The same is true for latte art. The difficulty comes from trying to control two physical steps at once: texturing the milk into microfoam and mastering the pour itself. You have to create the right vortex, manage your raw material, and execute under pressure. Getting that milk texture right feels almost impossible until, after dozens of failed tries, you finally make something that looks clean.

Visual journalism works the exact same way. You start with a single raw source: a complex dataset, an interview, or a rough concept. From there, you have to master two totally different skills at once: deep reporting to extract the core truth, and visual design to structure it into a clear, compelling story. How many times do we try, fail, and throw away an idea, only to find a stronger detail or a completely new direction?

That constant trial and error is what growth in both design and journalism is all about: testing things out, failing, and learning in real time.

This journey is why I am finally giving this space its own real identity: Source & Shape. I have been writing this newsletter since 2021, but sending editions titled “Pablo Robles Newsletter #1, 2, 3” felt generic and dull. Inbox fatigue is real, and I wanted this project to have a true name and a clear purpose. This space is dedicated to the full creative process. It takes you from raw source to final shape, taking you through the messy ideas, rough wireframes, fine-tuning, and practical tools that make the work happen.

This same thinking went into my website redesign. I reorganized the layout, added new sections, and finally launched the resource page I promised months ago. I have a list of over 1,500 links to go through, and I decided to check, organize, and write descriptions for every single one myself. No AI shortcuts here. I want every tool and link to be handpicked by a real practitioner: a visual journalist and designer who has actually used these resources and knows how they can help your work.

Checking links one by one can feel slow, but I have already processed over 200 of them. Bookmark the page and check back often as I keep adding new ones.

When you step back, look at things from the outside, and stop stressing about being perfect, you start seeing real progress. It happens one day at a time, one small win at a time. Just like the photo my wife took of my latte art after a few weeks of trying. It is still pretty far from professional, but it proves my point: even a small, imperfect result takes effort, and it shows you are moving forward.

To start with this tool archive, here we go: BBBike

This is a handy utility that exports custom OpenStreetMap data into formats like GeoJSON, Shapefile, or MBTiles in just a few minutes. Select your area, enter your email, and get a download link sent right to you.

Lastly, I am trying to stay consistent and keep things simple so this is genuinely worth your time. I would love to know what you prefer: a quick weekly email with one key tool, an update every two weeks, or a monthly edition packed with resources, process breakdowns, and creative thinking? Let me know in the poll below.

A few weeks ago, I had the honor of speaking with a group of students at Yonsei University here in South Korea, one of the top three most prestigious universities in the country. The audience came from many different backgrounds, but we focused on a challenge that defines my daily life: the creative process of being many things at once. In modern journalism, we must act as designers, editors, illustrators, reporters, cartographers, and researchers to truly visualize complexity. Drawing on my eight years covering the shifting landscape of Asia and my role as a visual journalist, I shared how we can transform raw information into urgent, human-centric stories.

This hybrid approach is not a choice, but a necessity dictated by the stories themselves and the type of data we encounter. Because modern information is scattered across satellite feeds, social media videos, and physical landscapes, we cannot simply wait for the data to arrive in a clean format. We have to become the researchers who find it, the cartographers who locate it, and the designers who make it legible. These roles are all connected because the moment you change how you look at a piece of evidence, you change the way it can be told.

It all starts with the understanding that visuals are the fastest way to communicate. In a world of infinite scrolling and constant noise, the human brain processes images much quicker than long blocks of text. While reading is a sequential process, our brains recognize shapes, colors, and maps instantly through parallel processing. Visuals provide the evidence that cannot be ignored.

However, the most important lesson I have learned is that data is much more than just numbers in a spreadsheet. While we love our CSV and JSON files, especially when they include latitude and longitude for mapping, data can be anything that documents reality. Satellite imagery, for instance, has become one of the only ways to show what is happening in inaccessible areas. Whether it is tracking changes in geography during a conflict or analyzing the average light emitted in Cuba to understand local conditions, satellite data allows us to create our own unique analysis.

Early in my career, my background as a museum photographer also taught me that photos and videos are not just decorations; they are pure evidence. In conflicts, a single photograph is often the only concrete evidence of an event, and I find that the most powerful journalism happens when we mix these different approaches. We saw this in our documentation of the 100 days of protests in Hong Kong, where we used a collection of photos and videos to evidence the level of violence, seamlessly combined with maps and illustrations.

