Husband, father, brother, son, problem solver, bridge builder, people connector, visual storyteller and "elevating the art of storytelling" at Second Story.
I'm the former multimedia editor at The New York Times. A 2013 Wired.com's Raw File profile captured a Q&A with yours truly. I also share a bit of what's in my head on Tumblr.
I continue to curate Interactive Narratives, my Delicious links as well as slides of my presentations.
I found great collaborators in… Jon Huang (a developer and, from all I can tell, warlock).
I will hereby call Jon Huang (or @huang_apiaries) “warlock” from here on out. Other wise words from @abstractsunday:
Simplicity is not about making something without ornament, but rather about making something very complex, then slicing elements away, until you reveal the very essence.
and
The painful and inevitable struggle remains to create in a childlike and openhearted manner, but to be un-wistful and cruel when judging one’s creation.
The single most important thing you can do for your family may be the simplest of all: develop a strong family narrative.
The power of storytelling goes keep. Furthermore…
The more children knew about their family’s history, the stronger their sense of control over their lives, the higher their self-esteem and the more successfully they believed their families functioned.
Ron Finley plants vegetable gardens in South Central LA — in abandoned lots, traffic medians, along the curbs. Why? For fun, for defiance, for beauty and to offer some alternative to fast food in a community where “the drive-thrus are killing more people than the drive-bys.”
Inspiring. And there’s also this:
Happy urban farming, everyone!

If you told me a year ago that this was what I was going to be doing… I would not have believed you
Scott McCloud on comics (via Scott McCloud on comics | Video on TED.com)
In this unmissable look at the magic of comics, Scott McCloud bends the presentation format into a cartoon-like experience, where colorful diversions whiz through childhood fascinations and imagined futures that our eyes can hear and touch.
All good stuff but the great stuff starts 12 minutes in:
So the question was: was there any way to preserve that spatial relationship while still taking advantage of all of the things that digital had to offer us?
Let children play games that are not educational in their free time. Personally, I’d rather my children played Cookie Doodle or Cut the Rope on my iPhone while waiting for the subway to school than do multiplication tables to a beep-driven soundtrack. Then, once they’re in the classroom, they can challenge themselves.
Cut the Rope is actually an excellent problem-solving game that I suspect has excellent value for kids… and adults alike.
Kurt Vonnegut on the Shapes of Stories (by David Comberg)
Short lecture by Kurt Vonnegut on the ‘simple shapes of stories.’
There’s also this recent “infographic” from Visual.ly.
Storytelling for Brands - Our Storytelling Matrix (by StoryWorldwide)
Storytelling matrix — a framework that allows you to fully understand and orchestrate your brand narrative. Its three axes (Activity, Complexity, and Personality) are used to plot in the executions necessary to maximize meaningful interaction with a given group.
The X axis is about activity, and illustrates how linear or interactive a particular story is. This ranges from printed magazines and cinematic experiences all the way to full-blown video games — where the user controls each and every aspect of the story.
The Y axis is about complexity, and illustrates just how much information is loaded into the story. Is it a scholarly approach to the subject matter, or is it pure entertainment?
The Z axis is about personality: is it a mass produced, universal story, or is it tailored and customized to each individual?
Helpful.
SEVA Training Series: Austin Madison of Pixar (by SECCEducationalTV)
Pixar Animator, Austin Madison recently worked with students at a SEVA (Student Educational Video Awards) Training Event. Austin led students through the different stages of building a story.
An excellent way to teach young adults (or anyone who needs/wants the basic framework of) the power of storytelling.
Above all, there is learning, the kind of learning that allows you to navigate unknown areas, make unusual connections, and achieve new goals in unforeseen ways.
Aka: The Adjacent Possible
Magic circles are “temporary worlds within the ordinary world, dedicated to the performance of an act apart.” Building a special space away from normal activity, where people trust each other and agree to behave by a different set of rituals, is key to enhancing your team’s creative capability.
Sort of like this post from Daniel Myers on AIGA: Space and Time: Modeling the Studio of the Future.
My favorite:
Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
But so many others. Great list to keep in mind.
Missed this when it first came out*, but I’m overjoyed for Béatrice, Nancy And Nick for the shooting and the editing. I presented this piece recently in a talk. It’s a must see. If it doesn’t touch you, check your pulse.
(* I was going to state in my typical way, I don’t know how I missed this… but frankly, I do know. I’m just not watching Twitter let alone competition as closely as I used to. Some things do change when you leave journalism.)
journalism content reflects structural racism. 360 words = 1 person shot in white hood = 370 words. 23 words = 4 people shot in black hood.
wbez:
This is what structural racism looks like.
Chicago, we have to do better.
Media criticism done on a napkin.
Not only did the Chicago Tribune respond but they posted it to their Tumblr:
This image of an article from Monday’s (March 4) edition of RedEye has been passed around by many on social media. It highlights a condensed article about overnight violence in Chicago, including a shooting in West Rogers Park and shootings in the Back of the Yards, Englewood, Gage Park and New City neighborhoods.
