Study after study has shown that we judge attractive people to be healthier, friendlier, more intelligent, and more competent than the rest of us, and we use even the smallest differences in attractiveness to make these judgments.
A startling study published earlier this year found that even identical twins judge each other by relative beauty: The more attractive twin assessed the other as less athletic, less emotionally stable, and less socially competent. The less attractive twins agreed, ranking their better-looking siblings ahead.
Stanford law professor Deborah L. Still, the issue has generated few serious solutions. There is no lobby for the homely. Tentatively, experts are beginning to float possible solutions. Some have proposed legal remedies including designating unattractive people as a protected class, creating affirmative action programs for the homely, or compensating disfigured but otherwise healthy people in personal- injury courts.
Others have suggested using technology to help fight the bias, through methods like blind interviews that take attraction out of job selection. None of these approaches will be a panacea, and to some aesthetes among us, even trying to counter the bias may sound ridiculous. We remember many great beauties of yore—Helen of Troy, Alexander the Great—but great contributions of history have also come from famously homely people.
Beauty, as it turns out, is not in the eye of the beholder. Sunday, Feb. Doubletruck graphic by Luke Knox breaking down 25 of the most memorable plays in Super Bowl history. 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:.
A 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. He moved to the Globe a little over a year ago. 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. 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.
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…. 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.
But it was a lot of fun! 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. 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. 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. 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. He joined the Globe in January. His strip, Sutton Impact , ran in the Village Voice for 12 years. Alexa McMahon , our BostonGlobe. 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.
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. 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! 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.
In , 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 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. Robert Davis , assistant design director for news at the Boston Globe , is moving to the Washington Post. 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. But this opportunity was too good to pass up. A 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.
He moved to the Globe in , where he designs A1 and metro fronts. He was promoted to his current position last August. See more in his NewsPageDesigner portfolio. My old Rock Hill, S. 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. The book has received love from the Economist and the New York Times. Amazon named it a Best Book of the Month for February.
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. I did a blog post of my own with the book designer who designed the cool cover for for my book. 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. 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. A: I like its sense of hope and a look into the future. The fonts speak to the time periods and the round hole of the subway track reflects the design of the original subways in NY.
Doug and I worked together at the Rock Hill Herald , back in the early s. Doug left Rock Hill around the same time I did. He spent three years at the Daily Record of Morristown, N. In , 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. Earlier this year, Doug was promoted to a new DME position in which he will develop new print and digital concepts.
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 Globe started its two stories on the front, beneath a family portrait illustrated by freelancer Josie Jammet. 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. 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 saw the big storified debate on that presentation today and made a mental note to go check it out when I have time.
Plus, I suspect they play better on an iPad than they do on a laptop. So, what do you think? Nothing moves unless you tell it to move words to live by! Take a look and tell me what you 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. Seems like good, old-fashioned storytelling to me. Did Ms.
Moore read the same story that I read? What am I missing? 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. A graduate of the University of Missouri, Joe worked as a reporter, copy editor and graphic artist for the Missourian. Assistant managing editor Dan Zedek of the Boston Globe wrote to his staff last week:.
When Chiqui joined us earlier this year from lainformacion. 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. He moved to the Globe in The cover is a striking John Tlumacki photo, and little else. 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.
However, Luke points out that some of the ads on the pages he did send us are pretty funny. Page two contains the lead story by Bob Hohler and a trophy shot by staffer Jim Davis.
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. 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.
We tried to stick with staff art since we had so many shooters at each game. Lead art there was by staffer Barry Chin. The story was by Nick Cafardo. 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. 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. 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. And man, is it gorgeous. 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.
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. Aprill Brandon is a freelance writer and blogger. She also continues to write for the Advocate.
Find that here and the Kindle version here. Find her blog here and a special post she wrote for her own birthday here. Here are some of the graphics produced this past week. To see larger versions, click on any images. This is not pointed due north, but rather due southwest, for perspective. The map shows where they were, and what happened to them after the explosions. There were several reporters on this, as the gang byline at the bottom shows.
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