This same analytical mindset allows us to find clues of new nuclear warheads in North Korean government photos or to stitch together hundreds of images taken from a Seoul skyscraper to show the massive scale of a protest. This process of finding data in the world around us takes many forms. It might mean analyzing hours of skateboarding videos to understand how Japanese athletes adopted and mastered a foreign sport, or tracking how a Mexican cartel disrupts highways across the entire country. It can even involve providing a second-by-second breakdown of a failed takeover of the South Korean parliament.

Sometimes the data is hidden in plain sight through patterns. I have looked through hundreds of photos of the North Korean leader’s daughter to show her high hierarchical status despite being less than 15 years old. Other times, the inspiration is even more personal. A photo my wife took of a subway car in Hong Kong where every person was looking at their phone led to a deep dive into smartphone addiction and how it physically affects the human neck.

This reinforces the idea that we must also treat people themselves as primary databases. Their knowledge is gold, such as when a Guinness Record-holding Sherpa guide explained the exact logistics and costs of climbing Everest to me.

When traditional data is not accessible or the topic is too sensitive for photography, illustration becomes our most important tool. It allows us to show things that have no visual evidence while treating the subjects as what they are: human beings. Whether we are explaining how the GPS in our pockets works or showing daily life affected by war, illustration is an incredible source of storytelling. While I do not consider myself a master illustrator like Adolfo Arranz, I see it as a fundamental part of my toolkit.

Ultimately, everything we can see, track, or record is a physical object of data. Whether it is the movement of private jets during a war or the shifting geography of a region, these non-traditional sources allow us to tell stories that matter. The most important part is starting to immerse yourself in the environment, where you begin to observe things from a different perspective. This immersion in the physical world is what makes visual journalism so impactful. I would love to share more about how this immersive approach affects a reporter’s beat, but I will save that for my next post since this is already quite long.

Data is not just something stored in a file. It is all around us, constantly being generated by the world. It is not our job to create the story, but to find the right way to see the information that is already there and express it clearly.

Lastly, plus here is something fun: check out PerThirtySix. Their work is amazing and serves as a brilliant reminder that when you look closely enough, everything can be treated as data.

It’s been a while, and I hope you still remember me. I’ve been a bit sidetracked lately as the news never stops and life got in the way, but as we approach the end of the year, I wanted to jump back into your inbox to share what’s been happening behind the scenes, what’s new, say hi, and wish you happy holidays.

What’s new?

This year has been intense, trying to keep up with the news. I’m proud of the work, but I realized my website no longer fits what I need. So I’m moving everything to a simpler place that lets me do more and feels more like me. It should also make it easier to share updates, personal projects, and tools, without the technical friction.

Designing your own digital space is never easy. A portfolio is never really finished. If you subscribed for the tools directory I’ve been collecting for years, that’s still happening and it’s almost ready to launch. The new site is still a bit messy, but it keeps me motivated. It will include more interviews, a dedicated section for posters and photos, and other things I’m still figuring out. I’ll be releasing it in parts.

The chaos behind the scenes

This year pushed me way out of my comfort zone. Most of the time, I was just trying to figure out how to visualize complex things under a lot of pressure in non-traditional ways.

For the North Korea story, I analyzed hundreds of photographs one by one and talked to protocol experts to show how the North Korean leader presents his daughter as a possible successor. For the South Korea military takeover, I spent a lot of time working with code to build a minute-by-minute timeline to make sense of that night.

There were also moments of sheer manual labor. For the tariff rates story, I spent forever drawing and moving illustrated furniture around like a real-life mover.

I also analyzed thousands of data points for the Seoul coffee shops piece, but I still had to walk kilometers across the city because the data on my screen didn’t always match the streets. Along the way, I took hundreds of photographs from both sides of the street and later stitched them together, geometrically aligning and adjusting each image to maintain a single, consistent perspective, resulting in a continuous composition spanning nearly a kilometer of buildings.

I even had to jump from a camping trip straight into a visual investigation of the Hong Kong fire, trying to find a different angle on a story that was already everywhere.

The most challenging part was finding the right visual “voice” for sensitive topics like Taiwan, the CIA, Uyghur workers, malnutrition in children’s bodies, or the woman chained in China. I chose to use faceless, abstract illustrations to stay respectful, after many iterations.

I’m not sharing this to make one of those “annual LinkedIn posts” nobody asked for. I just wanted to show the messy part: the hours we spend analyzing, testing, and learning new things every day to make complex topics simple for others. It’s the most interesting (and exhausting) part of this profession.

