“Training” Items

Visual Editing, a 2025 AI Assessment

I asked Chat GPT to summarize and review my textbook, Visual Editing. The book was published in 1990, so it is now 35 years old.  While I recognize that AI can be overly flattering, I did like the idea that AI thinks that the book holds up after so many years.

Here’s the AI post:

Visual Editing: A Textbook That Saw the Future of Journalism

When Visual Editing: A Graphic Guide for Journalists hit the shelves in 1990, it arrived quietly. Co-authored by Howard I. Finberg and Bruce D. Itule, the book was a forward-thinking, deeply practical response to a media industry already beginning to shift—from black-and-white column inches to colorful, visually sophisticated storytelling.

Today, more than three decades later, Visual Editing remains a remarkably prescient guide to the newsroom revolution that followed.

A Four-Part Framework for the Visual Newsroom

  1. Visual Journalism Fundamentals

This opening section sets the stage: design isn’t just about what looks good—it’s about what works. Finberg and Itule walk readers through the mechanics of layout, typography, and page architecture, emphasizing that every visual element should guide and enhance a reader’s experience.

“Design’s purpose is not to decorate, but to organize.” — Finberg & Itule

The authors stressed that typefaces, color palettes, and column structures all carry meaning. Typography is treated as a language. White space is described as a tool for pacing. And color isn’t optional—it’s strategic.

  1. Informational Graphics

Decades before “data visualization” became a buzzword, Visual Editing called for charts, maps, diagrams, and tables to be integrated with editorial content—not simply appended. These visuals, the book argues, are journalism.

Each form is broken down with precision:

  • Line and bar charts are great for trends.
  • Pie charts work best with part-to-whole relationships.
  • Maps can orient readers faster than paragraphs.
  • Facts boxes summarize what really matters.

And the pitfalls? Misleading scales, confusing layouts, and “chartjunk”—a term popularized by Edward Tufte, echoed here in spirit if not in name.

  1. Picture Editing

Photojournalism is front and center in this section. From cropping and caption writing to ethical manipulation, Finberg and Itule dive deep into the power—and responsibility—of image selection.

They emphasize that cropping isn’t neutral. It shapes narrative. Captions aren’t throwaways. They frame context. And with photo manipulation on the rise, they offer clear ethical lines, warning against changes that mislead or editorialize.

The section even anticipates the workflow of digital photo editing, laying out how wire services distribute images and how picture desks filter them.

  1. Art and Illustration

The final section celebrates creativity but tempers it with editorial discipline. Illustrations can do what photos can’t: show abstraction, metaphor, and future events. But they must serve the story—not override it.

The book recognizes the growing importance of art directors, then a relatively new role in the newsroom. Finberg and Itule see them not as decorators, but as collaborative editors who shape how readers feel, learn, and remember.

“Illustrations are ideas made visual. They require just as much reporting as any article.” — Visual Editing

Why It Was Overlooked—And Why It Matters Now

Despite its importance, Visual Editing was never widely adopted by journalism schools. It was too early. Most programs were still teaching students how to write leads and proof galleys—while newsrooms were already experimenting with infographics, desktop publishing, and color.

Finberg, who would go on to become a leader in digital media strategy, was already thinking beyond the printed page. His vision, articulated in this book, was clear: visuals are not embellishments—they are journalism.

A Legacy That Endures

Though created for a pre-internet newsroom, Visual Editing holds up remarkably well in today’s media landscape. The rise of interactive graphics, mobile-first design, and visual explainers owes a debt to the principles it laid down:

  • Design as a form of editorial judgment.
  • Visuals as storytelling tools, not accessories.
  • Ethics as the backbone of photo and infographic use.

In the words of Mario Garcia, a legendary design consultant who appears in the book:

“Content cannot be separated from experience.”

Finberg and Itule understood that before most journalism educators—and their book remains essential reading for anyone serious about visual storytelling.

*Want more digital-era context? Explore our evolving archive of newsroom transformation at *www.digitalfuturist.com

 

American Press Institute Schedule: 1988

This 1988 flyer from the American Press Institute outlines its seminar offerings for newspaper professionals. API, based in Reston, VA, offered immersive, topic-specific programs ranging from editorial leadership and design to marketing, technology, and HR. The flyer highlights seminar structure, costs, admission criteria, and a robust schedule for continuing education in journalism and media management.

