Editorial Design Quotes

By weaponizing the discourse of human rights to justify the use of force against governments that resisted the Washington consensus, this group of well-connected liberals was able to stir support where the neocons could not. Their brand of interventionism appealed directly to the sensibility of the Democratic Party's metropolitan base, large swaths of academia, the foundation-funded human rights NGO complex, and the New York Times editorial board. The xhibition of atrocities allegedly committed by adversarial governments, either by Western-funded civil society groups, major human rights organizations or the mainstream press, was the military humanists' stock in trade, enabling them to mask imperial designs behind a patina of "genocide prevention." With this neat tactic, they effectively neutralized progressive antiwar elements and tarred those who dared to protest their wars as dictator apologists.

If you travel everywhere and find the same elements everywhere, somehow it reduces the value of the place (Curiosity, Tokyo, Japan)

Fashion is a double-edged sword; the more fashionable it is, the less timeliness it has. However, the life expectancy of hotel design is usually between seven to ten years. Too fashionable design may be out of date after two years; that is the reason why hotel design prefers to classic elements. (Chen Tao, Chen Tao’s Interior Design Co., Ltd – Hangzhou, China)

As a recent editorial in the Journal of Clinical Oncology put it: "What we must first remember is that the immune system is designed to detect foreign invaders, and avoid out own cells. With few exceptions, the immune system does not appear to recognize cancers within an individual as foreign, because they are actually part of the self.

Anna Wintour hadn't been to any of McQueen's shows, and McQueen didn't like it. McQueen said American Vogue could borrow the dress only if they flew it to New York and back, in its own seat, with an escort. It was a fuck-you and they took it, and the dress was shot by Richard Avedon. "Fashion people haven't got any brains," McQueen said.

I believe that design must be integrally wedded to editorial content. Some people read images, others read words, but most of us read both. So the overall design, art, photography, text, and sometimes even the typography should be, in the best of cases, considered “content.” Hence the art director’s content must complement the editor’s content.

tear. Short and nebbishy, he had a charmingly awkward persona that concealed a big ambition: to establish Condé Nast as the most prestigious magazine company in the world. Within a year of his father’s death in 1979, Si, in rapid succession, bought the most important publishing house in America, Random House, whose imprints included Alfred A. Knopf, the prestige literary house; oversaw the successful start-up of a pioneering health and fitness magazine, Self; and bought and revamped Gentleman’s Quarterly, better known as GQ. And he was always on the lookout for more. Si was the aesthete in the Newhouse family. He combined an eye for business opportunity with a passion for art, design, and high gloss. Intellectually insecure, he relied on the self-confident baron of taste and flair he had inherited from his father’s circle: Alexander Liberman, Condé Nast’s editorial director. Liberman—Russian-born, like Alexey Brodovitch, his

In under two weeks, and with no budget, thousands of college students protested the movie on their campuses nationwide, angry citizens vandalized our billboards in multiple neighborhoods, FoxNews.com ran a front-page story about the backlash, Page Six of the New York Post made their first of many mentions of Tucker, and the Chicago Transit Authority banned and stripped the movie’s advertisements from their buses. To cap it all off, two different editorials railing against the film ran in the Washington Post and Chicago Tribune the week it was released. The outrage about Tucker was great enough that a few years later, it was written into the popular television show Portlandia on IFC. I guess it is safe to admit now that the entire firestorm was, essentially, fake. I designed the advertisements, which I bought and placed around the country, and then promptly called and left anonymous complaints about them (and leaked copies of my complaints to blogs for support). I alerted college LGBT and women’s rights groups to screenings in their area and baited them to protest our offensive movie at the theater, knowing that the nightly news would cover it. I started a boycott group on Facebook. I orchestrated fake tweets and posted fake comments to articles online. I even won a contest for being the first one to send in a picture of a defaced ad in Chicago (thanks for the free T-shirt, Chicago RedEye. Oh, also, that photo was from New York). I manufactured preposterous stories about Tucker’s behavior on and off the movie set and reported them to gossip websites, which gleefully repeated them. I paid for anti-woman ads on feminist websites and anti-religion ads on Christian websites, knowing each would write about it. Sometimes I just Photoshopped ads onto screenshots of websites and got coverage for controversial ads that never actually ran. The loop became final when, for the first time in history, I put out a press release to answer my own manufactured criticism: TUCKER MAX RESPONDS TO CTA DECISION: “BLOW ME,” the headline read.

