alumni who has done work for Disney — most notably his Hipster Mickey illustrations and merchandise.

And then there’s this one you might not have seen — it’s not comics or movie-related, but it sure looks like it could be:


Martin says:

This was a really fun pro bono illustration for Elysia Smith, who goes by Dandy Rough on her roller derby team and is the lead designer at Newsday.

Martin studied illustration at San Jose State University and interned at the San Jose Mercury News and the Miami Herald before joining the Orange County Register in 1998.

In 2000, Martin left newspapers to work as a designer for the House of Blues. He leaped back into news design with Chicago’s RedEye in 2005 and then slipped over to the mothership Chicago Tribune before moving back to the Mercury News in 2006.

In 2008, he became art director of the monthly Oregon Business magazine. In 2010, he moved to the Boston Globe as features design supervisor. He joined Huffington in 2012. His wife, Carrie Hoover Gee, is design director at Adweek magazine.


Find Martin’s web site here and his Facebook fan page here. Find his Twitter feed here.

St. Pete’s Paul Wallen has joined ESPN The Magazine

Paul Wallen — senior designer for the St. Petersburg Times and for the Times’ Bay magazine — has left newspapers to join ESPN The Magazine.


This apparently happened about a month ago. Memo to self: The tracking collar I put on Paul several years ago needs its battery replaced.

Paul tells us:

The job is senior designer at ESPN magazine, located on the main campus in Bristol, CT. My first day at ESPN was Feb. 10. I’ll be working on the magazine and helping with graphics for digital and social media use.

I’m in temp housing now and Diane and the pets are still in Florida. I’ll be flying down there at the end of the month and we’ll all drive up to Connecticut together. We just put a deposit on a rental property so I guess I can officially say that we’ll be living in West Hartford.

Paul started out as a journalist for the U.S. Navy in the late 1980s. He has worked as sports editor of the Marshall, Texas, News Message, graphics editor of the Evansville (Ind.) Press, design editor for a chain of suburban papers near Chicago, a designer for the Virginian-Pilot in Norfolk, a designer for the Lexington, Ky., Herald-Leader, design editor of the Baltimore Sun, managing editor for visuals for the Lewiston, Maine, Sun Journal, sports designer for the San Diego Union-Tribune, design director of the Sun Sentinel of Ft. Lauderdale, Fla., and then assistant managing editor for design and sports of the Kerrville (Texas) Daily Times.

Paul took a little time off from journalism to serve as a foster parent before moving to the Huntsville Times in 2010 as design director. In 2012, the Times‘ owner, Advance publications, announced plans to consolidate design and production for its Huntsville, Mobile and Birmingham papers in Birmingham. Before any of that happened, though, Paul moved to St. Pete.

A few samples of Paul’s work:








Paul can save ESPN a lot of money this year — money they’d normally spend on cover models.


Read about the incident on the left here. Go here to read about the one on the right.

Find Paul’s online portfolio here, his NewsPageDesign portfolio here and his Twitter feed here.

Politico launches a bimonthly Magazine

Politico — already a must-read for political junkies around the world — launched a very smart, very sharp new product Friday.

It’s called Politico Magazine, and it’ll be a bimonthly.


Creative director of Politico Magazine is longtime visual journalist Janet Michaud.


A graduate of Syracuse University, Janet spent two years as a designer for the Asbury Park Press. She moved to the Boston Globe in 1996 as art director and in 2001, moved again to a similar position at Time magazine. She moved to the Washington Post in 2008 to as features design director and was promoted to design director in 2010. Janet joined Politico in August.

Poynter’s Kristen Hare reported last week:

Politico Magazine, however, plans to take a deeper, and longer, look at stories, [editor-in-chief Susan] Glasser writes, that don’t always make it in the daily deluge of news.

Perhaps most importantly, the magazine aims to fill a dangerous vacuum in the rapidly transitioning world of journalism, with too few really big takes on big subjects holding leaders in Washington and beyond accountable, as news organizations retrench, cut back or find themselves distracted by the all-too-real imperatives of just staying in business.

The debut cover story by Glenn Thrush is about how the White House is unnecessarily — and perhaps unfairly — hard on the president’s cabinet.

