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Search results for "Gretchen A. Peck"
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Digital Editions’ Growth Spurt
June 2008 From Publishing Executive
This spring, Barnes & Noble announced that it would offer both print publications and digital editions of more than 1,000 magazine titles to visitors of BN.com. The e-editions will be fulfilled by Barnes & Noble partner Zinio. Indeed, it’s just one more indication that, despite some debate on their future, digital editions are becoming a viable alternative to print for a growing number of readers. Cambridge, Mass.-based The Gilbane Group recently published a study, “Digital Magazine and Newspaper Editions: Growth, Trends, and Best Practices,” showing that the number of business-to-business publications offering digital editions increased by more than 300 percent in a two-year span
June 2008 From Publishing Executive
This spring, Barnes & Noble announced that it would offer both print publications and digital editions of more than 1,000 magazine titles to visitors of BN.com. The e-editions will be fulfilled by Barnes & Noble partner Zinio. Indeed, it’s just one more indication that, despite some debate on their future, digital editions are becoming a viable alternative to print for a growing number of readers. Cambridge, Mass.-based The Gilbane Group recently published a study, “Digital Magazine and Newspaper Editions: Growth, Trends, and Best Practices,” showing that the number of business-to-business publications offering digital editions increased by more than 300 percent in a two-year span
Solutions Showcase
May 2008 From Publishing Executive
Workflow and responsibilities might have been clearly divided between a magazine’s creative and production executives in the early days of digital design—the days when art directors could simply concentrate on aesthetics, while the production team fretted over the mechanics of getting that design to reproduce in print with integrity. Today, the lines between the two disciplines are blurred, and creative professionals are increasingly relied upon to manage tasks once associated with production, such as preflighting page files and outputting final-format digital files (PDF/X-1a being the preferred format for publications). So, it seems fitting that magazine creative folks expect so much more today from
May 2008 From Publishing Executive
Workflow and responsibilities might have been clearly divided between a magazine’s creative and production executives in the early days of digital design—the days when art directors could simply concentrate on aesthetics, while the production team fretted over the mechanics of getting that design to reproduce in print with integrity. Today, the lines between the two disciplines are blurred, and creative professionals are increasingly relied upon to manage tasks once associated with production, such as preflighting page files and outputting final-format digital files (PDF/X-1a being the preferred format for publications). So, it seems fitting that magazine creative folks expect so much more today from
Easier Ad Workflow
March 2008 From Publishing Executive
The relationships between magazine publishers and their advertisers aren’t matters of “us” and “them.” On the contrary, these relationships—if they’re strong—are true partnerships. And it’s the publisher’s duty to not only supply its readers with valuable editorial content, but to also provide first-class customer service to its advertising partners, which means being able to provide pricing quickly, to notify them of opportunities for premium placement and exposure, to develop long-term programs that best suit the advertisers’ needs, and to ensure that their advertising materials are handled with care and reproduced—whether in print or online—with integrity. Maintaining the Relationship Customer relationship management (CRM)
March 2008 From Publishing Executive
The relationships between magazine publishers and their advertisers aren’t matters of “us” and “them.” On the contrary, these relationships—if they’re strong—are true partnerships. And it’s the publisher’s duty to not only supply its readers with valuable editorial content, but to also provide first-class customer service to its advertising partners, which means being able to provide pricing quickly, to notify them of opportunities for premium placement and exposure, to develop long-term programs that best suit the advertisers’ needs, and to ensure that their advertising materials are handled with care and reproduced—whether in print or online—with integrity. Maintaining the Relationship Customer relationship management (CRM)
Online Communities:
Open for Discussion
February 2008 From Publishing Executive
