art direction (4)

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Seth Godin says we don’t buy things because we need them, we buy them because we want them.

Newspapers don’t just sell information; they sell an experience. Along with photographers, illustrators and of course, some writers, designers help make that oh-so-important emotional connection with readers.

Good presentation tells the story. Great presentation brings the reader into the story like the soundtrack of a movie.

Satisfaction is important, but desire? Turn it up to 11.

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A visual journalist's survival guide: Type as art

This page by Kristin Lenz treats type as art in the most literal sense, with the letter forms functioning much like an abstract painting.


"We got more space than we expected, so can you make us a cover for the calendar spread this afternoon? I'm sure you'll think of something." Using the sya-what-it-is strategy, Chris Mihal added various fake perspectives to the letters for complexity.


The above page by Puls Biznesu uses a type grid that counts down from 100 as a background.


Brandon Ferrill's Medicare cover also uses type as a background, while adding an iconic stock art element to help sell the content.


Here Christian Font uses an extended quote as the background headline and billboard-style refer to the story.



The page on the left introduces a fingerprint as a graphic element, where the page on the right, by Severiano Galván, uses information to draw the fingerprint.


Negative space within the story creates Oscar art for Flavio Forner's page.


The page by the Plain Dealer has prices falling from the headline. In an interesting twist, Ellis Latham-Brown's page from the Indiana Daily student has the story copy falling into a pile.


Letters are nibbled off in crumble at the bottom of Jussi Tuulensuu's page.


Pete Gorski's page uses the headline to help illustrate a pro/con story on Roe vs. Wade. Sometimes small papers can be more willing to take risks.


And finally, Paul Wallen's page illustrating the big eastern US blackout uses plenty of "black space" to make its point.


As I was working on this, Denis Reagan posted pictures of type driven pages from SND's judging in Syracuse. Here's the link.



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So you have an important story with no art and no illustration budget. Here are a few ideas that could help you out.

Type as illustration:
Using type as your art can be as straight forward as turning up your storytelling really loud. Here's an example by Margit Toovere.


Here are a couple other examples where the story shape becomes the art. On the left, a page by Politiken. On the right, a page I did long ago at the Sun Journal. We took a lot of care to keep the story legible and there were no complaints from readers. It was interesting to watch people holding their paper at a 45-degree angle to read the story.


Stock images and file images:
This centerpiece by Nuri Ducassi still uses type as the dominant art, but adds small iconic images to punctuate and help the content be more accessible.


It's pretty easy to find stock images to illustrate your story at one of the many stock photo websites out there. My staff uses bigstockphoto.com quite a bit. Here are a couple examples that looked for images that express a simple visual metaphor that, combined with the right display type, helps to sell the story. The page on the left is by Brandon Ferrill and on the right, by Suzy Palma.


Admittedly, our editor was squeamish about a big picture of pavement on the front page. I suppose we could have assigned a photo of someone getting a ticket, but sometimes being literal is not so engaging.

Mug shots as dominant art:
When Julie Elman was at the Virginian Pilot, she was a master at this. Here's an example. What makes it work is that she used the colored text blocks to tie it together into a single dominant piece.


Take the picture yourself:
I'm not suggesting that everyone is suddenly a photographer. In fact, try to use your limitations as an advantage. How about a deliberately low-tech approach like using a plastic Holga camera or even your cell phone? The centerpiece image of the office building on this page was taken and manipulated by Taimy Alvarez on her iPhone.


The flat-bed photo studio:
You may be surprised how well a flat-bed scanner will scan objects. Some of the things I have scanned so far are a business editor's face, crumpled documents, TV cable, barbed wire and mud. Here are a couple examples.


Mediocre handout art:
I always try to respect the work of photographers, but entertainment handout images are fair game for manipulation. Just be cautious with Photoshop filters. Poor use of Photoshop is the biggest cliché of bad illustration. Here are a couple examples that use extreme crops to make the images more abstract and more engaging.


Anyone else have any examples to share?

Next up: More examples of type as art.
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If your story is about something tangible and specific, shoot it. If the story is about concept or abstract idea, illustrate it. How many of your publications would illustrate a story on rising airfare by sending a photographer to the airport? My paper had a strong tradition of documentary photography, so in the past, we would have done that as well. Here's an example:

The art here says that someone is going on a trip. Verrrrry exciting. It's not the photographer's fault. This was a lame assignment. While we should relate to the tragedy that this family is paying higher airfares, the page should really be telling us that WE will be paying higher airfares. We've turned up the volume in general, but this recent page, illustrated by Chris Mihal, tries to get the point across more visually.

It's just about picking the best approach to get people to read the story and to immediately know what the story is about. We find we use illustrations a lot in Business because there are a lot of stories that are more abstract in nature. And we run a lot more useful, consumer oriented stories on the front page, so we run a lot more illustrations there as well. My apologies if this is overly obvious, but a lot of papers still have misguided preconceptions, especially where non-visual managers are calling the shots. I once heard from a former editor, "We are a serious newspaper. That doesn't belong on the front page." When illustrations are the best choice, it's up to us to respectfully suggest otherwise. Up next: No art? No problem.
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