A quick excerpt:

According to CBS News White House reporter Mark Knoller, the Cabinet met 19 times in Obama’s first term and four times in the first 10 months of his second term. That’s once every three months or so—about as long as you can drive around before you’re supposed to change your oil.


In addition, Politico Magazine promises new content daily via its web site. Which, thankfully, is not behind a paywall.

Sunday’s big hit was the story behind this debacle from the 1988 election:

Fashion Consistent Candidates

The magazine’s Josh King calls that “the worst campaign photo op ever.” And he might just be right — despite the fact that the magazine also pulled together plenty of other examples that might rival it.

Find the Politico Magazine web site here.

Another brilliant New Yorker cover illustration by Barry Blitt

Famed illustrator Barry Blitt captures the whole Obamacare launch debacle perfectly with one image on the front of the new issue of the New Yorker.


Man. Is that perfect, or what?

The New Yorker writes in its blog post about the cover:

“When I heard that the troubled Obamacare Web site was built by a Canadian company, of course I felt personally responsible,” says the Montreal-born Barry Blitt, who drew this week’s cover, “Reboot.” “I’ll be happy when the glitches are all worked out and everything’s running smoothly, so I can put this all behind me,” he concludes.


A few more samples of Blitt’s work for the New Yorker:




Find Barry Blitt’s web site here.

UPDATE – 8:35 a.m. PDT

And, of course, only moments after I post that, I see this equally brilliant cover by Bloomberg Businessweek magazine.


Thanks to all the folks who tweeted about that today.

A fun read. A great keepsake. And a very worthy cause…

While visiting family in Florida last March, legendary publication designer Robert Newman suffered a seizure, severe head trauma and then a brain hemorrhage. He was in a coma for weeks before he was able to breathe on his own.


As soon as he could be moved safely, he was sent back to New York City, where he’s continued to recover. You may recall his friends held a fundraiser for him because, as a freelancer and consultant, Bob has no health insurance these days.

Bob wrote us over the weekend:

My recovery is going well. There have been setbacks, but it’s probably a miracle that I’m even walking around. I’ve got months and months of physical and swallow therapy ahead of me, and my days are still filled with doctors and tests.

The good news is that the thinking part of my brain is OK (or as OK as it ever was), and my hands and eyes are as sharp as they were pre-accident. On other fronts, I feel like my body and its parts aged about 15-20 years overnight, and that’s what I’m struggling with right now.

Some parts are definitely broken and most likely will never return to normal, but overall the outlook is bright, and I’ve recovered enough to dive into reading and watching movies and spending as much time as I can with my two young daughters (who manage to wear me out very quickly). I’m walking madly all over the Upper West Side, building back strength and endurance.

There’s no prognosis on when (or if) I’ll be able to return to work, and I’m avoiding jumping back into my online life for at least another month.

Which, of course, brings up the next point: The medical bills continue to pile up.

Robert’s pals Jeremy Leslie of and Andrew Losowsky of the Huffington Post have teamed up to publish a 64-page benefit publication called My Favo(u)rite Magazine.


Eighty-eight designers, editors and photo editors from magazine and newspapers around the world, contributed to My Favo(u)rite Magazine. As AdWeek explains, the project is…

…a “love letter to print”—is a collection of essays in which creative directors from titles like Wired, Elle and Fast Company (and digital companies like Pentagram and AOL) reveal their all-time favorite magazine issues, plus an addition by Newman himself.


The highlighted titles range from mainstream (there’s the iconic Harper’s Bazaar cover featuring Jean Shrimpton shot by Richard Avedon) to indie (Craphound, Hard Werken and The Germans — not quite household names).


Robert tells us:

The printing was donated, some folks contributed generous advertising, and there’s no overhead, so all the proceeds are going directly to help pay those nasty bills.

It’s a great project, with very inspiring content, something worth saving and savouring.

A print version of the magazine is available for ₤15.99 ($24.98 USD), plus ₤6.00 ($9.37 USD) shipping. A PDF can be had for ₤12.99 ($20.30 USD) — with no shipping charge, obviously.

PalPal is accepted. (Those currency conversions were as of Sunday evening PDT.)

Go here to order a copy.

Read more about this project — and see more sample pages — at:

Find my earlier post about Robert here.

Find the Friends of Robert Newman Facebook page here.

Embarrass art directors who use too much Photoshop? There’s an app for that.