Jack Dorsey is best known as the creator of Twitter and as the founder and CEO of Square, a mobile payments company. His Essentialist approach to management is a relatively rare one. At a dinner I attended recently where he spoke, he said he thinks of the role of CEO as being the chief editor of the company. At another event at Stanford University he explained further: “By editorial I mean there are a thousand things we could be doing. But there [are] only one or two that are important. And all of these ideas … and inputs from engineers, support people, designers are going to constantly flood what we should be doing…. As an editor I am constantly taking these inputs and deciding the one, or intersection of a few, that make sense for what we are doing.”3 An editor is not merely someone who says no to things. A three-year-old can do that. Nor does an editor simply eliminate; in fact, in a way, an editor actually adds. What I mean is that a good editor is someone who uses deliberate subtraction to actually add life to the ideas, setting, plot, and characters.

Mosseri’s answer to the important question was perfect by Facebook standards: “Technology isn’t good or bad—it just is,” he wrote. “Social media is a great amplifier. We need to do all we can responsibly to magnify the good and address the bad.” But nothing “just is,” especially Instagram. Instagram isn’t designed to be a neutral technology, like electricity or computer code. It’s an intentionally crafted experience, with an impact on its users that is not inevitable, but is the product of a series of choices by its makers about how to shape behavior. Instagram trained its users on likes and follows, but that wasn’t enough to create the emotional attachment users have to the product today. They also thought about their users as individuals, through the careful curation of an editorial strategy, and partnerships with top accounts. Instagram’s team is expert at amplifying “the good.” When it comes to addressing “the bad,” though, employees are concerned the app is thinking in terms of numbers, not people. Facebook’s top argument against a breakup is that its “family of apps” evolution will be better for users’ safety. “If you want to prevent interference in elections, if you want to reduce[…]

The world recoiled in horror in 2012 when 20 Connecticut schoolchildren and six adults were killed at Sandy Hook Elementary School. . . . The weapon was a Bushmaster AR-15 semiautomatic rifle adapted from its original role as a battlefield weapon. The AR-15, which is designed to inflict maximum casualties with rapid bursts, should never have been available for purchase by civilians (emphasis added).1 —New York Times editorial, March 4, 2016 Assault weapons were banned for 10 years until Congress, in bipartisan obeisance to the gun lobby, let the law lapse in 2004. As a result, gun manufacturers have been allowed to sell all manner of war weaponry to civilians, including the super destructive .50-caliber sniper rifle. . . .(emphasis added)2 —New York Times editorial, December 11, 2015 [James Holmes the Aurora, Colorado Batman Movie Theater Shooter] also bought bulletproof vests and other tactical gear” (emphasis added).3 —New York Times, July 22, 2012 It is hard to debate guns if you don’t know much about the subject. But it is probably not too surprising that gun control advocates who live in New York City know very little about guns. Semi-automatic guns don’t fire “rapid bursts” of bullets. The New York Times might be fearful of .50-caliber sniper rifles, but these bolt-action .50-caliber rifles were never covered by the federal assault weapons ban. “Urban assault vests” may sound like they are bulletproof, but they are made of nylon. These are just a few of the many errors that the New York Times made.4 If it really believes that it has a strong case, it wouldn’t feel the need to constantly hype its claims. What distinguishes the New York Times is that it doesn’t bother running corrections for these errors.

The new desktop publishing tools meshed perfectly with Brand’s editorial design for the Catalog. By purchasing an $850 halftone camera, he freed the Catalog from the world of print shops and graphic design houses completely. It made self-publishing not only possible but easy and adaptive in real time.

