“Franchi’s findings in Designing News are based on his own work for Il Sole 24 Ore as well as case studies by the top media insiders Richard Turley of Bloomberg Businessweek, Daniele Codega of Thomson Reuters, Steve Duenes of The New York Times, Mark Porter formerly of The Guardian, Matt Curtis of The Times, Oliver Reichenstein of Information Architects, Adrien Bosc of Feuilleton and Desports, and type designers Paul Barnes and Christian Schwartz.
Designing News explores how today’s media outlets can become credible, cross-platform news brands. Franchi advocates redefining reporting as telling a continuous narrative across a broad range of traditional and digital media. To this end, he proposes a new, integrated role for editorial designers in advancing the evolution of media for the future.” — francescofranchi.com
I am reading this book now! So far it is excellent. I love all of the examples in the book. Francesco Franchi also uses Kris Sowersby’s Pitch typeface for pullquotes and credits.
Ian, I think it’s Atlas Typewriter, not Pitch. Now added to the tags for this Use.
Yes, and thanks for the correction.
Great book. Such a shame that the spine inscription is upside-down.
Perhaps Storm knows this, but (like me) prefers right-side-up titles on his stack of books. Both traditions are centuries old. Art Lebedev wrote a nice short piece explaining the origin and rationale for each of the orientations. Yet I’m skeptical that bottom-to-top is that much easier to read when the spine is upright — can’t one just tilt their head the other direction? Or is this taking into account the urge to read several book spines from the left end of the shelf to the right?
More discussion on Typophile.
I think that this book is the description of his modus operandi designing the new way of communicating news on paper, tablet, computer, whatelse. Franchi is anagraphically a bridge between the past (paper) and the future (screen).
Contributed by Kostas Bartsokas
Photo(s) by “Frode Bo Helland” on Flickr.
Contributed by Stephen Coles
Contributed by Love Lagerkvist
Contributed by Elisa Bloch