An old newsstand magazine salesman once said to me, "You wanna sell magazines? Have a cover you wanna kiss." Cover No. 1: In 1976, I was in a circulation meeting in the office of Esquire's legendary, beloved publisher Clay Felker. Suddenly, renowned designer Milton Glaser, co-proprietor of Push Pin Studio, stormed into the meeting unannounced along with a retinue of flunkies. Slamming a design down on Felker's desk
There’s a new Milton Glaser-style T-shirt popping up on the city sidewalks that quips, “I love nerds.” If nerds are cool again—a cool thing being defined by whether or not it warrants a hip T-shirt—then that explains a lot about the fun design of the recent Scientific American Mind acquisition mailer (Archive Code #202-701549-0708B). Aware that the publication’s content needs to stand out just as much as the offer, the publisher opted for a more colorful approach to science with a capital “S.” The mailer’s aggressive creative demystifies the field with “Pop-Up Video” meets text-book design, bringing the editorial to life on the page.
Their work can be all about them Nov. 8, 2005: Vol. 1, Issue No. 46 IN THE NEWS The Book on a Graphics Superhero Mr. Kidd's home is more like a very expensive toy store. It reflects the same graphic punch seen in his book covers, which helped transform the American book jacket from a decorative bit of packaging into a striking evocation of the writing it contained. Its items are arranged like a pocket shrine, as much a carefully curated archive of Mr. Kidd's obsessions and evolving eye as his new book, "Chip Kidd, Book One: Work: 1986-2006," published this month by Rizzoli.
Playing by the old rules—and winning big. In 1981, Beth O’Rorke had been out of work for three months after spending a year as circulation manager for a start-up magazine called Prime Time, which had run out of money. Robert Cohn of the PDC circulation modeling consultancy steered O’Rorke to The Economist, a British magazine that needed someone to take charge of its direct mail, which she could do in her sleep. On her way to the interview with circulation director Peter Kennedy, O’Rorke bought a copy of the publication at a 42nd Street newsstand and blinked in disbelief. Here was a skinny little
by Denny Hatch If any organization has put a stamp on modern direct mail, it's not the U.S.Postal Service, but rather the recently retired, two-man creative team of Pittsburgh-born freelance copywriter Bill Jayme and Finnish designer Heikki Ratalahti. In a four-decade partnership, their stylish direct mail solicitations launched some three dozen magazines including New York, Smithsonian, Bon Appetit, Food & Wine, Cooking Light, Air & Space, Louis Rukeyser's Wall Street, Worth, Saveur, Tufts Nutrition Letter, Mother Jones and the Harvard Medical School Health Letter. In their heyday, Jayme-Ratalahti had a five-month queue of publishers and circulation managers, hats in hand, ready to pony