#made myself a little challenge where i have to make 50 posters in illustrator

[wekillitwithfire]

2/50

[irishagganixd]

My Three Ideas

Idea One:

Dog Friendly App

My first idea is a 'dog friendly' app. This app would consist of lots of information on areas which are dog friendly in Belfast/Northern Ireland. Belfast specifically, is continuously becoming more dog friendly - therefore I believe people need a more easily accessable way to find out all of the pooch-friendly places.

Pros:

A huge pro is that I am part of the target audience! I have two dogs of my own, and I am always looking for dog friendly things to do. I have joined Facebook groups, and researched deep into the internet to find fun things to do with my pups. Therefore I not only understand how much of an unnecessary hassle this can be, but I also am widely knowledged in this area!

This is something that has little to no competition as it has not been done before within Northern Ireland. The information is online, however this means people have to go out of their way to find it, and it is very difficult to find specifics such as whether they want to find a dog friendly hotel, or a dog friendlt cafe etc. I would include a filtering option on the app, so that users can filter by area, type of venue or activity.

Cons:

I would use Adobe XD for the design creation of this app - which I am completely new to. I would need to do vast research on how to use the programme efficiently - which is fine because I have a huge interest in learning XD anyway, this just gives me a push!

This will be my first time creating an app, so I will need to research further into User Experience, and how to make the user journey as easy and as fun as possible! I will also need to consider accessability issues, so that the app is free to be used by all!

Target Audience

This app would be specifically for dog owners/lovers in Northern Ireland; however, I do believe most users will come from Belfast as that is the more popular area for dog friendly activities at the current time.

What's the business model?

If I created this app, I would like it to be free. This is because the information is already out there, I would just be making it more user friendly. Making it free could also then boost the amount of users, therefore helping me gain exposure! I could attempt to get featured in articles, since this is new and specific for the local area, news companies may be interested in featuring this new and exciting application.

As the app grew, I could start to earn money through some dog friendly advertising. Such as dog day cares, dog bakeries, and even the dog friendly companies who maybe have events going on.

Idea Two

Paw Prints

The idea of this product is dog themed printables. This will include digital drawings of multiple different dog breeds with dog related quotes, dog memorials and maybe even birthday cards!

Pros:

Being a dog lover, I have looked a lot into this type of product myself. Being the target audience for your own product will definitely aid the creation process, as I will be making things that I would want to buy.

I already know typography basics, which will benefit me for any text focused posters. I am also reatively experienced in Illustrator and InDesign - therefore, I will not need to learn any new programmes.

I worked with Belfast Met for 7 months on full time placement, creating posters and other things for print. Therefore I generally know the rules for print, like what resolution is required and how to stay within the bleed etc.

One of the designers I keep up to date with, Alice Thorpe, just opened her own printables site on Shopify, I have kept up to date with her journey and I have been very inspired! I could base my knowledge of watching her journey, to help with my own!

Cons:

I have not made anything like this before, therefore I know I am going to struggle with with a few things. Being a perfectionist doesn't help either, and I know I am going to spend a while trying to perfect this new 'skill' of making printables.

Even though I am relatively good at using Illustrator, that does not mean that I am any good at drawing. Therefore, this will be something that will be very challenging. The drawings may be downgraded to silhouettes rather than detailed drawings. However, I am willing to challenge myself as this may be a project that could pay off if the additional hard work is put in!

There would be a lot of world-wide competition, especially if selling on Etsy. I would try to stand out with my different aesthetics, and also my contribution to animal charities could aid my ability to stand out.

I would also need to use my own money to do multiple test prints

How will it be built?

As I mentioned before, I will be using Adobe Illustrator and (maybe) InDesign. Illustrator will be used for the custom text and drawings, then InDesign can be used for positioning of everything and making sure the documents are print ready.

I also mentioned that I have been following a girl called Alice Thorpe, who released a similar product on Shopify, therefore I know that this is an option. However, I think it would be easier and more efficient to open a shop on a site like Etsy, and let people download the PDF printables to print at home, rather than to have it printed and sent out to them? Maybe there could be an option for them to download them on the promotional website as well?