This new video campaign from Canada has been making the rounds. Take a moment and check it out — especially if you’ve spent any time as a features or magazine art director.

Fast Company‘s Joe Berkowitz reports:

Dove Canada’s latest endeavor is a sneaky way to hit the perpetrators of such ads right at the source–their computers.

The team at Ogilvy created the Photoshop action “Beautify”, a downloadable file that makes a change with a single click, in this case aimed at photography creatives who might be shaving the curves off of a not-even-curvy model right this very second. The company hopes to spread “Beautify” by leaving it on sites like Reddit which art directors and the like are known to frequent–presenting it as an aid for retouching.

The idea is that art directors — always hot-to-trot for free tools, plug-ins and whatnot, will download the “beautify” filter and then apply it to a heavily-photoshopped photo of a woman. Instead of doing what it’s advertised to do, the file undoes all the photoshopping, with the intent of shaming the art director.

If this sounds a lot like a trojan horse virus, then you’re right on track. Except the non-“beautify” itself isn’t permanent. The user can then undo the undo.

Personally, I wonder how many art directors out there really download and install Photoshop filters that they know nothing about. I also wonder how effective it is to hold art directors themselves responsible for ongoing Photoshop abuse in the magazine world. They’re only doing what their publishers hired them to do. Show me an art director who suddenly refuses to over-retouch a photo and I’ll show you an art director who’ll be replaced before lunchtime.

So I suspect Dove doesn’t really expect to “catch” anyone red-handed with this faux app. I suspect this is just a publicity stunt. Given all the shares I saw for it last night — and the fact that we’re talking about it right now — it’s a pretty effective one.

Meanwhile, Dove’s U.S. arm also pushes the company’s “natural beauty” theme. This ad — first posted in the spring — may bring tears to your eyes.

Interesting stuff. Thanks to the several folks who posted and tweeted about this last night.

Separated at birth?

Matt Memrick of Charlotte, N.C., is quite right:


On the left: Texas Monthly‘s June cover on the 50 best barbecue joints in the world. On the right: The cover of this past Sunday’s Parade magazine.


Wow. These are awfully similar.

On one hand, shooting a picture of a big plate of food — whether it’s for a magazine cover of just for your Instagram feed — isn’t exactly an original idea. And, yeah, barbecue joints in Texas tend to pile your plate high. Which makes for a rather obvious cover idea.

So it’s quite possible these two concepts were developed independently of each other. The editors of Parade explain that they…

…asked Franklin pitmaster Aaron Franklin to put together a tray of the offerings available at his restaurant that day, he presented us with this beautiful display—and we shot it as he presented it. We didn’t have a food stylist or a prop stylist on the shoot.

The similarity to a recent Texas Monthly cover is purely coincidental. But we at Parade are humbled that our cover does bear an unintentional resemblance to the cover of one of our country’s finest magazines. And next time a Parade staffer is in Austin, the barbecue is on us.

Which seems kind enough.

But noted barbecue blogger Daniel Vaughn of TMBBQ, however, writes that Parade‘s story relied quite a bit on the work of Dallas Morning News food critic Leslie Brenner. Who not only borrowed liberally from Daniel’s work for a story three years ago, but also when Daniel reached out to her about it, she responded in a condescending way. The idea being: Daniel’s just a blogger, so he doesn’t really know how journalism works.

Which, in turn, led to an embarrassing writeup by Jim Romenesko.

Daniel points out that the Texas Monthly cover was even recognized at “cover of the day” by the Society of Publication Designers.

Hey, I can sympathize. I wrote last week about the challenges I run into sometimes with this very blog: I don’t blog on company time, so there are hours every day in which I put a lid on my work. Also, I’m now on the west coast. I dislike blogging — and tweeting my blog posts — when everyone back East is asleep. Therefore, my new “schedule” is to post my items in the mornings. Which is around noon back east.

(The exception being on my days off. Today happens to be one.)

As a result, I’ll write an item in the evening after work, stash it away overnight and then post it first thing in the morning… only to find the aforementioned Jim Romenesko beat me to it by a number of hours.

So does that mean I don’t post? Does that mean I need to check Jim’s blog (and Poynter’s MediaNews blog and Mediaite and iMedia Ethics and all the other) before I post an item?

