October 2006 Issue


Behind the Industry’s Push for ‘Responsible Paper Use’

In its June issue, Book Business covered the newly created Book Industry Treatise on Responsible Paper Use, a formal effort to change the book industry’s environmental impact. The treatise reflects the input of 25 industry stakeholders—publishers, printers, paper companies and merchants—and sets industry-wide goals for change. The primary goal: to increase the average use of recycled fiber from the industry’s current 5 percent to 30 percent within five years. So far, the treatise has been signed by 118 publishers, two paper mills and four printers, and supporters are making a significant push to enlist many others. Book Business asked those involved in

BoSacks: What is a ‘Magazine’ in Today’s World?

Are magazines an endangered species? Before I answer the question, I think we need to dissect exactly what a “magazine” is. We know what it was, but this is the digitally infused 21st century. Just a few short years ago, you could instantly recognize what a magazine was from 20 feet away. It was generally rectangular, constructed with ink, paper, glue or staples. It was portable and required no power source. But what is a magazine today? What will it be as we proceed into the digital age of information distribution? As the French writer and philosopher Voltaire once said, “What is madness?

Dave Kamis: Centered on Service

“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

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

Elaine Fry: A Fortuitous Path to Forbes

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

Greatness by Acknowledgement

There is an old saying that goes something like: “If you wish your merit to be known, acknowledge that of other people.” If that’s true, then by the time you’re done reading this issue, I should be one of the most esteemed people in the industry—almost this entire issue is devoted to acknowledging the greatness of others. It’s jam-packed with success stories, and it’s one of the most enjoyable issues we do all year. For starters, this issue’s “Wagoners of Change,” feature showcases this year’s Publishing Executive Hall of Fame inductees (page 18), who are being honored for their career achievements and contributions to

Joe Duncan: Directing Digital Innovation

“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

Printing Execs Inducted Into Hall of Fame

Four new inductees will also be honored this year for their outstanding contributions to the printing industry at the Gold Ink Awards and Hall of Fame Gala. The 2006 Printing Impressions/Rochester Institute of Technology Printing Industry Hall of Fame class includes:James HopkinsPresident/CEOHopkins Printing, Columbus, OHRémi MarcouxExecutive ChairmanTranscontinental Inc., MontrealThomas QuadracciExecutive ChairmanQuad/Graphics, Sussex, WIJesse WilliamsonPresidentWilliamson Printing,…

The 5 O’Clock Split

Nathan Haugh, a prepress technician with Metrocorp—the publisher best-known for Philadelphia Magazine and Boston Magazine—started his career in an old prepress shop manually imposing negatives for paperback books and making bluelines. Since then, he says he’s become progressively more computer-savvy with a keen interest in cutting-edge publishing technology. Now, after 10 years in the industry, he’s preparing material for nearly a dozen of the most popular city and regional publications on the East Coast. Here, he talks with Publishing Executive about his strategies for balancing overlapping production schedules and a hectic workload. What are your responsibilities? Nathan Haugh: I am responsible for preflighting, processing and

The Increasingly Over-Burdened Art Department

It’s often been said that art is subjective. The same could be said about the art process in magazine publishing. While some multi-title publishers believe in one art team for one title, others like to throw the talent at whichever title they can best lend a hand to at the time. Technology has actually been a double-edged sword for the creative department—expediting the print process, but also leading to increased multimedia publishing and marketing, the design of which is often placed on the art department’s plate. Balancing the multiple demands on the art department’s time can be a real challenge. Here’s a behind-the-scenes


Competition was as fierce as ever this year, as the Gold Ink Awards once again recognized the finest print production projects in North America. More than 1,500 entries were submitted to the competition, now in its 19th year, and Gold, Silver, Bronze and Pewter awards were granted in 45 categories. This year’s judging took place over the course of four days in early June at the Philadelphia headquarters of North American Publishing Company—parent company of Publishing Executive, Printing Impressions and Book Business magazines, which host the awards. Judges examined each submission individually, considering the degree of difficulty of the printing. The quality

Wagoners of Change

“It is clear that [they] give a hell of a lot to this industry and don’t get recognized nearly often enough.” This quote, which a top industry executive made about the benefits of the Publishing Executive Hall of Fame, just about says it all. The Hall of Fame—in all of its 16 years—has increasingly played an essential role as the highest honor recognizing the achievements of publishing executives whose careers have not only impacted the companies that have intersected their paths, but the publishing industry as a whole. The inductees—nominated in magazine, advertising and book publishing production by their peers and selected for their

Why, When and How to Redesign Your Magazine

Cluttered? Confusing? Old-fashioned? Boring? There are so many clichés about the look of your publication, and “redesign” is seen as their panacea. Unfortunately, redesigning a magazine is a very difficult process, because every publication is unique unto itself. Its problems are peculiar to its subject, its target audience, its established personality, its writing, the expectations it evokes—you name it. Since it is unique, it is misleading to look at someone else’s before/after redesign, try to figure out what they did and why they did it, and then attempt grafting bits of it you “like” onto your own pub. It doesn’t work. You have to