Target Audience:

This product is definitely not for everyone, however it is widely targeted to dog lovers. Dog lovers are not age specific, however I'd say between 18 to 40 would be the main target audience of the type of products I would product. This may also only be targeting to an audience who own the breed specific products I design, therefore I am aware to make some more neutral dog themed products in order to widen the number of people who may be interested. The audience would be world-wide, since the product is just a PDF.

What's the business model?

Since I am only interested in making PDF printables, I believe the price should be very low. I considered free but then I had an idea to give a percentage of the profit to an Animal Rescue Centre? Not only is this something that I would love to do, but it is also something that could get the product more exposure! Being a dog lover myself, I know of some of the best Animal Rescue Centres in Belfast, and they have some impressive audiences themselves. If every print goes for £2, then the Rescue Centre could get £1? I could also work on a specific print where 100% of the profit goes to the chosen centre, maybe with "adopt dont shop" quote etc.

If I make rescue specific prints, I could print a few myself and give them to a few centres, for them to sell to new rescue dog owners. They would keep this money, but I could attach my business card and a web address to where they can buy similar prints. Therefore I am loosing money, but potentially gaining more exposure.

I could have an email list set up on the promotional website, and anyone who pre orders one print, gets it for 50% off, or something similar in order to try and boost the initial sales.

Idea Three

Quirky Quards

This product would be cards for all kinds of events. I have always been fussy when buying people cards, I prefer the simplistic and funny cards to the over crowded tacky cards. I therefore would create cards similar to those that I would love to buy people myself. These cards would be fun and creative, I would include lots of different options for different audiences. Cards for dog walkers, people with foster parents, congratulation cards for transgenders and much more!

Pros:

I would once again be the target audience and therefore all I need to do is make things that I would like to buy! Cards like these are relatively hard to find, or when you do find them theyre usually about £4/5 for a basic simplistic card. I would like to try and do the same style of card, for a much cheaper price.

"The average person recieves 20 cards a year". Cards are always being purchased, and different types of cards are always required!

I already know the software in order to create the design of the card.

Cons:

Learning to draw, and learning how to print these cards in the most cost effective way.

There is also a good bit of competition when it comes to making cards. Although I will be trying to stand out with the ability to create unusual cards and keeping them affordable.

How will it be built?

I would use illustrator for the creation of the illustrations and typography of the card. I would consider printing these myself, however I know it would be an investment. If this was not possible, then using websites like Shopify and Printify to print on demand might be an option.

Target Audience:

People like me who have a certain aesthetic when it comes to cards, I always shop at Urban Outfitters and Paperchase for cards, this is where they are usually priced at around £4/5 for a basic small square card. I would use these shops as inspiration, and target the same audience. This audience would definitely be mostly teenagers, probably 16 to 23. As I said previously, I would also be targeting these cards to minority groups who do not usually have many card options, although this is not the specific audience.

What's the business model?

As I mentioned before, these would need to be sold somehow. As it is going to cost money one way or another to create.

I could also promote the cards by making them out of recyled paper and envelopes, not only is this a great thing to do for the environment, but it will gain interest of those who wish to help the environment also!

If this idea does not go to planned, I could always create the graphics and come up with a new technology focused way of sending cards! Rather than E-Cards, I could create the graphics so people could share the card over messenger and text etc. I could maybe even create some sort of Instagram story template for peoples friends to post and tag them on their birthday - many people wish their friends and family a happy birthday over social media now, so this could be a more fun way of doing it!

[the-master-cylinder]

SUMMARY A nuclear war breaks out in 1986, expending the world’s entire nuclear arsenal, except for one missile. Two children, Philip Chandler (John Stockwell) and Marlowe Hammer (Michael Dudikoff), are abandoned by their fathers in a fallout shelter cut into the side of a wooded mountain. The pair grow up in the shelter, with 1950s detective fiction and swing music as the guiding force in their learning. Fifteen years later Marlowe succeeds in digging out the cave entrance. The pair give each other haircuts, dress in suits, and go to rejoin the world.

Philip narrates their adventure on their first day out:

My name’s Philip, and this is going to be a yarn about me and my pal, Marlowe. About the day we got out of this shelter and went off into the post-nuclear world. Now, as excited as we were about leaving the shelter, it was still a joint that held fond memories. I mean, it was the only world we’d ever known. Where I practiced my magic, Marlowe, his dancing; where we both dreamed of becoming private eyes, just like the ones we’d read about.

