Building "BRIDG"es
October 12, 2001

Until recently, jobs in the graphics arts industry were highly specialized and design expertise was left to a small few of skilled craftspersons. But as electronic—or desktop—publishing began to grow rapidly, more often, color control, proofing and workflow knowledge became a requirement for practically everyone involved in the printing and publishing process. Art directors, designers, service bureaus and prepress suppliers each embarked on what would become state-of-the-art production practices replete with sometimes advanced lingo and technological prowess. Not having an integral foundation in these parts could therefore mean missed deadlines, expensive mistakes and poor-quality end products—problems that trickle into virtually every aspect of the

Wizards of the Coast
August 1, 2001

When I first met John Dunn, it was in a tiny, stale room on the fourth floor of the Marriott Marquis in New York City. I'd corresponded with him for a few months, after he generously offered to come and speak at our MagazineTech conference. John originally piqued my curiosity by proclaiming that he'd taken his pubs CTP (computer-to-plate) and he was able to save money in the process. Needless to say, I was compelled to learn more. And during our subsequent conversations, I learned that he had quite a remarkable story to tell. He exudes passion for making magazines, and during a

Defending the ASP
July 27, 2001

On July 6, 2001, the editors of PrintMedia InBox interviewed Xinet CEO Scott Seebass about ASPs in "UnScripted." In response, the following Q & A features printChannel's CEO Oliver Pflug. PrintMedia InBox: How do the mergers and acquisitions within the ASP market affect the broader mission of the model? Oliver Pflug: I think what's going on in the market place helps the ASP model. It has to do with the notion of scale. The ASP model assumes that you have a lot of customers running on the same hardware and software. The current acquisitions help concentrate market demand with fewer suppliers becoming more viable.

Luck Be a Lady
May 1, 2001

Luck may be defined as good fortune, but any avid shopper knows that in order to find good fortune, one has to know where to look. That's why Conde Nast launched Lucky, its latest magazine designed for the shopper who has one foot in the office—and the other in Macy's shoe department. What sets Lucky apart from other estrogen-driven magazines is time. Fact: It takes time to shop. Fact: It also takes time to read a publication about shopping. But Lucky courts consumers on the move with eye-catching graphics on loaded pages. According to the publication's production director, Billy Williams, Lucky's layout favors frenetics

Not Just Business As Usual
April 1, 2001

The Industry Standard was conceived with a single dogma in mind: The Internet is the death of "business as usual." The publication's resounding success even in its infancy, caused a business model explosion for its parent, Standard Media International, breeding first TheStandard.com, a daily online resource for Internet business strategists and the pan-European, English-language, The Industry Standard Europe, launched in October 2000. The magazine's style is crisp, precise and manageable, with a fine balance of copy and graphics. The editorial is focuses on e-conomy. It breathes high-tech, think-way-outside-of-the-box verbage that reads like plain English. The aesthetic is calculated and commands loyalty from its

Newsstand and Deliver
January 1, 2001

This year's election proved to be an all too painful reminder that making predictions can be a very risky business. Dating back to the introduction of radio and then T.V., a dire future has been predicted for magazine publishing time and time again. All the while, the number of titles and total page counts has continued to rise. So far, the same trend is shaping up for the warnings sounded about the impact of the Internet on printed publications. The Internet actually has had the opposite effect on the market, with Internet-related titles being one of the fastest-growing categories and Websites/companies spending big

Six Degrees of Michael Arpino
October 1, 2000

The Hall of Fame induction nominations came flooding into P&PE's editorial offices as early as March this year. And to no great surprise, several votes punctuated the fact that Michael Arpino has many friends in the industry. In fact, even those who don't know him personally seem to know of him—a phenomenon often associated with the notorious. But Arpino is not known for being notorious. He's regarded for his sincerity, his accomplishments and his willingness to share his success with others. David Orlin, senior vice president of operations, Fairchild Publications, New York City, recalls how his friendship with Arpino began. "I've known Michael for

Going Deep
March 1, 2000

Propelled by efficient, picture-perfect production, Sports Illustrated dives into 3-D with SI Swimsuit 2000. Once a year, Sports Illustrated throws readers a curveball, tempering the weekly magazine's hard-line athletic focus with a touch of the aesthetic—and the aquatic. Unlike a typical off-speed pitch, however, SI's annual Swimsuit Issue is neither unexpected nor unwelcome; on the contrary, it's a perennial hit with recipients. The Swimsuit concept first appeared as a single pictorial feature, "A Skin Diver's Guide to the Caribbean," in the January 20, 1964 issue of SI. The magazine's purpose, explains Diane Smith, senior editor, Swimsuit Issue, was to provide an escape from

June 1, 1999

The "Hardest-working team in football" award is often bestowed upon the team that captures the world-championship Super Bowl trophy each January. With the 1999-2000 football season nearing, the hardest-working team just may be the folks behind the scenes, those who enable die-hard fans to enjoy the total football experience, the National Football League's production staff. Special team With an in-house, Los Angeles-based staff of six art directors and three print production/manufacturing members, the NFL scores an annual touchdown by miraculously producing hundreds of print projects each season. From business cards to stadium programs, from marketing kits to coffee-table books, the NFL's production and manufacturing

Christopher Meigher's Communications
May 1, 1999

It takes a special person to become a true entrepreneur. Most entrepreneurs share common personality traits, including drive, motivation, guts and passion. Christopher Meigher possessed all these characteristics and one additional attribute—an innovative idea. The making of an entrepreneur Christopher Meigher's publishing career was launched upon his graduation from college, when he accepted a position with media conglomerate Time Inc., New York City. Throughout his Time Inc. tenure, which spanned more than 23 years, Meigher's professional focus ebbed and flowed between numerous Time Inc. divisions, including acting as CEO for Time Distribution Services (at which time he built upon the publisher's newsstand business model)