We hear you.
The online conversation that’s developing around this story is an important one. Thank you for the comments and feedback. This is incredibly important to us, especially as we set out to shine a light on Chicago violence this year. Conversations like these will continue to inform and improve our coverage. We hope you’ll continue to join us in addressing these issues.
The article in question is from the Chicago Tribune and can be found in full here.Not bad.
Double by Double Robotics - (by Double Robotics)
With all this talk about working remotely or in the office, here’s a different way to “look” at it.
Now if this thing comes up behind me and starts asking for my TPS report, I’m just gonna have to kick its screen in with my boot.
More on doublerobotics.com.
Andrew is an Emmy-award winning visionary storyteller with a comprehensive background in interactive and multimedia journalism. He's currently "elevating the art of storytelling" at Second Story. In addition to providing creative and strategic direction, Andrew instills innovative methodologies to storytelling and audience engagement, orchestrates diverse team talents and fosters collaboration across the studio. As the former multimedia editor at The New York Times, he pioneered new approaches to interactive storytelling maintaining his commitment to journalistic integrity. Andrew managed a staff of multimedia journalists and technologists whose projects received many accolades including a Dupont and Emmy awards. In a previous life, he ran his own design agency, created InteractiveNarratives.org and was a multimedia journalism professor in San Francisco.
DeVigal is also a recognized industry leader in interface and usability design of news websites. Through The Poynter Institute, he led the 2000 Stanford-Poynter eye-tracking study of online readers. And through his web development consultancy, DeVigal Design, he has designed and redesigned several online news sites including the Albany Times Union, The Honolulu Advertiser and several websites for Knight-Ridder.
Since 1996, as the senior designer and producer of ChicagoTribune.com, DeVigal has helped shape the discussion about the future of journalism. Over the years, he has led conferences and discussions on panels and in classrooms to help advance the dialogue and develop the techniques of multimedia and online journalism. He launched Interactive Narratives in 2003 to celebrate and capture the best of online visual storytelling.
Specialties: Interactive storytelling, multimedia journalism, multimedia technology, user-interface design, information architecture, project management, management
In addition to providing creative and strategic direction, Andrew instills innovative methodologies to storytelling and audience engagement, orchestrates diverse team talents and fosters collaboration across the studio.
As the multimedia editor at The New York Times, he oversaw a staff of multimedia producers and helped direct the presentation of multimedia. DeVigal pioneered efforts to redefine visual storytelling and pushed the medium in telling and explaining stories by working collaboratively across the newsroom and recruiting top talent from a wide range of industries. It is an exciting moment in the industry as new technologies enrich the possibilities of journalism, giving us the ability to better organize and present complex information as well as enhance the experience of telling stories through the collaboration of the news, photo, video, audio and information graphics.
As a tenure-track assistant professor at San Francisco State University, I teach visual and online journalism and am the coordinator for the online sequence in the school's journalism department.
As principal of DeVigal Design, a graphic design and web consultancy firm based in the San Francisco Bay Area, DeVigal Design has received many accolades for its design work, particularly his hand in redesigning several online publications including The Honolulu Advertisers website, Albanys (NY) The Times Union web site, The Associated Press, Newsday.com and several start-ups in Silicon Valley. Founded in 1998, DeVigal Design has created award-winning visuals in print, online and interactive design. At the core of their success has been a multi-disciplinary focus that draws on their combined experiences in fine arts, technology, business and journalism.
The Poynter Institute is the premiere school for journalists, future journalists and teachers of journalism. Its a place where professionals, educators and students gather to learn how to be better journalists. Most seminars are week-long intense instructions directed by resident faculty and accomplished professionals, who serve as visiting faculty and focus on hands-on participation, case studies discussions and other exercises that promote learning. I was a Poynter Fellow, the longest in its history, from 1996-1999. Ever since, I have been a frequent director, co-director or visiting professional for several of its design/graphics and photojournalism seminars.
Served as Interface producer/designer for Knight-Ridder New Media (now known as Knight-Ridder Digital) web sites. From HTML, to Illustrator/Photoshop graphics, to enhancing the user interface with javascript, developed and shaped the users experience of products and services from KRNM. The sites, which are Inkling, Just Go, CarHunter and Real Cities, engaged working with project leaders and often times with third party technology vendors such as Zip2.
Designed the early look of Internet Chicago Tribune. Along with being the interface designer for the entire web site, responsibilities included producing web-enhanced story packages working with editors, reporters, photo and graphic editors. I designed and helped produce the groundbreaking Crimes Package in 1996. The package allowed visitors to enter their zip code or click on an interactive neighborhood map to get a visual representation of the crimes reported in their neighborhood. It was a first of its kind using an interactive database driven package.
As a graphic journalist, I illustrated and produced informational graphics, illustrations, charts and maps under tight deadlines on a daily basis.
As a staff artist, I converted AP graphics and produced original informational graphics, illustrations, charts and maps under tight deadlines on a daily basis.