Though many magazine publishers now have more than a decade of Web experimentation under their belts, few profess to having found the perfect Web model—and, by and large, view their Web sites as perpetual works in progress. Different models appear to work for different publishers, often determined by genre and reader demographics. But one common theme seems to be top of mind as publishers set out to enhance their sites: how to build online communities. Hundreds of tools are available—from ASP to install-based solutions, from freeware to licensed tools. Forums and chat, blogs and comments, and polls and surveys have enabled
Open for Discussion
February 2008 From Publishing Executive
Though many magazine publishers now have more than a decade of Web experimentation under their belts, few profess to having found the perfect Web model—and, by and large, view their Web sites as perpetual works in progress. Different models appear to work for different publishers, often determined by genre and reader demographics. But one common theme seems to be top of mind as publishers set out to enhance their sites: how to build online communities. Hundreds of tools are available—from ASP to install-based solutions, from freeware to licensed tools. Forums and chat, blogs and comments, and polls and surveys have enabled
December 2007 From Publishing Executive
Ask a dozen magazine production professionals to define the term “workflow,” and you’ll likely receive 12 different definitions. But despite the unique ways in which magazines are produced, generally speaking, workflow is all about taking valuable content, manipulating it in a way that maintains its integrity (no matter how it’s output), and doing it all lightning fast. “A successful workflow is one that allows publications to produce content and distribute it on a schedule that makes it able to compete with Web sites for readers’ attention,” according to Scott Seebass, CEO, Xinet Inc. in Berkeley, Calif. Given the plethora of technologies accessible to publishers
Content on the Go
November 2007 From Publishing Executive
In today’s publishing world, content must be easily and instantaneously manipulated—no matter whether it’s headed to the Web, a magazine or a directory, burned to a CD or DVD, or broadcast in the form of a podcast. “Content repurposing … should certainly be top-of-mind for magazine publishers,” suggests John Kreisa, director of product marketing, Mark Logic Corp., San Carlos, Calif. “Putting the right infrastructure in place is key to tapping into that market. …” But evaluating whether to “build or buy” is often a publisher’s first hurdle. “I think the decision … should be based upon business objectives and expectations for growth,” says Peter
November 2007 From Publishing Executive
In today’s publishing world, content must be easily and instantaneously manipulated—no matter whether it’s headed to the Web, a magazine or a directory, burned to a CD or DVD, or broadcast in the form of a podcast. “Content repurposing … should certainly be top-of-mind for magazine publishers,” suggests John Kreisa, director of product marketing, Mark Logic Corp., San Carlos, Calif. “Putting the right infrastructure in place is key to tapping into that market. …” But evaluating whether to “build or buy” is often a publisher’s first hurdle. “I think the decision … should be based upon business objectives and expectations for growth,” says Peter
17 Tips for Publishing Better, Faster and Cheaper
December 2006 From Publishing Executive
Looking back, 2006 has been a relatively good year for many publishing companies. If you review the ongoing Publishers Information Bureau reports, it appears overall consumer-magazine ad revenue is up over previous years, and digital revenues continue to climb to help offset print losses of the last few years that for a number of business-to-business and consumer publications have yet to be recovered. Smart publishers, however, aren’t relying solely on revenue to drive profits. Rather, they’re continuing to focus on best practices in publishing processes and technological implementation to become more efficient and cut costs. Publishing Executive found leaders in the industry to share
December 2006 From Publishing Executive
Looking back, 2006 has been a relatively good year for many publishing companies. If you review the ongoing Publishers Information Bureau reports, it appears overall consumer-magazine ad revenue is up over previous years, and digital revenues continue to climb to help offset print losses of the last few years that for a number of business-to-business and consumer publications have yet to be recovered. Smart publishers, however, aren’t relying solely on revenue to drive profits. Rather, they’re continuing to focus on best practices in publishing processes and technological implementation to become more efficient and cut costs. Publishing Executive found leaders in the industry to share
Joe Duncan: Directing Digital Innovation
October 2006 From Publishing Executive