No. I post. And if I aggregate something — which I do quite frequently — I make sure I cite my source and dish out links. That’s the way it works here in “the blogosphere.”

I’m not sure it’s reasonable to expect two independently-produced stories on barbecue to not have similar imagery. This example strikes me as a coincidence.

But sure, we’ve seen examples of pages that were so similar — even the typography was spot-on — that clearly a designer was looking at the previously published page. Like this one here.


But was this one a visual ripoff?

110111VirginianPilotAwBurnedFront   110111PortlandOregonianFront

I’m not so sure. Frankly, I think that one might have been the result of the same pun headline, conceived 3,000 miles away.

And then there was this one. Which I’m still not sure about.

Finally, to answer Matt’s question: Yes. Those plates of barbecue did make me hungry.

Ready-Media and Font Bureau’s Carrie Gee moves to Adweek

Today, Carrie Hoover Gee starts a new job. She tells us:

I’m a Design Director for Adweek magazine, responsible for special projects (which include well-designed advertorial sections). I will also get to do a bit of the weekly editorial pieces from time to time. I will work in both print and iPad, which is very exciting for me.


One of the best parts is my direct supervisor will be Nick Mrozowski, who is one of my best and most creative friends. We’ve worked together before and always have a lot of fun.

Nick, I might add, is executive creative director of Adweek. He, too, graduated from Michigan State, and he was working at the Virginian-Pilot when Carrie interned with us.

Carrie continues:

Another perk of the job is that I’ll be working in the same building as [her husband, Martin [Gee]! How cool is that?

Can’t wait to get started! It’s a great opportunity, and I really think it’s going to be a blast.

is a designer for Ready-Media and the Font Bureau in Boston, Mass. In addition, she’s also the art director for Edible Vineyard magazine.

A 2007 graduate of Michigan State University, Carrie served an internship at the Virginian-Pilot in 2006 and then, as the first-ever winner of the Society for News Design’s the Intern contest, worked at the San Jose Mercury News the next year. She became A1 news designer for the the Portland Oregonian in 2007 but left two years after Martin — her fiancé at the time — started work for the Boston Globe.

She and Martin got married in 2011 and Carrie started that summer with the two jobs in she’s been working ever since: a) A designer for Ready-Media and the Font Bureau in Boston, Mass., and b) Art director for Edible Vineyard magazine.

A few samples of her work:


1307CarrieGeeSample02 1307CarrieGeeSample03

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Find her web site here and her Twitter feed here.

Matt Mansfield named executive editor for digital at National Geographic

National Geographic announced Wednesday that longtime visual journalism editor and leader Matt Mansfield has been hired as executive editor for digital.


Here’s the paragraph about him from the press release:

Matt Mansfield comes from Northwestern University’s Medill School of Journalism, where he was director and bureau chief for the school’s reporting program in Washington, D.C., as well as an associate professor. Prior to joining Medill, he was deputy managing editor of the San Jose Mercury News. He is a founding partner of MG Redesign, a custom design and training firm. In 2012, Mansfield was the design director for Bloomberg Insider, a daily glossy launched to showcase Bloomberg LP’s reporting and analysis from the Democratic and Republican National Conventions. He has served as president of the international Society for News Design and is one of the Washington-based organizers for the Online News Association. In his new role as executive editor, digital content, Mansfield will oversee National Geographic’s editorial content across the Web, mobile and non-magazine apps. He will be responsible for the editorial experience on digital platforms, shaping content initiatives that complement the Society’s membership acquisition strategies and supervising National Geographic’s daily news team, short-form video production group and a team of producers creating online content for the Society’s Mission Programs division, which manages the Society’s field researchers and explorers.

Side note No. 1: While Matt’s done a lot of great work over the years — and he mentored an amazing number of folks who have gone on to great careers of their own — some visual journalists will remember him for being at the center of a huge controversy that nearly ripped apart the Society for News Design four years ago.

Side note No. 2: Kris Viesselman — who served as creative director at the Merc during Matt’s time there — ran National Geographic‘s maps division for a couple of years.

Find Matt’s Twitter feed here.

Let’s help a friend of publication designers everywhere

Do you know Robert Newman?

You should. He’s downright legendary as a publication designer.