A little sneak peek

In between “surviving” the news, personal life, and keeping up with too many hobbies, I’ve been trying to steal time for personal projects. I always recommend finding time for your own stuff, because as humans, we shouldn’t be defined only by our 9-to-5 jobs. Here’s a small preview of the new website and the tools directory.

Looking ahead

This newsletter was supposed to be more frequent (I’ve said this many times now!), but life taught me that it’s not always realistic. Moving forward, I’ll send updates (small or big) whenever I can, focusing on quality over frequency and sharing new tools as I add them to the directory.

I hope you’re having a great end of the year and that you find these updates interesting, or at least a little entertaining.

Thanks for sticking around!

As we approach the end of the year, I’m excited to share the 3rd edition of this new version of my newsletter.

This project was originally intended to be a monthly or bi-weekly edition, but that hasn’t been realistic for me lately. So, I’ll be sending updates whenever I can, hoping you’ll still find them interesting or at least a little entertaining.

Thank you for being here, and enjoy!

Pablo talks to…

Kaliz Lee, a talented designer based in Hong Kong who specialises in newsroom infographics and commercial illustration for both print and digital media. Recently, she was promoted to Assistant Graphics Editor at the South China Morning Post. I had the pleasure of working with her while in Hong Kong, so I’m excited to share her insights.

1. Mention one of your artworks that best represents who you are and what your art is about, and explain why.

I’d say the full-page Children’s Day colouring game I designed for the newspaper is probably the best example of my style. When I’m given creative freedom, I tend to lean towards simple, clean, and minimalist designs, but with a touch of controlled chaos.

This project really brought together some of my favourite themes: urban observation, animal welfare, and creating content for kids. I love adding little details and surprises, so I turned it into a puzzle-like game where the goal is to spot animals that have adapted to urban life and are cleverly hiding in different corners of the city.

I love mixing different topics, ideas, and fields. It keeps my brain creatively active and often leads to some fun, unexpected results.

2. What’s one common mistake made when choosing a colour palette in graphic design, and how do you think it can be avoided?

Colours that are too similar in infographics can be tough to tell apart, especially for people with visual impairments, like older adults. To make things more accessible, I usually go for high-contrast colour palettes. Before I publish an infographic, I would usually do a final check with a colour blindness simulator to avoid any communication issues. 

That said, balancing aesthetics with accessibility can be tricky, and I sometimes get a headache trying to find the right balance.

3. When planning an exhibition, what’s a good way you’ve found to deliver a message through your work?

The conceptualization stage is key for me. I jot down all my thoughts, even if they’re scattered and don't make much sense at first. The more I write, the clearer the idea becomes. It’s a process of constant refining to make sure the message comes through clearly in the end.

4. What is the project you are most proud of, and why do you feel that way about it?

The project I’m most proud of is the subdivided flat living infographic. I feel I managed to capture not just the physical space from my field trip to a subdivided flat in one of Hong Kong’s busiest streets, but also the emotion and memory of that experience. 

For this project, I focused on 'contrast' and 'surprise'. I used warm colours for the vibrant, neon-lit outdoor scenes and cool tones for the cramped indoor spaces. This contrast highlights the stark difference between the bustling street life and the suffocating conditions inside the tiny rooms. The element of surprise comes through a scrolling effect, where the wall peels away to reveal the flat’s interior, mirroring the shock I felt when I first saw these spaces. 

I’m especially happy with how the 3D model blended seamlessly with my illustration. It was so convincing that some people thought it was a photograph, even though it’s a representation of the broader issue, not a specific flat. It blurs the line between reality and representation while still conveying the essence of what I witnessed.

5. What’s the most unexpected source of inspiration you’ve ever encountered?

I've unexpectedly come up with new ideas or solved problems more than once during my daily meditation practice, and I always have to rush to jot them down as soon as the finishing bell rings.

6. What is the main challenge you find when adapting a digital project for print?

The main challenge is accepting that not every detail transfers perfectly between digital and print, there's always a trade-off.

In digital, we work in a dynamic space, using layering, animation, and breaking information into smaller pieces to create depth and guide readers. In print, the challenge is recreating that flow in a static space, finding creative ways to lead the audience’s eyes without the help of animation or interactivity.

7. What new skills did you learn from your most recent work?

I have learnt how to accurately plot an area on a map using QGIS. It’s a tool with so much to offer, but it can be pretty hard to use at the same time.

8. As a designer born and raised in Hong Kong, how do you think the city has shaped the way you design?

I think this is a tough question to answer, because it’s something many people in the city are grappling with—what exactly is Hong Kong, what does it mean to be part of its culture, and where do we fit in the world?