“I came out of college with a liberal arts degree, and I really didn’t know what I wanted to do for a living,” recalls Joe Duncan, vice president/director, print innovation and technology for Leo Burnett USA—the worldwide marketing communications powerhouse that manages such household brands as Kellogg’s, Heinz, GM, Wrigley and Hallmark. But this uncertainty resolved itself quickly in the mind of this 2006 Publishing Executive Hall of Fame inductee. When he happened upon an inside sales job at an envelope manufacturer, he says, “I really didn’t like anything about the job, except the printing side of the business. The company mostly did folding and
October 2006 From Publishing Executive
“I came out of college with a liberal arts degree, and I really didn’t know what I wanted to do for a living,” recalls Joe Duncan, vice president/director, print innovation and technology for Leo Burnett USA—the worldwide marketing communications powerhouse that manages such household brands as Kellogg’s, Heinz, GM, Wrigley and Hallmark. But this uncertainty resolved itself quickly in the mind of this 2006 Publishing Executive Hall of Fame inductee. When he happened upon an inside sales job at an envelope manufacturer, he says, “I really didn’t like anything about the job, except the printing side of the business. The company mostly did folding and
Elaine Fry: A Fortuitous Path to Forbes
October 2006 From Publishing Executive
Some people, in their lifetimes, may stumble upon a dollar bill on the sidewalk or upon a stray cat, or they may even accidentally stumble upon a new idea. But Elaine Fry stumbled upon a career that has led her to positions at some of the world’s most prominent publishing companies, such as Billboard, Ziff Davis Media, Penthouse, Time Inc., and eventually to Forbes Inc., where she currently is group director of manufacturing and production, a position she has held for six years. Her career achievements and her involvement in industry initiatives, such as those undertaken by Specifications Web Offset Publications (SWOP), have earned
October 2006 From Publishing Executive
Some people, in their lifetimes, may stumble upon a dollar bill on the sidewalk or upon a stray cat, or they may even accidentally stumble upon a new idea. But Elaine Fry stumbled upon a career that has led her to positions at some of the world’s most prominent publishing companies, such as Billboard, Ziff Davis Media, Penthouse, Time Inc., and eventually to Forbes Inc., where she currently is group director of manufacturing and production, a position she has held for six years. Her career achievements and her involvement in industry initiatives, such as those undertaken by Specifications Web Offset Publications (SWOP), have earned
Dave Kamis: Centered on Service
October 2006 From Publishing Executive
“My whole career has been about service. Whether you’re on the printing side or the publishing side of things, your role is customer service,” says Dave Kamis, vice president, production and manufacturing for Detroit-based Crain Communications. “That’s been my approach,” Kamis notes. “[To consider], ‘how can I meet the needs of my clients?’ And … in my current job, those [clients] are the publishers, the editors, the art directors and our advertising clients. What can I do to support their specific goals and objectives? That’s always been my objective, and looking back, I’d say that it’s been a consistent theme throughout my career—customer service.” It
October 2006 From Publishing Executive
“My whole career has been about service. Whether you’re on the printing side or the publishing side of things, your role is customer service,” says Dave Kamis, vice president, production and manufacturing for Detroit-based Crain Communications. “That’s been my approach,” Kamis notes. “[To consider], ‘how can I meet the needs of my clients?’ And … in my current job, those [clients] are the publishers, the editors, the art directors and our advertising clients. What can I do to support their specific goals and objectives? That’s always been my objective, and looking back, I’d say that it’s been a consistent theme throughout my career—customer service.” It
Dave Pelkey: The Definition of Success
October 2006 From Publishing Executive
Merriam-Webster is a household name when it comes to dictionaries. In fact, its dictionary is said to be the second best-selling hardcover book in American history next to the Bible. So it might be surprising to find out that behind this book is a manufacturing department of just one: David Pelkey. Pelkey, Merriam-Webster’s director of manufacturing, oversees the manufacturing of all printed materials for the company, which has been a forerunner in the age of multimedia publishing. “I do all of the paper purchasing, warehousing and inventory management, and I also have a hand in distribution,” he says. Pelkey’s name may not be as
October 2006 From Publishing Executive
