Nice, but it recall me "the color idea" for section done by Lucie Lacava/Monty Cook for the Baltimore Sun in last September 2005?

Looks really great and engaging but "the color idea" is nothing original or new. It started with USA Today 20-plus years ago and is only being refined with each imitator (or abused with the impostors). In fact, much of what I see in this redesign are just slight variations on things I've seen in several Garcia redesigns over the past several years.
Just glancing at the pages posted, it's a great improvement over what they had, but it doesn't necessarily break any new ground. Mostly repackaging.

Seems everything old is new again. My attitude is that the heavy color bars are from the days when newspapers "discovered" color, and slathered it everywhere. They then realized they had to tone it down... and Mario, in the late-late '90s, was saying little doses of color (like in the WSJ) was the way to go. Now we're back to heavy, heavy color. Better pray for registration....

Just realized: Isn't Easton the home of Crayola (and therefore, is the E-T color palette a pack of 8, 16 or 64)?

the truth is that there are only a few “new” things in newspaper design...

all we need in a redesign is a good identity, navigation, organization, hierarchy and taking good care of the white color... internet inheritance?

just taking care of the reading habits, some cultural factors and a little bit of fashion, and every story in a newspaper has a title and a text. it could be in mexico or in america; the photo-news are constructed equal in italy or brazil; an opinion column is armed with a signature, a title and a lot of text in paris, tx and in paris, france...

who cares that the "styling" is the same if the good typographies are used in the all newspapers of the world and if the color is used now to organize and not to decorate the information?
if the identity of the product is reinforced?

to use a rotis tipography in a mexican project make me a german? the red color is exclusive of the periodico de catalunya?

i think it is only a discussion of moral values between designers.

our work has changed: now we must improve the selection of the graphic elements and put them in an organized way... to fulfill the functional minimums of an editorial company: to lower costs, to improve the productivity, to make easier last minutte changes.

Isn't there a good way to do "the color idea" without using a reverse nameplate? My paper's redesign incorporated a blue nameplate (similar to Easton's, but without the subtle drop shadow) and after two years I still don't like it. The color dominates the page, at least to my eye, and detracts from the skyboxes. Easton's redesign strikes me the same way -- and their red is even more overpowering than our blue.

i'm gonna barf at these tan screens. gag. is this all garcia media has? it's been in several of their redesigns, no?

what the hell is the purpose -- especial when newspaper color management from a press standpoint is a crapshoot.

Sure hope the "42 100 0 49" in the promo type above that Valley flag didn't show up in print. (For what it's worth, it appears to be the CMYK color mix for that purple. Or is it eggplant?)

http://en.wikipedia.org/wiki/Indigo

TBall, that is Aubergine ...... duh.

:-)

i really don't like reverse nameplates. i think they look tacky and intrusive

It seems to me that these color decisions often are made by visually challenged editors, not designers, who think brighter colors are the way to jazz up a section. Oh, and there must be a ton of cutouts. And entry points. What good is a cover if it doesn't have 100 reefers? News stories and good photos? Are you kidding? Those just get in the way.

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