Publishing

Worth Magazine Rebrands Itself

Worth

In a year when more than 100 major newspapers and nearly 500 magazines have reportedly folded in the United States alone, it is interesting – if not reassuring – to note that some publications are striving to reinvent themselves. The 18-year-old Worth magazine, acquired by Sandow Media in 2008, has adopted a new revenue model, along with a new tagline “The Evolution of Financial Intelligence.” Now published bi-monthly, Worth has become a controlled circulation magazine, mailed free to a database of 110,000 high-net-worth households in major markets. It offers no subscriptions but sells a limited number of individual copies at $18.95 per issue primarily at select newsstands in private airports. In addition to the sale of advertising, the magazine essentially relies on thoroughly vetted wealth advisors to underwrite the publication in exchange for the opportunity to write articles in the leading advisors section of the magazine.

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Photography

Photographer as Entrepreneur:
The End for Rodney Smith

The End

There are assigned projects and self-generated projects that you do for the love and joy of it. Ten years in the making, The End (Is Just the Beginning) by photographer Rodney Smith is pure passion, wit and style …a total delight. The pleasure Smith took in producing this book comes through on every page. The 16×20 inch, 15 pound tome is hardbound on imported linen with a hand-printed silver gelatin photograph on its slipcase. The design by David Meredith and text by Walter Thomas beautifully mirror and play off the whimsy and elegance of Smith’s black-and-white photographs. Smith, whose editorial and commercial clients range from the New York Times to GQ, Starbucks to Visa, documents a surreal world with a photojournalist’s eye. The End was published by Smith in a limited edition of 1,000 copies, with each signed copy priced at $750.

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Publishing

Electronic Popable Books from MIT

Pop-ups — or books with mechanical or movable parts – have been around since at least the 13th century. Designed so that images rise up from the page when the reader lifts a flap or moves a tab, pop-up books have been a special niche of publishing, partly because they are so labor intensive to produce. Once written and illustrated, the story has to go to a paper engineer to layout pages with nesting pieces so that the sheet can be run through a press. The nesting pieces then have to be die-cut, collated and assembled by hand. Dozens of workers are often needed to fold, insert paper tabs into slits, connect paper pivots, glue and tape, all to produce just one book. That was yesterday. Now thanks to students Jie Qi, Leah Buechley and Tschen Chew from MIT’s High-Low Tech Group, a few more specialists will need to be added to the production team. Electronic popables integrate paper-based electronic sensors that allow amazing interactivity — turning on lights and moving images at the touch of a finger. Will it catch on or will the line between printing on paper and electronic media become so blurred that consumers will opt to watch the story on a screen?

Publishing

Approved by Good Housekeeping
and Ladies’ Home Journal

Good Housekeeping

For the past century, the Good Housekeeping magazine Seal of Approval has been a hallmark of reliability for household goods. Run through a battery of performance tests by the Good Housekeeping Research Institute, each endorsed product has been backed by the magazine’s two-year limited warranty. Good Housekeeping’s oval-shaped Seal, which has gone through nine design updates since it first appeared in 1909, has been coveted by product manufacturers and proudly displayed on packaging. Now the magazine has rolled a Good Housekeeping Green Seal of Approval, based on metrics that evaluate a product’s composition, manufacturing, packaging and other attributes from an environmental standpoint.

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Illustration

iPhone Art Comes of Age

NYT iPhone Cover

The days of artists conspicuously sketching and painting on drawing pads or at an easel may be over. All the tools that one needs are available in a palm-sized iPhone; passersby don’t know if the person is text messaging or creating a digital masterpiece.

Artist Jorge Colombo, who used the Brushes app to create the first iPhone-illustrated cover for The New Yorker’s June 1 issue has done it again with the Manhattan skyline at night on its November 16 cover. Although Colombo arguably can be called “the father of iPhone art,” he has owned an iPhone only since February 2009 and started “finger painting” using the Brushes app after that. Thanks to Colombo and a few other pioneers, what just was a cool Internet Café “parlor trick” to amuse geeky friends a few months ago has become a serious art medium. This week’s Huffington Post is even featuring iPhone drawings submitted by readers. The variety of styles, nuances of colors, level of detail and sophistication are amazing to behold.

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