Marlowe hopes to find their fathers, but Philip is disgruntled that they never returned, and presumes that they are dead. The mountain is now devoid of trees. The first people they find are a trio of radiation burned “mutants” chasing a beautiful woman, Miles Archer (Lisa Blount). They rescue Miles, who kisses Marlowe as a distraction and steals his gun. This backfires, as she drops the activation keys to the last nuclear missile. Miles leaves, and the pair are immediately attacked by a biker gang of bald women in red wigs. Afterwards the boys discover the activation keys, which bears their fathers’ names. This excites Marlowe, but disturbs Philip.

They rescue another young woman, Rusty Mars (Michele Little), from a group of armed children Philip nicknames “disco mutants”. She takes a liking to Philip, and leads the two of them to Edge City which is plagued by gang warfare. Rusty takes them to a dance club, where they are captured by cannibals. They want the nuclear keys, and to eat the young men, a rarity of uncontaminated meat. Although Rusty helps them escape and apologises, Philip doesn’t trust her. Just after they part ways the pair meets up with a friend of Miles’ who also wants the keys. After he is dispatched Miles shows up and takes them to her hideout. There she tells them about the purpose of the keys. Miles then threatens to kill them, but they escape.

Rusty has followed them to the hideout, but is attacked by the child gangsters. The pair chase them away, but Philip still doesn’t trust her. He wants to shoot her, but is out of bullets. After Rusty apologises again for lying to him and originally handing him over to the cannibals he says, “That was a million years ago, and I got a short memory. In fact, I don’t even remember who you are”.

The pair resolves to rid the city of the gangs and keep the keys. They go to an abandoned warehouse, using themselves as bait, in the hopes that the gangs will kill each other before killing them. For the most part, the plan works. However, the bosses of the child-gangsters are in fact Philip and Marlowe’s fathers. Before he dies, Philip’s father tells him that the past does not matter. In the end, the only gangster left standing is Miles, who has the keys. She shoots at them, and misses, but startles Marlowe into shooting and killing her.

The film ends with Philip letting go of the angst which he had nursed for 15 years. He adopts Marlowe’s “silver-lining look on life”. The two demonstrate Marlowe’s tap-inspired “post-nuke shuffle” to the crowds of the city. In the closing narration, Philip explains that they plan to set up shop as detectives, but that first he will find Rusty and see if he can repair his relationship with her. Of the keys, he says that he and Marlowe hid them in a secret location, because “you never know, in a tight jam a nuclear missile just might come in handy”.

PRODUCTION Albert Pyun’s first film, THE SWORD AND THE SORCERER, made box office waves and instantly established him as a hot property in Hollywood. If you haven’t heard much about the young director in the past two years, it’s because Pyun has been busy working on his next feature, a post-nuclear fantasy-adventure tale entitled RADIOACTIVE DREAMS. The film is scheduled for release later this year, though a distribution deal has not yet been finalized.

The long pre-production period was, in part, due to the challenge of acquiring financing (after THE SWORD AND THE SORCERER, Pyun had several offers, but wanted to work independently from the studio system and a six month talent search for the roles of Phillip and Marlowe. Pyun estimates that he saw over 600 young actors, striving to find two who weren’t too modern-looking, and could believably carry a 40’s attitude as part of their characters. During this time, Pyun and Karnowski wrote some 50 drafts of the script, began scouting locations, and dove head-long into the other crucial pre-production elements.

A visit to the production office at Laird International Studios reflects just how much work had already been done on the project which, in Pyun’s words, has a budget only “slightly larger than the $3.5 million spent to film THE SWORD AND THE SORCERER, the walls are covered with color storyboards by in-house illustrator Shawn Joyce (who will be preparing all the film’s matte paintings), character sketches, blueprints of sets, and even tabletop poster board miniatures of the hippie city square (modeled after San Francisco’s Haight-Ashbury district), and the bombshelter (which comes complete with a two-car garage). Mark Moses, a winner of several CLIO awards, serves as the film’s visual consultant, with Chester Kaczenski handling art direction.

Principal photography, by German cinematographer Thomas Mauck, who shot many of Werner Herzog’s films, began in March in Pyun’s native Hawaii, on the island of Hawaii. The remote locations-in the mountains and on the site of the Mauna Loa volcano, where an unexpected eruption occurred on the first day of shooting-generated some visually sensational dallies, according to publicist Scott Fields.

