3D Printing Provider Says a Million-Dollar Product Is Just a Good Design Away

DESIGNERS. Two trendspotting organizations—Trend Hunter and JWT Intelligence—have predicted that 3D printing (aka “tangible printing”) will be one of those technologies that could really take off in 2011.

3D Printed Vase
At Shapeways.com, everyone can make, buy, or sell their own products in more than a dozen different materials, including metal and glass with various finishes.

In a blog post on TechCruch, Joris Peels of the i-materialise 3D printing service predicts that the hardware and software will become more affordable and at least five new 3D printing startups aimed at consumers will be launched this year.

Peels even goes so far to predict that a designer will earn revenues of over $1 million with a single 3D printed product (not a prototype) in 2011. Peels says several designers have earned hundreds of thousands of dollars selling 3D printed items ranging from chairs to jewelry.

He predicts that as “As many designers get more knowledgeable about the 3D printing process, and media coverage increases, a million-dollar hit is only one good design away.”

In September, Shapeways.com, the personalized-production company started by Royal Philips Electronics in The Netherlands, announced that it will be moving its headquarters to New York. As of September, the company was 3D printing more than 10,000 unique products each month, an increase from only 600 products per month in January, 2009. The Shapeways.com online community has more than 50,000 members and more than 1,000 shops, with some shop owners earning more than $1,000 per month selling their customizable products directly to consumers.

If you’re not yet familiar with 3D printing and how it can be used, check out three sites of companies that offer 3D printing or product-fabrication services.

i-materialise

Shapeways

Ponoko

New Forms of Books Mentioned on JWT List of 100 Things to Watch in 2011

JWT LogoWRITERS. When the global marketing-communications agency JWT released its list of 100 Things to Watch in 2011, many items related to the ongoing digitization of content on various media platforms, mass customization, and the rise of microbusiness. According to the JWT report, “Books will take new forms, entertainment will go transmedia, and journalists will become entrepreneurial.”

Writers can use the JWT list as a rich source of cutting-edge story ideas. But several items on the list suggest new formats for publishing content as well as new types of clients for freelance writing.

Here are a few of the items on the list that caught my eye. (You can download the complete 110-page report from www.JWTIntelligence.com)

Breaking the Book

Now that the market for e-books has taken off, JWT expects to see a rethinking of the book format. For example, we might see an iTunes-like market for single chapters of travel guides, anthologies, or textbooks.  Professional writers will be encouraged to fill the niche between magazine articles and books. And, we might also see more serialized works through apps that send subscribers a chapter a week.

Children’s E-Books

JWT predicts a rise in the number of children’s e-books for color-enabled screens, such as the iPad and Nook Color. These dynamic storybooks will enable children to switch from text to educational games and graphics. The JWT report notes that “Traditional children’s publishers such as Random House and HarperCollins have jumped on the bandwagon, as have startups.” Ruckus Media expects to have 26 children’s e-book apps in 2011, with 75 more in the works.

Entrepreneurial Journalism

The next generation of journalists is being trained to launch their own enterprises by pulling together traditional journalism with business and technology. For example, the Tow-Knight Center for Entrepreneurial Journalism at the City University of New York is offering a two-year master’s program in which students can study media across all platforms: digital, broadcast, and print. Courses in the program focus on the business of managing media and the study and creation of new media business models. The school also offers a certificate in entrepreneurial journalism for midcareer journalists who have worked in the traditional, mainstream media and understand they need new skills.

Long-Form Content

As blog posts and news items have shrunk to fit our attention spans, JWT trendspotters believe the novelty of long-form journalism will stand out and more readers will turn to mobile devices, e-readers, and computers to access it. JWT cites innovations such as Longform.org, Longreads, Instapaper, and Treesaver.

Storied Products

As consumers look for a personal connection to brands, expect to see more companies play up the people and stories behind their products. It could be everyday employees, the people who produce the ingredients, or the owners of small businesses.

Transmedia Producers

Transmedia is defined as “the art of communicating messages, themes, and story lines to mass audiences through the strategically planned use of multiple transmedia platforms.” The Producers Guild of America describes the job of transmedia producer as overseeing a project’s long-term planning, development, production, and/or maintenance of narrative continuity across multiple platforms, and the creation of original storylines for new platforms.

Digital Downtime

Because so many items on the JWT list seemed techno-centric, I was pleased to see that JWT’s director of trendspotting Ann Mack expects a bit of a backlash against all things digital. She notes that “To balance our growing immersion in the digital world, people will increasingly embrace face-to-face gatherings and digital downtime.”

Digital downtime is described as “mindful breaks from digital input, intended to relieve stress and foster creativity.”

Sales and Marketing Execs Are From Mars; Creative Pros Are From Venus

By Eileen Fritsch

Book Cover The Creative ProfessionalFive years ago, Emmis Books sent me a review copy of “The Creative Professional: A Survival Guide for the Business World” by Howard J. Blumenthal. It was billed as “a book to help right-brained people survive in left-brained world.” The press release noted the same personality traits that give certain people a creative edge can also cause turbulence in a corporate atmosphere.

That statement grabbed my attention because the editors, writers, art directors, and photographers I worked with on magazines seemed increasingly at odds with the publishers, sales reps, and bean counters who set our budgets and marketing strategies.