An even more telling side of that blindness was the way White spent his leisure time in those days. When not writing his editorials, designed either to puff Kansas business or elect the Republican ticket, he would pass the time composing “dialect verse,

Direct response marketing is designed to evoke an immediate response and compel prospects to take some specific action, such as opting in to your email list, picking up the phone and calling for more information, placing an order or being directed to a web page. So what makes a direct response ad? Here are some of the main characteristics: It’s trackable. That is, when someone responds, you know which ad and which media was responsible for generating the response. This is in direct contrast to mass media or “brand” marketing—no one will ever know what ad compelled you to buy that can of Coke; heck you may not even know yourself. It’s measurable. Since you know which ads are being responded to and how many sales you’ve received from each one, you can measure exactly how effective each ad is. You then drop or change ads that are not giving you a return on investment. It uses compelling headlines and sales copy. Direct response marketing has a compelling message of strong interest to your chosen prospects. It uses attention-grabbing headlines with strong sales copy that is “salesmanship in print.” Often the ad looks more like an editorial than an ad (hence making it at least three times more likely to get read). It targets a specific audience or niche. Prospects within specific verticals, geographic zones or niche markets are targeted. The ad aims to appeal to a narrow target market. It makes a specific offer. Usually, the ad makes a specific value-packed offer. Often the aim is not necessarily to sell anything from the ad but to simply get the prospect to take the next action, such as requesting a free report. The offer focuses on the prospect rather than on the advertiser and talks about the prospect’s interests, desires, fears, and frustrations. By contrast, mass media or “brand” marketing has a broad, one-size-fits-all marketing message and is focused on the advertiser. It demands a response. Direct response advertising has a “call to action,” compelling the prospect to do something specific. It also includes a means of response and “capture” of these responses. Interested, high-probability prospects have easy ways to respond, such as a regular phone number, a free recorded message line, a website, a fax back form, a reply card or coupons. When the prospect responds, as much of the person’s contact information as possible is captured so that they can be contacted beyond the initial response. It includes multi-step, short-term follow-up. In exchange for capturing the prospect’s details, valuable education and information on the prospect’s problem is offered. The information should carry with it a second “irresistible offer”—tied to whatever next step you want the prospect to take, such as calling to schedule an appointment or coming into the showroom or store. Then a series of follow-up “touches” via different media such as mail, email, fax and phone are made. Often there is a time or quantity limit on the offer.

Just as YouTube started with manual curation, most networked products can start with manual efforts. This means exercising editorial judgment, or allowing users to curate content themselves. The App Store has millions of apps, so when Apple releases a list of “Apps of the Year” in the App Store, it aids discovery for consumers but also inspires app developers to invest in the design and quality of their products. Or platforms can leverage user-generated content, where content is organized by the ever-popular hashtag—one example is Amazon’s wish lists, which are driven primarily by users without editors. Similarly, using implicit data—whether that’s attributes of the content or grouping the originator by their company or college email domain name—can bring people together with data from the network. Twitter uses a hybrid approach—the team analyzes activity on the network to identify trending events, which are then editorialized into stories.

Jack Dorsey is best known as the creator of Twitter and as the founder and CEO of Square, a mobile payments company. His Essentialist approach to management is a relatively rare one. At a dinner I attended recently where he spoke, he said he thinks of the role of CEO as being the chief editor of the company. At another event at Stanford he explained further: “By editorial I mean there are a thousand things we could be doing. But there [are] only one or two that are important. And all of these ideas…and inputs from engineers, support people, designers are going to constantly flood what we should be doing….As an editor I am constantly taking these inputs and deciding the one, or intersection of a few, that make sense for what we are doing.

If I don’t practice for two weeks, my audience notices. If I don’t practice for a day I notice.

By editorial I mean there are a thousand things we could be doing. But there [are] only one or two that are important. And all of these ideas … and inputs from engineers, support people, designers are going to constantly flood what we should be doing…. As an editor I am constantly taking these inputs and deciding the one, or intersection of a few, that make sense for what we are doing.

After the MTA released its $14.4 billion plan in November 1980, a governor’s aide told Ravitch that Carey was not interested in entertaining a fare hike or a tax package for the MTA. Carey preferred holding down the fare rather than financing a multibillion-dollar capital program. The governor also saw Ravitch’s proposal as a threat to Westway. A coalition of thirty-seven civic and environmental groups had filed suit in federal court to stop the highway project. They wanted the state to take the federal transportation funds designated for the project and use them for transit improvements instead. If Carey admitted that the transit system was underfunded and starved for capital, it would have played into the hands of the Westway opponents.48 Faced with resistance in Albany, Ravitch began a lobbying effort that no state official other than Robert Moses at the height of his powers could have undertaken. He started by pleading with the governor and his staff, explaining that without new sources of revenue he would have to dramatically raise the fare. Then he took his case directly to the public. Rather than minimizing the transit system’s problems, Ravitch made sure that reporters learned about all the delays and breakdowns occurring in MTA facilities. He visited editorial boards and told them, “If you don’t pay attention, the politicians won’t.” He talked to every reporter who called. Unlike his predecessors, he admitted that the MTA’s services, particularly during peak hours, were “deteriorating at an accelerated rate.” The newspapers, he said, were “my shield and my sword.

