Posts tagged ‘graphic design’


Why paywalls are getting more prevalent; and The Guardian Weekly rethought

10.11.2018

Megan McArdle’s excellent op–ed in The Washington Post, ‘A farewell to free journalism’, has been bookmarked on my phone for months. It’s a very good summary of where things are for digital media, and how the advent of Google and Facebook along with the democratization of the internet have reduced online advertising income to a pittance. There’s native advertising, of course, which Lucire and Lucire Men indulged in for a few years in the 2010s, and I remain a fan of it in terms of what it paid, but McArdle’s piece is a stark reminder of the real world: there ain’t enough of it to keep every newsroom funded.
   I’ll also say that I have been very tempted over the last year or two to start locking away some of Lucire’s 21 years of content behind a paywall, but part of me has a romantic notion (and you can see it in McArdle’s own writing) that information deserves to be free.
   Everyone should get a slice of the pie if they are putting up free content along with slots for Doubleclick ads, for instance, and those advertising networks operate on merit: get enough qualified visitors (and they do know who they are, since very few people opt out; in Facebook’s case opting out actually does nothing and they continue to track your preferences) and they’ll feed the ads through accordingly, whether you own a “real” publication or not.
   It wasn’t that long ago, however, when more premium ad networks worked with premium media, leaving Google’s Adsense to operate among amateurs. It felt like a two-tier ad market. Those days are long gone, since plenty of people were quite happy to pay the cheap rates for the latter.
   It’s why my loyal Desktop readers who took in my typography column every month between 1996 and 2010 do not see me there any more: we columnists were let go when the business model changed.
   All of this can exacerbate an already tricky situation, as the worse funded independent media get, the less likely we can afford to offer decent journalism, biasing the playing field in favour of corporate media that have deeper pockets. Google, as we have seen, no longer ranks media on merit, either: since they and Facebook control half of all online advertising revenue, and over 60 per cent in the US, it’s not in their interests to send readers to the most meritorious. It’s in their interests to send readers to the media with the deeper pockets and scalable servers that can handle large amounts of traffic with a lot of Google ads, so they make more money.
   It’s yet another reason to look at alternatives to Google if you wish to seek out decent independent media and support non-corporate voices. However, even my favoured search engine, Duck Duck Go, doesn’t have a specific news service, though it’s still a start.
   In our case, if we didn’t have a print edition as well as a web one, then online-only mightn’t be worthwhile sans paywall.

Tonight I was interested to see The Guardian Weekly in magazine format, a switch that happened on October 10.
   It’s a move that I predicted over a decade ago, when I said that magazines should occupy a ‘soft-cover coffee-table book’ niche (which is what the local edition of Lucire aims to do) and traditional newspapers could take the area occupied by the likes of Time and Newsweek.
   With the improvement in printing presses and the price of lightweight gloss paper it seemed a logical move. Add to changing reader habits—the same ones that drove the death of the broadsheet format in the UK—and the evolution of editorial and graphic design, I couldn’t see it heading any other way. Consequently, I think The Guardian will do rather well.

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A tribute to Massimo Vignelli

29.05.2014

The below ran in Lucire today, though it is equally suited to the readers of this blog.