In 2005, the painful, disruptive transition from print to online media was just beginning to ramp up. Our editorial staffs were already lean. It didn’t help that our art and editorial budgets were slashed even further as print-advertising buyers began diverting big chunks of budgets to developing websites, internal databases for email marketing, and emerging forms of online media.

We stopped hiring photographers, illustrators, and freelance writers. We started using cheap stock photography and more advertorial-like feature stories freely supplied by PR agencies. To make matters worse, every staff writer and designer was expected to produce more content—including websites, books, conference workbooks, and promotional materials.

As the quality of our work began to suffer, the creative pros started complaining. Some of us passionately believed that short-sighted business decisions were undermining the overall quality and value of our editorial products. And we predicted it wouldn’t take long for readers (and potential future advertisers) to notice.

Blumenthal’s book helped me understand why it was perfectly natural for the creative pros on the staff to feel so argumentative. The book also explains why business people consider creative pros difficult to manage.  While our innate ability to think and see things differently can be a great asset to businesses seeking innovative solutions to new problems, business-focused people don’t always see it the same way.

For example, traditional business people see their mission as generating profits. They consider sales as the most important aspect of any business.

Conversely, creative professionals generate value (which is far more difficult to quantify than quarterly profits). Creative pros see business as a holistic system and believe sales will succeed if the entire system works properly.

Blumenthal admits that working with creative professionals “is no picnic.” Many managers don’t understand our nonlinear thought processes and what motivates us. Whereas many employees like the security of a paycheck, benefits, and sense of community, creative pros are typically driven by three other needs: 

  • the need to know, understand, and explore;
  • the need to constantly learn and improve our techniques and skills; and
  • the need to derive part of our self-image from our work.

So why do some creative people do well in a corporate environment while others struggle? Blumenthal says it’s not simply a matter of skill. He contends that “A creative professional who takes the time to understand the company’s operations and manages projects accordingly will be far more likely to win the business game than a creative who simple writes with talent and skill.”

In the book, Blumenthal lists seven key attributes as crucial to success:

  • a keen understanding of the marketplace
  • abundant self knowledge
  • the ability to engage others in your creative work
  • the right combination of integrity and cooperation
  • the willingness of others to work with you (based on track record, industry reputation, personality, and quality of the opportunity)
  • your ability to raise necessary resources and/or support

As Blumenthal puts it: “The creative process does not exist in a vacuum. Instead, you are part of a community. The way you behave as a member of that community will affect your success more profoundly than your ability to dance, juggle, sculpt, arrange the horn section, or any other skill-based endeavor.”

Much has changed since Blumenthal’s book was released.

Media channels and platforms for online marketing have multiplied. Print publications that failed to develop effective online strategies are being forced out of business. Corporate marketing managers are under tremendous pressure to do more with less, while producing measurable returns on every expenditure.  New forms of analytics have made it increasingly easy to pinpoint exactly which forms of communications are generating the most bang for the buck.   

Blumenthal’s book primarily focused on helping creative professionals succeed as full-time employees in a corporate environment. But he points out two other ways creative professionals can earn a living:

  • working for multiple clients; or
  • selling work to the public, either directly or through a publisher or distributor.

Happily, the transformation from print publishing to online publishing and communications has made it far easier for creative professionals to develop a broader base of clients and/or sell more of their work directly to the public.

However, if creative pros want to work with a broader base of clients or sell directly to the public, there is one big drawback. We must develop some of the sales and marketing skills and financial discipline that seem to come so naturally to the profit-minded left-brained business people.

Creative Careers Are Converging

By Eileen Fritsch

The reason this blog covers four creative professions is because it’s no longer enough to simply be a writer, photographer, designer or artist. Creative pros today must have at least some proficiency in some overlapping disciplines. It’s important that we understand what resources exist for updating and expanding some of these complementary skills.

Let me explain how I saw this convergence of creative professions come about.

When I started editing digital-printing trade magazines in the mid-1990s, our publishing company routinely hired freelance photographers, illustrators, writers, and graphic designers. Working on these collaborative teams of creative professionals was stimulating and exciting. The ideas and energy flowed.

Still, we each had a distinct role to play in the tightly scripted workflow that dictated our deadlines. Our workloads were fairly consistent and predictable from one issue to the next.

Changes started to occur in the early 2000s when the advertisers in our trade publications started redirecting some of their marketing funds toward website development and online media. As our magazine production budgets tightened up, everyone on the staff was asked to do more with less support from outsiders. So we started using more stock photography and free articles from consultants and PR agencies. Thus, the freelance writers and photographers we previously hired had to look elsewhere for assignments.

Some freelancers coped by diversifying their range of services and developing new skills.  For example, one of my most talented freelance writers taught himself HTML, Flash, Dreamweaver, and other software programs and started offering website development services.

Over the past 15 years, most creative professionals have faced similar challenges and recognized the need to cultivate a wider range of production and self-promotion skills.

Some of the most in-demand creative pros I have met have learned how to blog and write news releases, shoot and edit photographs, create slideshows and videos, present seminars, and design books, posters, and other materials. They are constantly learning, networking, and refining their services to adapt to the changing demands of the marketplace.

What I admire most about these successful pros is that they never lose sight of what really matters. Despite all the time and effort required to continually network and market themselves, the most in-demand creative pros steadfastly refuse to allow the quality of their art to slip. As much as they enjoy learning new skills, ultimately, they understand that their art is a core part of who they are, and is what will distinguish them in the marketplace.