Honestly, I’m not always sure how Hong Kong has shaped my design approach. It’s like asking a fish to describe water, it’s all around me, so it’s hard to see it clearly. But one thing I do know is that I’ve seen people here constantly adapting to the changing times with creativity, and that resilience deeply inspires me.

A vivid example of this comes from my childhood memories of the 90s local TV commercials. They were like mini-dramas, usually centred around romantic stories, especially the ones for phone services. They’d break the story into parts with cliffhangers, releasing them bit by bit. Looking back, these TVCs feel a little corny, but at the time, It was such a huge hit and it caught people’s attention in a way traditional ads couldn’t. 

From those innovative TVCs to the way people maximise small living spaces, I feel like Hong Kongers always find new ways to solve problems. I try to bring that same adaptability into my work, always looking for fresh solutions with whatever resources I have.

9. If you could collaborate with any artist or designer, past or present, who would it be and why?

I’d love to collaborate with the prehistoric people who made cave drawings. 

On a recent trip to Australia, I learned about the pictograms created by Aboriginal Australians—some of the earliest graphic designers in history. I’m curious how we could work together and communicate using only signs and pictograms.

10. If you could choose a superpower to use for your work, what would it be and why?

Time manipulation. I’d freeze any moment or travel back in time to capture the perfect reference for my work. (I’ve seen enough time travel movies to know the risks of messing with the past, so I’d stick to being just an observer!)

11. Can you recommend any tools (not necessarily related to work) that you find helpful?

I bought this pack of Trusco carton edge holders entirely because of the charming instruction illustration on the packaging. Plus, they had a bit of a Chindōgu vibe (a Japanese term for quirky inventions made for fun), which I found hilarious. I’ve never actually used them for holding cartons, but they’ve become my go-to bookmarks. When not in use, they make for delightful little decorations on my bookshelf.

Some links: 

Global urban polygons and points dataset ◦ How to read satellite, weather, & climate data hidden in tricky data formats by our first guest, Rob Simmon ◦ Online tool to create simple orthographic maps ◦ Open Buildings 2.5D Temporal Dataset, more about it here ◦ 40 years of urban growth, coastline changes ◦ Tree detection in UAV LiDAR and RGB image data ◦ Global database of 58,502 wastewater treatment plants ◦ Global 30m Elevation datasets

Illustrator

◦◦◦ Owen D Pomery ◦◦◦

Latest work:

• My project, 'How to Cool Down a City,' won in the global infographics category and received an honorable mention for journalism innovation by SOPA.

• How Japanese skaters’ dominance may be affected by a new scoring system in Paris during the Olympics.

It’s finally getting warmer here in Seoul, though we had a weird rainy weekend. I just finished browsing the digital results of the SND for inspiration, and it’s amazing to see and learn what others are doing. Meanwhile, we’re still working on some furniture installations to make our new apartment truly feel like home.

Anyway, let’s start.

Pablo talks to…

Rebeca Pazos, a proud mum of one and is dedicated to telling compassionate, human-centered data stories. She currently works at The Straits Times as Data Visualisation Editor.

1. Imagine you have to choose a chart that represents you the best. Which one would you choose and why?

Scatter plot! It took me a while to figure out which one, but I think it sums me up just right! I can feel scatterbrained most of the time but eventually there is clarity in the chaos!

2. When working on a large project (and unable to find a solution for a specific problem), how do you manage to clear your mind and regain focus to solve the issue?

I'm quite grateful to have a young son and I spend considerable time with him in my evenings. We often run and bike together, and being outside, seeing the world through his eyes, is freeing and enables me to allow my brain the space it needs to see a problem from different perspectives. My craziest ideas or solutions often come to me this way!

3. What is your favorite hobby at the moment, or one you would like to take on soon?

I'm a big, big fan of ancient Greek and Roman myth but from a feminist perspective! I dabble with short courses whenever I can to help force me to take the time to read ancient texts through the lens of analysis from modern women scholars. I find it fascinating how even my own life is influenced by these ancient cultures.

4. What is the project you are most proud of, and why do you feel that way about it?

There are a few, but my most meaningful project was on dementia-friendly homes and public spaces in 2022. I'd just lost my own grandfather (my Abuelo) to the illness and so, I refused to approach it with the usual melancholy. During his illness, there were many hilarious moments filled with light, as well as the expected moments of darkness. I was lucky to meet a wonderful family in Singapore who welcomed us into their home and shared with us the many ways to support someone with dementia.

