alight with wonder: the reinvention of little golden books
DESCRIPTION
Not long ago, in a land not too far away, Little Golden Books were in trouble. That was before they became Golden Media. Golden Media gives children stories that can be read, told and lived. We never lose touch with our inner child. Our best friend, Filia the Firefly helps us with that; she's our best friend. Our stories spark in children a sense of delight, possibility and wonder. Kids don't just read our stories; they live them, too. We're not just Golden Books. We're Golden Media.TRANSCRIPT
the reinvention of little golden books
chapter one ....................................................08
the story of little golden books
chapter two ....................................................20
the story of golden media
chapter three ................................................. 37
the story of filia the firefly
chapter four ...................................................60
the stories golden media tells
chapter five ....................................................94
the story's conclusion
table of contents
chapter one:
the story of little golden books
710
children’s books were expensive and fragile. In fact, one could say these
books weren’t made for children at all.
Back in 1941, children’s books normally sold for $2-$3; they were a luxury
for many families. This didn’t sit well with George Duplaix, president of the
Artists and Writers Guild, Inc., so he began developing a colorful children’s
book that was durable and affordable for most American families.
Thus, when Little Golden Books launched in 1942, they changed pub-
lishing history. Little Golden Books were designed to be sturdy (a new
concept), delightfully illustrated, and to be sold not only in bookstores,
but department stores and other chains (another new concept). For the
first time, children’s books were high quality and low-priced; the first
books were only 25 cents each. They were available to almost all chil-
dren, not just a privileged few.
Little Golden Books, now known simply as Golden Books, have endured
since then and in 2012 will celebrate 70 years of publishing.
not long ago, in a land not far away,
811
712
The Poky
Little Puppy
Simon & Schuster
publishes the 12 original
Little Golden Books: The
Poky Little Puppy, Three
Little Kittens, Bedtime
Stories, The Alphabet A-Z,
Mother Goose, Prayers
for Children, The Little
Red Hen, Nursery Songs,
The Golden Book of Fairy
Tales, Baby’s Book, The
Animals of Farmer Jones,
and This Little Piggy.
The books sold for 25
cents each, a price at
which they remained for
more than two decades.
Doctor Dan, The
Bandage Man
Doctor Dan, The Ban-
dage Man is released
with Johnson & Johnson
Band-Aids glued to the
right side of the title page.
This marked one of the
first ventures into book
and product joint packag-
ing. The first printing was
1.75 million — the largest
first printing of any Little
Golden Book to date.
Bozo the Clown
In the early 1960s, many
of the most popular
Golden Books were those
that featured characters
from Saturday morning
television shows. Titles
included Bozo the Clown,
Huckleberry Hound
Builds a House, The
Flintstones and Yogi Bear,
A Christmas Visit.
In 1962, Golden Books
raised their price for the
first time, to 29 cents. It
would increase four more
times in the following
twenty-four years: to 39
cents in 1968, to 59 cents
in 1977, to 89 cents in 1982
and to 99 cents in 1986.
1942 1951 1961
a story for all ages
813
A Child’s Year
Despite turmoil, Golden
Books stuck to its mission
of providing all children
with quality, colorfully
illustrated books. They
continued to partner with
established children’s
books authors and
illustrators and, in 1992,
released A Child’s Year by
Joan Walsh Aglund.
Also in 1992, Little Golden
Books celebrated their
50th anniversary. In rec-
ognition of this milestone,
a permanent exhibit was
given to the Smithsonian
Institution, “Little Golden
Books and American
Culture 1942-1992.”
One Monster
After Another
The 1970s were a turbu-
lent decade for Golden
Books, as the company
underwent leadership
shifts and the country
experienced economic
hardship. As a result,
Golden Books’ status as
a platform for launching
brilliant careers in illustra-
tion waned dramatically.
Mercer Mayer made an
awkward debut during
this period with his One
Monster After Another,
which drew wide criticism
for its resemblance to
Maurice Sendak’s Where
the Wild Things Are.
The Good-by Day
Golden Books was again
tested during the 1980s as
their leadership struggled
to reconcile a marketing-
based approach to pub-
lishing with an editorially-
based strategy.