Interview with Albert Pyun

How did you come about writing Radioactive Dreams? Albert Pyun: I wanted to do something after “The Sword and the Sorcerer” that was distinctive and not like anything else. I think I felt that if I only got to make 2 movies in my life, the second had to be as imaginative as I could create. So that was the start of it and I had a lot of meetings with studios and what they liked about my first film was how it was imaginative, so I went that direction.

Did the 1980’s missile crisis have anything to do with what inspired you? Albert Pyun: Well, no, but growing up in the Col War years certainly did. I always was a fan  of Dr. Strangelove and i think that and “O Lucky Man” got me going on the idea of the last nuke left.

How long did it take for the guys to get the “Post Nuke Shuffle” down? Albert Pyun: Did they ever?? To be fair, we had to shoot it really fast as the sun was coming up and we were losing extras. So we had to shoot it fast and that was unfair to John and Michael because they did work hard on that dance. We shot most of the big music scenes and extras scenes in one night so that really made it a very rushed shoot night. I don’t know if John was as comfortable with the dance as Michael. I think it went against this sort of “cool” vibe John had. He was very dedicated to what we were doing but some of it i could tell unsettled him.

The dance looked pretty amazing. I’m surprised it isn’t a staple to dance to at weddings and birthdays. Any memories of when you filmed the big final scene? Albert Pyun: Just how fast we had to do it. I was disappointed we could do it with more takes and shots. It was pretty basic and FAST. And they had a costume change in the middle of it. I had actually shot several book end scenes which were set 40 years later and had a young mutant reporter interviewing Rusty about Philip and Marlowe. It talked about what eventually happened to them and how Marlowe was murdered by a gang trying to get the launch keys and how Phillip left rusty to destroy the keys once and for all but never returned. I think there was a small shot at the end showing Philip and Rusty’s son and a quick peek of Philip watching from afar to keep them safe.

The soundtrack to this film still remains very popular. Did you personalty pick any of the artist that made it into the movie? Albert Pyun: Yeah, I selected the songs used. My friend and co-producer John Stuckmeyer was into that LA music scene and got a lot of bands to submit cassette tapes of demos. He weeded out the most appropriate ones and he and I selected the final choices to be used. I think we had a couple written for the movie specifically when we couldn’t find exactly what we wanted.

How did you end up meeting John Stockwell and Michael Dudikoff? Albert Pyun: They came in  during the casting process. We saw a lot of great actors of that time, Judge Reinhold, Clancy Brown, Tim Van Patten, Harry Anderson, many really good actors. We even had a breakfast meeting with Tom Hanks, a tape submission from Ellen DeGeneres. All were young and at the start of their careers as was I.

As a special effects makeup artist, I found the mutants completely terrifying! Any memories of the makeup process on the actors? Albert Pyun: That was by Greg Cannom who would go on to win oscars for Dracula and more. He figured out the design and look. I was disappointed that I had to lose the surfing sequence in the film. We wanted to dye the ocean flourescent orange and have surfing mutants surf and rot I think but the Coastal Commission said no.

Do you think a film like that could be made today? Albert Pyun: No, Radioactive Dreams wouldn’t get made today. It’s way too eccentric and weird. Even in 1984 it was tough to get made. I raised the budget myself from a single investor. He was a real estate developer in San Bernadino California. I think he did it because he finally gave in to my dogged persistence for over a year. He said “no” many times, but I kept hearing “yes”. I’m an optimist I guess. I believed in the film and knew it would be a unique picture to follow up The Sword and the Sorcerer. Anyway halfway through production the funding disappeared.

A couple of Edge City’s best and brightest with costume designer Joseph Porro

SPECIAL EFFECTS Special prosthetic make-ups were created by Greg Cannom. His bizarre designs range from the mysterious repulse men to a wrinkled surf bunny (a girl whose excessive bathing in the post nuclear sun has given her the appearance of a 90 year-old woman) and his favorite, the mutant surfers: those who refused to give up their treasured pastime, even though the ocean has become radioactive.