 5. What is your primary source of inspiration for work that's not related to your industry?

I think there are many places - films, TV shows, even window displays. I've sometimes even pulled colours from flowers I've liked. I think it has also been helpful to imagine who is reading my pieces and how I can engage them, delight them. The person I think of the most is my mum and now, my 6 year old, so I often take inspiration from what they find entertaining too.

6. What new skills did you learn from your most recent work?

Lately, it has been important for me to be the fuel to the fire for my team and not the fire itself. I've had to learn to slowly pull back and allow them to grow and mature. It wasn't easy, still is not easy, as I often want to just step in and do it the way I would like it to be done. But, I've learned that this is not helpful and I must get out of the way, working from the sidelines to give the team the environment they need, the encouragement and guidance they need to succeed.

7. Can you share one interesting fact about the city that you're currently living in that you consider worth to make a project of?

In Singapore, it is quite common for families to have live-in maids, also known as foreign domestic workers. They often come from neighbouring countries and typically poorer households. I find the over reliance and treatment of these essential workers an interesting juxtaposition in Singapore society and would love to explore this, but more specifically how to improve the dynamic between families and their helpers.

Another fun project I want to work on - but is not related to Singapore specifically - is dance, anything to do with dance and movements of the body. I used to be a dancer (I still am in my living room sometimes!) and I enjoy the ways we can shape our bodies to express ourselves. Hopefully, one day, fingers crossed!

8.  If the average human attention span is shorter than the one of a goldfish, what is your favorite way to capture users' attention?

I'm a big fan of powerful intros for my pieces. I like to use human faces, where possible, that have a compelling or emotional backstory that are guaranteed to captivate just about any human with a 'pulse' to feel compelled to read the story. It's my digital 'above the fold'!

9. If you could choose a superpower to use for your work, what would it be, and why?

Super-patience! I often find myself impatient to achieve, push forward, get things done and also, I'm often faced with conversations that are draining on creativity and progress. However, it is often through those types of uncomfortable situations that I've been able to solidify my strategy and improve my arguments - so patience to see it through and know that the discomfort will lead me to be better and stronger in my thoughts and actions.

10. Mention one helpful tip that current Rebecca would give to past Rebecca to speed up each publication

There are probably two tips I'd give - and they wildly contradict each other, but are necessary to do at the same time. The first tip is just do it, just do the best you can and publish it and move on. Bite your tongue, make a decision and let go. I've found that the creative process is iterative and your next project will invariably be better than the last, but the only way to get there is not get too stuck in the reeds and try to improve to perfection what you are currently working on. The second tip is pay attention to the details as you go along, document and reference everything and keep track of all the decision making if you can (I use Notion for this!). It's a balance between the two, of course, too far in any direction and you either get stuck or produce something you aren't proud of!

11. Can you recommend any tools (not necessarily related to work) that you find helpful?

A good documentation and tracking tool is essential - I am a Notion nerd. I use it for everything and I mean everything, even managing my son's schedule and my shopping lists! Every project is iterative, learnings from past ones blend into the next one, so it's been important to have these decisions, files and processes on record and shareable with the team.

Weekly links: 

Wordstream maker ◦ Visual design rules ◦ 100,000 Stars: star system visualised ◦ Historical maps in libraries worldwide ◦ Mapping climate change conflicts ◦ Visualisation of massive amounts of air traffic data ◦ Land lines ◦ Fresh and vibrant Colors generator based on lighting and pigment ◦ A clean habit tracker ◦ Water risk atlas ◦ Eo Time series viewer ◦ Where sharks attack ◦ Interactive turbulence map

Illustrator of the week

◦◦◦ Timo Kuilder ◦◦◦

Latest work:

As I mentioned last week, I’ve published multiple stories over the past few months, so I will share them randomly alongside some recent news.

• Created a map of China's new military drills near Taiwan

• Gave a talk and some 1:1 sessions to master’s students in the Data Analytics and Visualization graduate program at the Maryland Institute College of Art (MICA) a few weeks ago.

• Drew around 50 portraits to explain how, in China’s COVID fog, the deaths of scholars offer some clues. It also made it to print.

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See you next week!

It's been a while and I hope you remember me. I started this newsletter back in August 2021, but life and work got in the way, and I found myself getting a bit sidetracked. Now, I’m here on Substack, determined to continue this side project and simplify the format so we can publish more frequently but with a few improvements.