The epitome of this con-
flict came in 1984 with
The Good-by Day, a story
about two best friends,
one of whom was about
to move. After seeing the
cover, which depicted
the girls, one white and
one black, an editor
questioned the book’s
rationale, arguing that
“we never see white chil-
dren and black children
playing together.”
1975 1984 1992
The Boy and
The Tigers
The classic line’s success
was not enough to keep
the publisher out of
financial trouble. In 2001,
Golden Books, which
had filed for bankruptcy
two years earlier, was ac-
quired by Random House
and Classic Media.
The new owners sought
to breathe new life into
the aging publisher with
books such as 2004’s
The Boy and the Tigers.
It was a return to simpler,
less imposing books that
aimed at achieving a
child-centered focus.
2004
714
815
That said, it’s important to note that the latter half — or perhaps latter
two-thirds — of Golden Books’ life has not been nearly as bountiful as its
first 20 years. The publisher struggled to remain relevant as the social and
technological developments impacted the public’s expectations for chil-
dren’s entertainment. Instead of evolving with the industry, Golden Books
adopted a strategy of doing one thing well, publishing books. In other
words, Golden Books was not providing consumers what they desired.
To further compound the problem, these same social and technological
developments threw the print media industry as a whole into a tailspin.
As digital platforms became an integral part of parents’ and children’s lives,
Golden Books’ flagship product became less desired, useful and relevant.
As a result, Golden Books have become a passive participant in the chil-
dren’s entertainment market. The company has become so concerned
with survival that it has long abandoned practical and aspriational growth.
The one-time leading innovator in children’s publishing has become staid
and nostalgic, a fact that is reflected in the brand's current look and feel.
little golden books: current brand position
it is golden’s time to turn the page…
and re-embrace childlike wonder.
chapter two:
the story of golden media
722
As previously stated, Golden Books began with one simple goal: to publish
cheap, durable books that contained colorfully illustrated, well-told stories.
While this is still an admirable goal today, it is too common and narrow to
make Golden Books a competitor in the children’s entertainment industry.
Even Random House, Golden Book’s current parent company, has an
extremely narrow focus. Instead of generating products that engage chil-
dren across all levels, the publisher’s children’s division remains committed
to “creating books for preschool children through young adult readers,
in all formats from board books to activity books to picture books and
novels,” according to its website.
golden books is now golden media
823
724
825
The means and goals of children’s entertainment have changed. A book,
for instance, is more than a plaything that occupies a child's attention.
Enjoyment is derived from interacting with and learning from the content
in various formats.
In other words: Children don’t just read stories. They live them, too.
Golden Media has recognized and responded to the aforementioned
changes. This rebranded company will be a leader in children’s entertain-
ment, providing children with a comprehensive entertainment experience
with room to learn, play and grow.
Golden Media will adopt a new mission statement that encompasses
these new market characteristics while remaining true to the original firm’s
goals. The mission statement is as follows:
our stories belong to children…
we light their imagination and animate their wonder.
we light their imagination and animate their wonder.
730
Golden Media will not treat large publishing companies, such as Scholastic
or HarperCollins, as its main competitors. These firms produce children’s
books, yes, but they do not embody one character or set of stories. They
are not as focused as Golden Media strives to be.
Instead, Golden Media will directly compete with other children’s series.
These will include both established and emergent series, such as:
• Junie B. Jones
• Berenstain Bears
• Curious George
• Dr. Seuss
• Elephant and Piggie
• Eric Carle
• Otis the Tractor
• Pete the Cat
• Skippyjon Jones
• Thomas The Tank Engine
Disney, Sesame Street and Nickelodeon are notable exceptions from this
list, even though each has a popular children’s book line. While their goals
may be in line with that of Golden Media, their main character-building
mediums are not. Sesame Street, for example, primarily tells its stories
through its TV show; its books are merely an extension of that. Golden
Media, like Dr. Seuss, does the exact opposite and will look for ways to
apply its storybooks to new mediums.
golden media: brand projection
831
Low price
Low quality High quality
High price
Skippyjon Jones
Otis the Tractor
Pete the Cat
Eric Carle
Elephant and PiggieDr. Seuss
Berenstain Bears
Curious GeorgeThomas the Tank Engine
Golden Books (Before)
Junie B. Jones
Golden Books (After)
732
This is Michael
Michael is a 20-, almost 30-something freelance web
developer. He is a single, freewheeling Chicagoan, but
he’s a family man at heart, ultimately staying close to
where he grew up in the Northwest suburbs. Michael is
the middle child, with a younger brother who’s a senior
in college and an older sister who just had her first baby.