The surfers’ skin, hanging loosely from their bones, is riddled with chemotherapy patches and permanently-affixed barnacles. their long. scorched, platinum blonde hair is missing entire sections. Josephine Turner, who did the intricate hair ventilating for THE HOWLING and THE INCREDIBLE SHRINKING WOMAN, will create the wigs. Straight and extra make-ups will be provided by Ve Neil and Rick Schwartı.

Mutant Surfer

Special fire and mechanical effects will be handled by Joe Lombardi’s Special Effects Unlimited. The film’s extensive stunt work, under the direction of Alan Gibbs offers several cliff-hanging sequences: a chase on winding mountain roads involving female bikers, a high-speed helicopter pursuit, various gun battles and a warehouse explosion. Additionally, there will be a surfing sequence in a ‘radioactive’ ocean-a portion of the real ocean near the shoreline will be chemically dyed expressly for filming.

Cast and crew spent most of their final week of production in Los Angeles, working with a 14-foot high mechanical rat created by Charles and Steven Chiodo, with 22 separate functions and 12 operators-giving it head, arm, and body movement capabilities-said to be the most advanced pneumatically controlled robot ever constructed for a motion picture. Star Lisa Blount does a scene while standing in the rat’s mouth. Her stunt double Andre Gibbs, wife of the film’s stunt coordinator Alan Gibbs, takes over for Blount’s death scene in which she is eaten alive by the rat.

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Radioactive Dreams (1985) Soundtrack Most of the songs featured in the film are pop rock in the new wave vein. The exceptions are Zim Bim Zowie, a swing number, and also a tune in the American Songbook style, Daddy’s Gonna Boogie Tonight, played on a phonograph during the scene when Philip and Marlowe prepare to leave the fallout shelter. The latter and another track called All Talk were left out of the Australian and German soundtrack releases.[7]

Nightmare – Jill Jaxx – 5:10 Radioactive Dreams – Sue Saad – 5:18 She’ll Burn You – Maureen Steele – 4:13 Young Thing – Cherri Delight – 4:09 Tickin’ Of The Clock – The Monte Carlos – 2:07 Psychedelic Man – Shari Saba – 2:41 Eat You Alive – Lisa Lee – 2:40 Guilty Pleasures – Sue Saad – 3:44 (Performed by Saad on-screen) Turn Away – Mary Ellen Quinn – 2:13 She’s A Fire – Sue Saad – 2:07 When Lightning Strikes – Sue Saad – 6:51 Zim Bim Zowie – Darryl Phinessee – 2:20 Daddy’s Gonna Boogie Tonight B.J. Ward All Talk Lynn Carey

CAST/CREW Directed Albert Pyun Produced Moctesuma Esparza Written Albert Pyun

John Stockwell – Phillip Chandler Michael Dudikoff – Marlowe Hammer Michele Little – Rusty Mars Lisa Blount – Miles Archer Don Murray – Dash Hammer George Kennedy – Spade Chandler Norbert Weisser – Sternwood Christian Andrews – Brick Bardo Paul Keller Galan – Chester (as P.K. Galán) Demian Slade – Harold Hilary Shepard – Biker Leader (as Hilary Shapiro) Sue Saad – Punk District Singer Kimberly McKillip – Sadie – Hippie Chick Gulcin Gilbert – Greaser Chick (as Gulshin Gilbert) Mark Brown – Greaser Russell Price – Greaser

Makeup Department Greg Cannom    …  special makeup Ve Neill  …  makeup designer Brian Wade     …  additional makeup effects designer / additional makeup effects supervisor / special makeup effects artist Kevin Yagher   …  prosthetic makeup assistant

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY Cinefantastique v15n01 La Cosa Cine Fantastico Issue #113, July, 2005 staystillreviews

Radioactive Dreams (1985) Retrospective SUMMARY A nuclear war breaks out in 1986, expending the world's entire nuclear arsenal, except for one missile.

[our-beginnings]

Lena Groeger: Developer, designer, and journalist at ProPublica

First thing’s first: tell us a bit about who you are, and what you do now.

Sure! I’m Lena, I’m a journalist/designer/developer at ProPublica. My job is a mix of reporting, writing, designing and coding, and I mostly make interactive graphics & data visualizations. I’ve also got a column called Visual Evidence where I write about how data & design affects people’s everyday lives. I was living in Brooklyn until a few months ago when I moved to San Francisco... and now live & work a block away from the beach!