A 1974 graduate of the College of Wooster in Wooster, Ohio, Robert spent more than 26 years in visual leadership positions of a number of publications: Guitar World, the Village Voice, Entertainment Weekly, New York, Details, Vibe, Inside, Real Simple and Fortune.

A few samples of his art direction over the years…





Find more at his web site.

Robert spent four years as a consultant, working with clients such as AARP magazine, JCK magazine and TV Guide. He got into iPad design, helped set up an iPad app for Reader’s Digest and then was hired as that magazine’s creative director. He worked there for a year before going back into consulting last summer.

In addition, Robert is a member of the board of the Society of Publication Designers. Perhaps you saw Robert’s presentation at SND/Denver in 2010. He also attended SND/St.Louis in 2011, which is where I finally met him face-to-face for the first time.

And what a swell guy he is. He’s been a strong supporter of my work here in the blog and has a knack for knowing when to send a little encouraging note my way. From what I’ve heard over the years, Robert has done the same for lots of folks out there in the publication design world.

So, why do I mention him today? Because Robert took a spill this spring.

In late March, Robert was visiting family in Florida when he suffered a seizure and then severe head trauma in what, I presume, was a fall during that seizure. He was rushed to a hospital but then suffered a brain hemorrhage. He was in a coma for weeks. He’s off the respirator, conscious and he’s been moved back home to New York, his friends write:

Bob is working hard to bring himself back to his strong self and will have to work on this for several months. His speech is improving and he is receiving a lot of physical therapy.

…Bob and his family are facing a major financial crisis due to his injury. As a freelance consultant, Bob has no salary. So he has no current income, and will have no way of working for many months. To add to the financial headaches, Bob’s most recent employer, Reader’s Digest, went bankrupt, suspending his expected severance pay. Meanwhile, the family’s bills are mounting daily.

You see where this is going, right?

His friends set up a page to take donations via credit card or PayPal. Here’s what the tote board looked like just after 8 a.m. today here on the West Coast:


Let’s help the man out. Find the Friends of Bob Newman donation page here. And make a donation, please.

Find the Friends of Robert Newman Facebook page here. “Like” that page, please, and pass along the link to your own Facebook friends.

Thanks much.

Just in case you’ve not yet seen this yet…

Here’s a wonderful cover from Boston magazine featuring actual shoes worn by Boston Marathon runners this year.


Editor John Wolfson explains:

Great idea! But how in the world were we going to execute it in time? We figured we’d need about 100 or so shoes, and we had very little time to get them. We were also going to have to interview every person who submitted a pair of shoes so we could tell his or her story. We immediately sent out tweets and Facebook posts asking runners to submit their shoes. At the same time, people from every department here at Boston magazine started reaching out to friends and family members asking for shoes. Every pair became precious. Every new email from someone on staff announcing that a cousin or an old school buddy had promised to drive their shoes to the office by the next morning was met with unrestrained enthusiasm.

As the shoes started to filter in, we divvied up the names of the people who’d dropped them off and began calling them for interviews. Everyone on staff contributed. We had room for just 15 pairs in the magazine, so the rest would go online. We then decided to add an additional wrinkle of complexity to the whole thing: We would create a special page on the site where the overflow photos and stories would live, and where people from around the world could submit their own stories and photographs of their shoes. (That page——will go live starting Tuesday, April 30.)

John explains more about how the idea came together, how his staff pulled it off — and yes, the cover will be made into a poster — in Boston magazine’s blog post, here.

Just when you think you’ve seen it all regarding brackets…

Just when you think you’ve seen every possible way to fill out a college bracket, along comes the New Yorker with a brand-new approach.

It’s all about the amount of money spent on men’s basketball, says the New Yorker. So why not fill out a bracket in which the winning team in each game might be the school that spends the most?

Click this screen snapshot of the New Yorker‘s interactive bracket for a much larger view:


Under this plan, the Final Four teams would be Duke, Kansas, Syracuse and Arizona. Duke would be national champs.

In this next example, the same teams are picked in each pairing. But the starting bubble charts show the revenue each team generates from men’s basketball.


That huge one in the upper left? Louisville.

In addition, this interactive has additional material buried beneath the surface. Mouseover any of the bubbles to see the data for spending on and revenue from men’s hoops.


Fascinating stuff. Find it here.

Thanks to sharp-eyed, Palo Alto-based media consultant Gabriel Sama for tweeting this today.