RIT

Massimo Vignelli, who passed away on May 27, was a hero of mine. When receiving the news shortly before it hit the media in a big way, from our mutual friend Stanley Moss, this title’s travel editor and CEO of the Medinge Group, I posted immediately on Facebook: ‘It is a sad duty to note the passing of Massimo Vignelli, one of my heroes in graphic design. When I was starting out in the business, Massimo was one of the greats: a proponent of modernism and simple, sharp typography. His influence is apparent in a lot of the work done by our brand consultancy and in our magazines, even in my 2013 mayoral campaign graphics. A lot of his work from half a century ago has stood the test of time. There was only one degree of separation between us, and I regret that we never connected during his lifetime. The passing of a legend.’
   This Facebook status only scratches the surface of my admiration for Vignelli. There have been more comprehensive obits already (Fast Company Design rightly called him ‘one of the greatest 20th century designers’), detailing his work notably for the New York subway map, and—curiously to me—glossing over the effect he had on corporate design, especially in the US.
   Vignelli, and his wife Lella, a designer in her own right and a qualified architect, set up the Vignelli Office of Design and Architecture in Milano in 1960, which had clients including Pirelli and Olivetti. In 1965, they moved to New York and Vignelli co-founded Unimark International (with Ralph Eckerstrom, James Fogelman, Wally Gutches, Larry Klein, and Bob Noorda), where he was design director. It was the world’s largest design and marketing firm till its closure in 1977.
   The 1960s were a great time for Vignelli and his corporate identities. He worked on American Airlines, Ford, Knoll, and J. C. Penney, and the work was strictly modernist, often employing Helvetica as the typeface family. Vignelli was known to have stuck with six families for most his work—Bodoni was another, a type family based around geometry that, on the surface, tied in to his modernist, logical approach. However, there were underlying reasons, including his belief that Helvetica had an ideal ratio between upper- and lowercase letters, with short ascenders and descenders, lending itself to what he considered classic proportions. The 1989 WTC Our Bodoni, created under Vignelli’s direction by Tom Carnase and commissioned by Bert di Pamphilis, adheres to the same proportions.
   Although my own typeface design background means that I could not adhere to six, there is something to be said for employing a logical approach to design. American corporate design went through a “cleaning up” in the 1960s, with a brighter, bolder sensibility. Detractors might accuse it of being stark, the Helveticization of American design making things too standard. Yet through the 1970s the influence remained, and to my young eyes that decade, this was how professional design should look, contrary to the low-budget work plaguing newspapers and books that I saw as I arrived in the occident.
   When the Vignellis left Unimark to set up Vignelli Associates in 1971 (and later Vignelli Designs in 1978), their stamp remained. The MTA launched Vignelli’s subway map the following year, and like the London Underground map by Harry Beck in 1931, it ignored what was above ground in favour of a logical diagram with the stops. Beck was a technical draftsman and the approach must have found favour with Vignelli, just as it did with those creating maps for the Paris Métropolitain and the Berlin U-bahn.
   New Yorkers didn’t take to the Vignelli map as well as Londoners and Parisians, and it was replaced in 1979 with one that was more geographically accurate to what was above ground.
   In 1973, Vignelli worked on the identity for Bloomingdale’s, and his work endures: the Big Brown Bag is his work, and it continues to be used by the chain today. Cinzano, Lancia and others continue with Vignelli’s designs.
   Ironically, despite a rejection of fashion in favour of timelessness, some of the work is identified with the 1960s and 1970s, notably thanks to the original cut of Helvetica, which has only recently been revived (a more modern cut is commonplace), and which is slightly less popular today. Others, benefiting from more modern layout programs and photography, look current to 2010s eyes, such as Vignelli Associates’ work for the Museum of Fine Arts, Houston.
   The approach taken by Lucire in its print editions has a sense of modernism that has a direct Vignelli influence, including the use of related typeface families since we went to retail print editions in 2004. Our logotype itself, dating from 1997, has the sort of simplicity that I believe Vignelli would have approved of.
   Vignelli was, fortunately, fêted during his lifetime. He received the Compasso d’Oro from ADI twice (1964 and 1998), the AIGA Gold Medal (1983), the Presidential Design Award (1985), the Honorary Royal Designer for Industry Award from the Royal Society of Arts (1996), the National Lifetime Achievement Award from the Cooper–Hewitt National Museum of Design (2003), among many. He holds honorary doctorates from seven institutions, including the Rochester Institute of Technology (2002). Rochester has a Vignelli Center for Design Studies, whose website adheres to his design principles and where educational programmes espouse his modernist approach. It also houses the Vignellis’ professional archive.
   He is survived by his wife, Lella, who continues to work as CEO of Vignelli Associates and president of Vignelli Designs; their son, Luca, their daughter, Valentina Vignelli Zimmer, and three grandchildren.

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Posted in branding, business, design, marketing, typography, USA | No Comments »


This is not your Granddad’s Myspace

26.09.2012

The new Myspace from Myspace on Vimeo

Justin Timberlake may have played Sean Parker in The Social Network, but he’s had a real-life social networking role to play as an investor as Myspace (sans intercapitalized S) showed off its new look yesterday.
   And I like it.
   After being frustrated with another attempt at ordering photos in a Facebook album (viz. it doesn’t work any more), seeing that fan page views had gone way down (as Facebook forces us to pay for promoted statuses), and noticing that I was largely using Facebook as a glorified version of Digg, it dawned on me: there must be a better way. As I told Facebook in a survey tonight:

These are actually reasons to leave Facebook or to find an alternative—and right now, the MySpace reboot is looking way better. Facebook is little more to me than a glorified Digg now where I share some bookmarks, but not where I share my real statuses. And we all know what happened to Digg.

It’s a slight exaggeration as some of my closer friends get some status updates, but the majority come via Twitter, and that’s plugged in to my Facebook.
   Twitter, too, no longer has the effectiveness it once had in itself, unless you are directly contacting someone.
   About the only newer (2007 and on) platform I get any pleasure out of is Tumblr, but that’s not what I call a social network.
   It’s funny, because one year ago, I was raving about Facebook Timeline. How Facebook gave me instant gratification through “likes” and how it looked so clever. But then, as with the Oldsmobile Toronado, designers tinkered with it. They added unnecessary features, such as the second friends’ box. Anything that was ingenious about the original Timeline, such as the way it could guess your most significant past moments, disappeared or was pushed down—or rendered useless. The fact that fan pages still don’t update on the 1st of each month—a bug that existed when Facebook first created Timeline—suggests to me that the company doesn’t really care any more about the user experience. It’s all about the money, and when that happens, the lovin’ feeling’s gone—just as it had with Google, which I also used to rave about.
   While the pundits are saying that Myspace is great because it focuses on music, they are missing the other angle. Based on the preview, it’s a visual delight. It makes updating your social network look good, and you have a fleeting moment of pride as you see the next status go live. We’re so spoiled with technology now that we like those experiences—and the new Myspace user interface, created by Australian firm Josephmark, captures that part of us. I can dig updating in News Gothic.
   Freed from the clutches of the Murdoch Press, Myspace might come good again—at the perfect time as Facebook fatigue—and even a bit of Twitter fatigue—sets in. I never thought I would say that.
   I just hope the new management keep the website clean: don’t do a Facebook.
   And I still have more friends on Myspace than I do on Google Plus, so I am starting from a bigger number than I did on Facebook all those years ago.

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Posted in business, design, interests, internet, media, technology, USA | 4 Comments »