What’s your favourite thing about ProPublica?

As an organization, I love our mission: to do journalism in the public interest, to give people context for what’s happening in their world right now (especially these days), and to have a real impact. But my favorite thing is definitely the people. I work with incredibly talented and accomplished journalists who at the same time manage to be some of the most humble people I’ve ever met. I consider myself ridiculously lucky to get to learn from them every day and to have a chance to try out crazy new ideas together.  

Talk about some recent projects. How do you come up with those crazy ideas, and how do they become reality?

Usually it’s a random mix of things. Sometimes it’s another reporter going “Hey look, this health agency publishes emergency room waiting times on their website, what if we did something with that?” which led to an app called ER Wait Watcher. Other times it’s an editor saying, “We have this complex cast of characters for a story about narco-terrorism, what if we made it into a comic?” which also turned into an interactive piece. And sometimes it’s just me surfing the internet and stumbling upon a French researcher’s website that happens to have county-level presidential election results going back to 1828.

Above: “The Making of a Narco-Terrorist,” a ProPublica interactive examination of whether the DEA is stopping threats or staging them. 

The latter was probably my favorite recent project, a piece called Lost Cause that we published right before the election. It framed past American elections through the lens of the losers: showing maps of who voted for the candidate that ultimately lost. The best part was interviewing a bunch of historians and geographers about what was going on in the country at the time and what they could “see” in the maps. Those conversations were endlessly fascinating (pro-tip: interview academics as much as possible – they are extremely eager and excited to talk to you about their work!)

Above: The “Lost Cause” project, showing past American elections from the standpoint of the loser. 

On the technical side, creating almost 50 maps for the piece was an interesting challenge, because not only did we need to map dozens of election results, but we needed to create historically accurate maps that corresponded to each election year. Turns out shape of the country has changed a lot since the 19th century (who knew!) and each year the county boundaries were slightly, or in some cases drastically, different.  

Thinking back, what was your ‘eureka' or origin moment?

I went to graduate school for science journalism, thinking I would write long articles about discoveries in neuroscience and psychology (I was really into that stuff in college, but didn’t want to be the one in the actual lab doing the actual work). I had never heard of data journalism or data visualization, and I certainly didn’t know that people working in news made graphics for the web. But when I found out (right around Hans Rosling’s famous wealth & health of nations video) it was instantly appealing. I had always really loved graphic design (mostly in a print context, posters and such), and suddenly here was this thing in journalism that let you tell incredible visual stories and meant that I could sometimes use Photoshop? I was so in.

One of the requirements of NYU’s science journalism program was to do an internship over the summer. I did mine at WIRED, and the vast majority of it I spent writing articles for the the Danger Room blog about drones and spies and other sci-fi worthy military projects. Somehow my editor Noah Shachtman agreed to let me do a data visualization project for the ten-year anniversary of 9/11 (keep in mind I had not published a single other graphic and all Noah knew was that I was capable of Photoshopping words onto petri dishes and chickens onto tanks).   

suddenly here was this thing in journalism that let you tell incredible visual stories and meant that I could sometimes use Photoshop? I was so in.

But we did it, and the final graphic was an attempt to tally up the cost of the war on terror. I realized at that point that this was precisely what I wanted to spend all my time doing.  

Above: ‘The Dead, The Dollars, The Drones’, Lena’s ‘eureka’ moment. 

What path did your career take from there? How do you find yourself where you are today?

It wasn’t long after that I started an internship at ProPublica. It was a writing internship – I was mostly writing stories about health and the environment. But every so often I would pitch a visual idea to Scott Klein, the editor of the data/graphics team (or “news apps” team, as we call it), and ask if I could design and build it myself. The first one I ever did was a side-by-side comparison of two types of airport body scanners. Then a fellowship on Scott’s team opened up and I moved across the office, and a few months later was hired full-time as a news apps developer.

Turns out that to make news graphics today, you need to know how to code. Whether that’s Javascript, R, Ruby or some other language often depends on the project, but knowing at least one programming language and being open to learning more is pretty important. When I stumbled into data visualization I knew only maybe a tiny bit of HTML and CSS. So my first year at ProPublica was a crash course in all kinds of programming challenges that I now encounter all the time but then were totally new: how to scrape a website, how to put dots on an map, how to make an interactive chart.

each project is less “Holy shit I have no idea how to do that,” and more “I’ve solved this other problem, I can probably do that one too.”