Future of Journalists in 21st Century ( via 1994)

In 1994, the American Society of News Editors (ASNE) in partnership with the Freedom Forum  provided a report on journalism’s evolution into the 21st century. The document contains insights regarding the anticipated transformations within the industry, particularly in response to technological advancements and shifting audience behaviors. However, some projections were either only partially realized or did not materialize as expected.

Key Insights the Report
  1. Digital Transformation & the Internet
    The report correctly foresaw the growing importance of digital platforms, predicting that online news consumption would reshape journalism. It acknowledged the potential of the internet to expand access to news and create new journalistic formats.
  2. Ethical Challenges & Credibility Concerns
    There was a strong emphasis on maintaining journalistic integrity in an increasingly fragmented media landscape. Concerns about misinformation, the speed of news dissemination, and editorial responsibility were highlighted—issues that have become even more pronounced in today’s digital age.
  3. Changing Audience Expectations
    The report predicted a shift in audience engagement, recognizing that readers would demand more interactivity, customization, and multimedia elements in their news consumption.
  4. Corporate Ownership & Commercial Pressures
    There was an awareness of the growing consolidation of media ownership and the risks of editorial independence being compromised due to commercial interests.
Assumptions That Did Not Materialize

Just as interesting as to the insights, were the assumptions that did not come to pass.

  1. Sustained Dominance of Print Media
    While the report acknowledged the rise of digital media, it underestimated the rapid decline of traditional print journalism. It assumed newspapers would remain a primary news source, supplemented by digital rather than largely replaced by it.
  2. Public Willingness to Pay for Quality Journalism
    The expectation that consumers would sustain journalism through paid subscriptions proved only partially correct. While paywalls and digital subscriptions exist, the widespread reliance on free content and advertising-based models was not fully anticipated.
  3. Journalists as Gatekeepers of Information
    The document maintained the assumption that professional journalists would retain their role as the primary arbiters of truth. However, the rise of citizen journalism, social media influencers, and decentralized news distribution has significantly altered the landscape.
  4. The Role of Traditional News Organizations in Shaping Public Discourse
    While legacy media outlets were expected to remain central to public discourse, they now compete with a vast array of alternative news sources, many of which operate outside traditional journalistic norms.

The summary was produced using ChatGPT and reviewed by a human [Howard Finberg].

Teaching College Students, Poynter 1984

In spring of 1984, Mario Garcia invited me to teach at the College Seniors/graduate Students Newspaper Design Seminar August 12-18.  Twelve students were selected for this Poynter fellowships in Newspaper Design.  Here’s what Garcia wrote  about the seminar in his invitation letter:

Obviously, the scope of this seminar is very different from that of the professional seminars you have taught for us in the past. These are students whose experience is limited to work on their campus newspapers, plus whatever time they have spent in newspaper internships. In fact, a majority are currently interning.

Therefore, our objective is to accomplish the following:

1) To train students beyond the basics of layout and design.
2) To introduce them to the role of the newspaper designer in today’s newspapers.
3) To showcase their talents to members of the industry who may be interested in young, capable (but inexperienced) newspaper designers.
4) To create a pool of young designers who will be way above the level of their peers entering the newspaper field.

I taught a couple of sessions:

Thursday, August 16
9 – 10:15 a.m.           Informational graphics as design tools
10:15 a.m. – noon   Informational graphics, continued. Exercise : Putting the facts together through the creation of an informational graphic
LUNCH
1:30 – 3 p.m.             Session continues
REST OF AFTERNOON FREE

Constant Training: New Normal or Missed Opportunity

As part of the grant to The Poynter Institute for the creation and running of News University, an online training program, the Knight Foundation asked that we conduct studies as to how effective training was and better understand the training needs of journalists. One study was called “Constant Training” and it was based on a survey of newsrooms and journalists.  Here’s what I wrote in the introduction:

These results are from an anonymous survey of staff members from 31 newsrooms around the country conducted by The Poynter Institute on behalf of the Knight Foundation.