Merriam-Webster is a household name when it comes to dictionaries. In fact, its dictionary is said to be the second best-selling hardcover book in American history next to the Bible. So it might be surprising to find out that behind this book is a manufacturing department of just one: David Pelkey. Pelkey, Merriam-Webster’s director of manufacturing, oversees the manufacturing of all printed materials for the company, which has been a forerunner in the age of multimedia publishing. “I do all of the paper purchasing, warehousing and inventory management, and I also have a hand in distribution,” he says. Pelkey’s name may not be as
Ad Transmission and Preflighting Made Faster and Error-Free
August 2006 From Publishing Executive
The PDF/X-1a specification promised to resolve the kinks in the advertising workflow for print publications. But how widespread has its adoption been, and how are agencies supplying the file format to their print partners? Publishing Executive spoke with J.D. Michaels, vice president and director of print services for New York-based BBDO—the fourth largest global agency network, with 290 offices in 77 countries—about his thoughts on PDF/X-1a, the agency’s efforts to see the PDF prophecy fulfilled, and how the Web has changed the prepress model. Publishing Executive: What are your general responsibilities in your role at BBDO? J.D. Michaels: I am responsible for all production after an idea
August 2006 From Publishing Executive
The PDF/X-1a specification promised to resolve the kinks in the advertising workflow for print publications. But how widespread has its adoption been, and how are agencies supplying the file format to their print partners? Publishing Executive spoke with J.D. Michaels, vice president and director of print services for New York-based BBDO—the fourth largest global agency network, with 290 offices in 77 countries—about his thoughts on PDF/X-1a, the agency’s efforts to see the PDF prophecy fulfilled, and how the Web has changed the prepress model. Publishing Executive: What are your general responsibilities in your role at BBDO? J.D. Michaels: I am responsible for all production after an idea
The Digital Handyman: Retooling the Publishing Workflow
August 2006 From Publishing Executive
More than a decade into the “CTP revolution,” many of the promises of digital workflow have yet to be fulfilled. The publishing industry is far from achieving the hands-off, utopian workflow many envisioned when film went away and content went digital. While some in the industry once resisted the notion of a digital workflow, most now agree that the evolution from film to files has been a positive for the publishing world—as profound a development as desktop publishing. With digital content, publishers can now cut out much of the prepress expense for their print workflow, and perhaps even more importantly, their content is now
August 2006 From Publishing Executive
More than a decade into the “CTP revolution,” many of the promises of digital workflow have yet to be fulfilled. The publishing industry is far from achieving the hands-off, utopian workflow many envisioned when film went away and content went digital. While some in the industry once resisted the notion of a digital workflow, most now agree that the evolution from film to files has been a positive for the publishing world—as profound a development as desktop publishing. With digital content, publishers can now cut out much of the prepress expense for their print workflow, and perhaps even more importantly, their content is now
A Hard Look at Soft Proofing
June 2006 From Publishing Executive
Ask almost anyone in the publishing business a decade ago, and they would have scoffed at the notion of soft proofing for high-end print advertising. Just a few years ago, proofing-by-monitor was widely accepted as a creative tool for early rounds of the review/approval process, but not as a hard-copy, contract-level proof alternative. But, oh, how the landscape has changed, and increasingly, soft-proofing technologies are proving crucial to the magazine and advertising workflow, which continues to be challenged by more time-sensitive schedules and an omnipresent need for better, faster and cheaper print. When time (and money) is of the essence Foote Cone & Belding (FCB) New
June 2006 From Publishing Executive
Ask almost anyone in the publishing business a decade ago, and they would have scoffed at the notion of soft proofing for high-end print advertising. Just a few years ago, proofing-by-monitor was widely accepted as a creative tool for early rounds of the review/approval process, but not as a hard-copy, contract-level proof alternative. But, oh, how the landscape has changed, and increasingly, soft-proofing technologies are proving crucial to the magazine and advertising workflow, which continues to be challenged by more time-sensitive schedules and an omnipresent need for better, faster and cheaper print. When time (and money) is of the essence Foote Cone & Belding (FCB) New
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