So, what's new? I've added some quick, fun “interviews” with people I admire in the creative sector, along with the usual pack of links related to inspiration, design, datasets, weekly illustrators, the latest work, and more.

Pablo talks to…

Rob Simmon, a cartographer and science communicator, specializing in visualizing satellite imagery and remote sensing. He has worked for NASA and Planet.

1. Based on physical characteristics, which planet do you think you are most similar to?

Earth — its diverse habitats reflect my diverse interests.

2. When working on a large project (and unable to find a solution for a specific problem), how do you manage to clear your mind and regain focus to solve the issue?

If I have time, I’ll go for a walk with my dog. If I don’t I’ll put on ambient music from a composer like Carl Stone or Taylor Deupree

3. What is your favorite hobby at the moment, or one you would like to take on soon?

I’ve been into sim racing for about 2 years. Getting a good lap tie requires intense focus, and there’s an addictive quality trying to get a better lap time one tenth of a second at a time. And then racing against other people heightens the intensity, because a crash won’t just ruin your race!

4. What is the project you are most proud of, and why do you feel that way about it?

It was a visualization with a very simple concept — take a picture from space, every day, directly above the equator, at 6 a.m. — that demonstrates something that is otherwise very hard to understand. That the seasons are cause by the angle of sunlight falling one a particular part of the earth, not Earth’s distance from the Sun.

5. What is your primary source of inspiration for work that's not related to your industry?

If I had to pick one, travel. No matter how interesting a spot looks from space, you learn more being there. But really I soak up ideas from everywhere.

6. What new skills did you learn from your most recent work?

My recent projects have all been self-directed, so I’ve been working on learning things I didn’t have the time or energy for previously. Code-based ways of working with data, and dipping my toes in Blender.

7. Can you share one fact about nature or space that you consider fascinating?

I think I have two. One, how limited and hackable our perception is. We build a colorful, 3D world with a tiny amount of information. Two, no matter how hard we try to put boundaries on things, there are always fuzzy boundaries. From planets to species to genres to gender there’s always a spectrum.

8. What would you say is the best way to handle large amounts of data, and what techniques do you use to take full advantage of it?

Buy a fast computer with lots of RAM! Learning how to work with cloud-based data is on my agenda. Unfortunately I find the current tools user-hostile, so it’s a challenge.

9. If you could choose a superpower to use for your work, what would it be, and why?

To learn new things instantly. Or at least faster. There are so many new technologies to try, and not enough time to learn them all.

10. What is your favorite map projection, and why do you prefer it?

Equal Earth. I’ve worked with a lot of global data, and most equal-area projections have too many compromises. My previous favorite was Hammer-Aitoff, but the oval shape and curving lines of latitude make it inappropriate for some uses.

11. Can you recommend any tools (not necessarily related to work) that you find helpful?

The library! For work I have access to some excellent online courses, and for fun it’s great to be able to download an ebook whenever.

Weekly links: 

AI-powered, 1-meter resolution global map of tree canopy height ◦ Good list of spatial datasets ◦ UTD19 a largest multi-city traffic dataset publicly available ◦ Global map of offshore renewable energy production, with facilities and interconnections and supporting vessels and infrastructure ◦ 101 bits of advice, in a nice handy list ◦ 12 learnings by the designer Frank Chimero ◦ Listen to a random forest ◦ Map that visualises the 352 million assets in the Climate TRACE emissions inventory ◦ Climate archive: 109 different climate model simulations covering the climate history of the last 540 million years ◦ Eyecandy

Illustrator of the week

◦◦◦ Joe McKendry ◦◦◦

Latest work:

Since the last edition, I've published multiple stories, so I'll share them randomly until I get everything up to date:

• Since the Israeli invasion of Gaza, I've been involved in reporting and mapping the evolution of the war. I created a map at the beginning of the tensions in the region that made it to the front page, marking it as my first A1 graphic. Ironically, this happened during my second anniversary working for The Times.

• The project I pitched, 'How to Cool Down a City,' which I collaborated on with Josh Holder, Jeremy White, and our editors, was part of the portfolio of five stories that won gold and the award for best digital news publication by the SND this week, alongside two SOPA awards nominations. It also made it to print.

• I've added a new section to my website, now named 'Now,' where I sporadically update with random things but mostly answer the question 'What am I up to now?'.

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See you next week!

Editor's note: This year, Pablo is all about green, so he is dedicating a special section to it. Soon, he will be sharing things he finds interesting, all in various shades of green.