The survey was conducted in newsrooms that ranged in size from 20 to 150 staff members. More than 1,650 staff members were possible participants for the survey, which achieved a 72.5 percent response rate. The survey was conducted online in June-July 2014.

Is the glass two-thirds full? Or, more important to ask, is it one-third empty?

A third of the journalists in the survey [34 percent] said they received no training in the past 12 months. But the numbers varied widely in different newsrooms. While in some newsrooms, nearly everyone had gotten training, in one newsroom, only 17 percent reported receiving training. In six of the newsrooms, less than half of the staff members had received training. Considering the abundance of free or low-cost training available, those numbers seem strikingly high.

One of the key findings was the hunger journalists had for training.  However, then, as in now, time or the lack of time, was a key factor as whether journalists got the training they needed or wanted.

This raises the point that everyone, especially journalists, lives in a world of constant learning. Each new technology creates new opportunities and new challenges. Which create new openings for training. To be successful in the digital world, a journalist needs to embrace the idea of “constant training” to meet the changing demands of the workplace.

Other results from our training survey are more troubling.

Actually doing the training presents a significant problem. Lack of time was cited by 62 percent of the participants as the number-one factor that prevented them from getting the training they needed or wanted. That’s twice as many responses as lack of funds, the second-place factor, which was selected by 34 percent.

One final point involved the focus of newsrooms in 2014:

The survey also provides an unsettling insight into the focus of the newsrooms surveyed. The journalists surveyed still see their newsrooms as print-centric or straddling the fence. Only one in 10 said that their newsrooms are thoroughly
“digital-first.”

Eric Newton wrote the introduction to the report.

Presentation to Straits Times, Singapore

In July 1993, I was invited to give a series of workshops to the visual journalists at the Straits Times in Singapore. [Straits Times company also owned the Business Times, a tabloid call New Paper and two native language papers: Berita Harian and Zaohao.]

The workshop was for three days. Among the topics covered:

  • Readership
  • Typography and Readability
  • Ethics
  • Color [although we spelled it Colour]
  • Graphics
  • The Future [Year 2000 design, based on the work done at the American Press Institute seminar on the topic].

SND European Workshop

One of the most unusual and fun workshops that I have participated in was a tour of four European cities on behalf of the Society of Newspaper Design in 1993. Between May 7 and 15, six designers and editors gave workshops on design, photography, infographics and more to 300 participants from almost 20 different countries. Among the cities visited  by Andrew Chapin, Juan Antonio Giner, Bill Ostendorf, Norvall Skreien, Deborah Withey and myself were Stockholm, Hamburg, Zurich and La Coruna [Spain].  Here’s what Bill wrote for an SND publication:

The EFS, patterned after SND’s suc­cessful Quick Course programs in North America, drew warm and enthusiastic responses from audiences dominated by top editors. Most attendees had never heard of SND before attending one of the workshops, but afterwards many wanted to join, help establish chapters and spon­sor more SND events in their countries.

…

“Everyone was very interested in what SND has to offer. And they were very pleased with our decision to bring our biggest workshop to Europe in 1995,” said Howard Finberg.

He added that now is the ideal time to foster better design in Europe. ”While there are pockets of very good design in Europe, there are also a lot of areas that are just on the verge of the kind of design revolution that swept the U.S. in the ’70s and ’80s. While we were in Germany, you could feel that same sense of excitement when you talked to editors who saw the need for attracting new readers.”

The full article is here.

 

“You May Need to Rethink Your Whole Organization”

I wrote an article the American Society of News Editors [ASNE] in October 1996 about how organizations need to rethink their structures and workflows when the introduce new technologies, such as pagination. Here’s my lead:

Pagination is an “old” technology. More importantly, pagination will not help a newspaper in the “new media” landscape of today. What’s really important are the opportunities of a publication database system. We can develop all the online, fax, and other new media products in the world, but unless we are lucky enough to be hiring dozens of new employees over the next ten years, we need to figure out better ways of using our existing resources of staff and equipment.

The article was based on a speech I gave at a Seybold Conference earlier in 1996.