That year was probably the most insane and frustrating and rewarding year of work in my life. I was very lucky that ProPublica in general and Scott in particular care a great deal about giving reporters the time and space they need to learn new things. And it has its benefits – I joke with Jeff Larson and Al Shaw (two developers on our team) that they’ll never have trouble reading my code because they literally taught me all of it.

These days, I’m still learning a ton of new stuff for every project, but I’m familiar enough with the basics that each project is less “Holy shit I have no idea how to do that,” and more “I’ve solved this other problem, I can probably do that one too.” So, for example, when we wanted to make a visualization of human body parts for a project about America’s disastrous workers comp system, I was able to cobble together some pieces of code plus some shapes I made in Illustrator into an interactive that worked. For more on that project (I’m sure some of you may have a question or two) here’s a longer explanation.

In general, I’ve also gotten significantly better at Googling for the answer – that’s not nothing. 😜

Do you think that this convergence of data, design, and journalism is the way forward for the news industry more broadly?

I don’t want to make any sweeping predictions about the news industry, but I do think having data, programming and design skills can make you a better journalist, for a bunch of reasons. Here are a few: first, knowing a bit of programming lets you find and tell stories that no one else can.  If I had to copy and paste all the data that went into this project about health and safety problems on cruise ships, it would have taken me years (not even kidding). But knowing how to scrape a few websites let me grab all that data and sort, filter and analyze it into its final form.

knowing a bit of programming lets you find and tell stories that no one else can.

Second, having some data wrangling skills let’s you verify information on your own – you aren’t dependent on PR people or government officials to tell you what’s true. You can see for yourself what the data says! (That said, it’s probably a good idea to talk to a bunch of experts and do enough reporting to back up what you find).

Finally, knowing a little bit about design helps you create projects that are easy to understand and use. Most people know how to read a story that’s made entirely of words. But some of the interactive graphics and data visualizations making their way into the news these days are pretty complex, and being able to design them in a way that’s easy to follow and also tells a compelling story is important. That doesn’t happen by accident – designers spend a lot of time thinking about the user, ideally testing out different approaches on real people. Constantly keeping the user in mind usually makes for better journalism.   

You teach design and data visualisation as well; what prompted you to do this, and how have you found the experience of teaching?

Teaching is both much more difficult and much more fulfilling than I ever thought. It’s really amazing to see students applying the things you’ve mentioned in class to their own work, or getting them super excited about a new technique or a chart form they’d never seen. Then again, it’s really humbling to realize that even though you thought your lecture about, say, design principles was awesome and intuitive and the best explanation yet, some students are still totally mystified. It’s always a learning process for me also, since I’m constantly reworking lectures or tutorials to make them easier to follow or adjusting exercises to better capture the ideas I’m trying to explain.

One thing I do try to do is make all of my teaching materials, slides, etc, totally public and free for anyone to use. I’m constantly learning from free online resources, and feel like it’s important to put materials back into that space for others. We do this at ProPublica too, my colleague Sisi Wei and I run a 2-week workshop called the Data Institute, and put our entire curriculum up online for anyone to look at. It’s not the same as being in a classroom for 2 weeks, but it’s a way we try to give more people access to what we teach (at no cost to them).

A final note on teaching: showing students the Web Inspector for the first time is always a joy. That collective gasp probably makes the entire class worth it.

Finally: if you could do everything all over again, do you think your journey would be the same? Would you want it to be?

I’m sure if I did everything over again my journey would look very different. It’s easier to tell a nice linear narrative in retrospect, but along the way my path felt very random. Even going into journalism in the first place feels a lot like an accident (I applied to NYU after a good friend told me about the program, and just happened to get a full scholarship to go). But I do think I would have eventually come across data visualization, especially now that it’s become so much more mainstream. And it was probably inevitable that I was pulled towards some combination of design and writing.

And what about the future?

We’ll have to see! Luckily the intersection of journalism, technology and design is so broad that I don’t think I’ll be bored anytime soon.

Anything you’re particularly excited about?

I really like gifs that explain things.

Endless thanks to Lena for her patience with this interview! Find her on her website, or on Twitter.