The editorial in the current Dickinsonian (which I thought was a very good editorial) quotes a previous president as stating it in these words: “The grand design of education is to excite, rather than pretend to satisfy, an ardent thirst for information; and to enlarge the capacity of the mind, rather than to store it with knowledge, however useful.” My own inclination would be to state the goal in more operational terms: “to prepare students to serve, and be served by, the present society.” By this I mean that a college, operating through the program its faculty chooses to design, will influence its students to be a more constructive building force in society and to do this in a way that helps them find their own legitimate needs, psychic and material, better served, than if they had not participated in the college program.

Editorial photographs published in magazines and online give information not only about specific garments, but also the mood and style that are currently in vogue.

Before the PLT, our editorial process was primarily concerned with feature implementation, bug fixes, and web standards compliance—how well the browser did what it was supposed to do. These were all qualitative measures. The PLT checked for speed, a quantitative test, and it introduced an independent evaluation to every code change we made. Correctness and speed now went hand in hand. Don held that if we heeded the PLT without fail and rejected any code changes that made our code slower, only two things could happen. Either the browser would stay the same speed . . . or it would get faster. He would tap his index finger to his temple to punctuate his explanation of this sneaky logic. From the day the PLT was finished, Don declared, our browser would become faster by never getting slower. It was his Zen koan.

If you’re looking for an editorial planner, I designed the CREATE Planner to complement this method of content planning. You can have a look at it here: CREATEPLANNER.COM

Dražen Kalenić is a Croatian author whose literary work is grounded in philosophical reflection and moral inquiry. Originally trained in technical sciences, he later turned to art, first through photography and design, then fully dedicating himself to literature. His breakthrough novel Underneath the Baldachin (1995), now reissued in a two-part edition, explores themes of spiritual decline, power, sacrifice, and beauty through allegorical storytelling and layered narration. Kalenić’s writing is inspired by Western philosophical tradition and classic literature, particularly authors like Robert Musil. His characters confront the tension between good and evil, faith and betrayal, and the search for moral clarity in a complex world. He lives and works in Zagreb. Editorial Reviews • Academician Ranko Marinković: “You wrote a miracle!" • Prof. Slavko Harni, National Library of Croatia: “An original literary voice... Kalenić joins the philosophical investigation of man as a seeker of beauty. His writing rebels against stylistic comfort and explores the moral complexity of human life.” • Drago Z. Spectar: “Kalenić offers a layered allegorical novel, exposing the spiritual and moral challenges of our age. The book is read in one breath, and reminds us we are all under the baldachin.” • J.S. Wagner: “A literary achievement that should be read worldwide. Underneath the Baldachin is a phoenix-like masterpiece, rising from personal and collective trauma to affirm the essential truth of love and faith.” • Academician Ante Lib Matić: “Read the first and last sentence… If they stay with you – as they did with me – you’ll know this story matters.

at Zeno in the UK. At Gollancz, Simon Spanton put up with me delivering a book even longer than the last one when I promised to make it shorter. In the US, Terry McGarry did the copyediting, Greg Collins the interior design, and Brian Lipofsky’s team at Westchester Publishing Services the compositing. In the UK, Charlie Panayiotou in editorial and Paul Hussey worked really hard to get the book into production on time. Jo Carpenter and her team in home sales and Mark Streatfeild and his team in export worked tirelessly selling the novel to booksellers with amazing results. Jennifer McMenemy, Hannah Atkinson and Sophie Calder were responsible for the marketing and publicity effort. A big

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Exciting News! BookLife Reviews, a division of Publishers Weekly, has given TORN its “Editor’s Pick” designation, a high honor given to independently published books that are deemed to be of outstanding quality by their editorial team! Their review said, in part, “This ambitious, vividly detailed, sometimes dense novel demonstrates that Snodgrass knows his patch of America like Faulkner knew Yoknapatawpha or Donald Harrington knew Stay More.

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