Michael knows he has to get his nephew a gift (because
his mom told him so), and he wants it to be a good one.
His friends don’t have kids — they aren’t even married, or
dating, for that matter — and he doesn’t want to go to his
mom for more advice. Ultimately, he decides to rely on
what he knows, turning to toys from his own childhood.
who is golden media's audience?
833
This is Mrs. Gunz
She’s known she was going to be a librarian since the
fi rst time she was dropped off at the public library’s story
hour. It’s what sparked her interest in reading and writing.
She thought, for a brief moment, about becoming an
author, but Mrs. Gunz knew libraries were the better, safer
choice. After college, she got a job at her elementary
school library, and she’s worked there ever since.
Children weren’t in the cards for her and Mr. Gunz, a fact
she’s come to terms with over the years. She committed
herself to work instead. She sees it as her responsibility
to stay on top of trends in parenting and children’s litera-
ture, even if they’re not part of her personal life.
This is Elizabeth
Her parents and 3-year-old sister call her Lizzie, but she
doesn’t like that. After all, she’s almost fi ve and a half now,
and Lizzie is a baby’s name.
She just started kindergarten, and she’s pretty proud to
be in the “Bluebirds” reading group. She can’t believe the
“Sparrows” are still working their way through The Saggy
Baggy Elephant !
Elizabeth hopes her little sister will be as good — but not
better — at reading. She enjoys teaching her, especially
with The Saggy Baggy Elephant. Sometimes she’ll steal
the book back and read it by herself. She always returns
it, though. After all, she’s almost fi ve and a half now, and
that’s a baby’s book.
734
This is Dr. Sara Mijares-Smith
Dr. Mijares-Smith has five degrees: one bachelor’s, two
master’s and two doctorates. She doesn’t like to brag,
so she usually only notes that she’s the world’s leading
researcher and doctor of child behavior development.
The doctor and her husband once considered having
children; they decided against it, reasoning that the world
would benefit far more from their work than their off-
spring. Besides, how could she bring a baby into a place
that is completely devoid of the proper child-rearing
tools? It would be wrong to subject a tiny, innocent hu-
man to such a mediocre fate. Maybe they’ll adopt after
she’s invented the proper tools.
This is Logan
Logan can barely sit still right now: tomorrow is his first
day of preschool. He can’t figure out why Mom looks like
she’s going to cry, though. Preschool sounds like fun!
The older boy who lives next door said recess will be the
best part, but Logan’s most excited for story hour. He
loves being read to; it’s one of the only things he knows
will be the same at both his mom’s and dad’s houses.
Sometimes, they let him sound out the words and try
to read along. And, pretty soon, he’ll be reading all by
himself. It looks like so much fun!
835
This is Meredith
Meredith is one of those pregnant women who glow.
Strangers unwittingly touch her belly and coo over what
a great mother she’ll be. She smiles because she knows
they’re right. She’s read all the books and taken all the
classes. She’s done everything possible to ensure that her
child, if he or she wants to, will be the next president.
She knows she’ll provide emotional support, but she wor-
ries about fulfilling her baby’s financial needs. Growing
up is expensive, and she’s looking for ways to save money
without sacrificing her child’s development.
This is Evan
His parents will tell you that he just learned how to say his
name correctly, though he’s pretty sure “Eban” was right
all along. His parents also will tell you that all of his toys
are worthy of being played with; he’s pretty certain some
are better than others.
Evan will tell you that he’s too old to ride in the Target
shopping cart; his parents concede, as long as he doesn’t
wander away. He’ll tell you he can select what goes in the
cart; his parents emphatically disagree.
Evan often gets frustrated with Mom and Dad. Rarely
do they see that he’s right. Except when it comes to a
bedtime story. Everyone, even parents, knows The Poky
Little Puppy is best.
chapter three:
the story of filia the firefly
738
Few things unleash a child’s sheer, unbridled delight as a lightning bug.
Fireflies, which are a rare and remarkable sight, are at once dumbfounding
and precious. They are symbols of freedom, inspiration and covetability.
They perfectly embody Golden Media’s mission.
Golden Media’s firefly emulates the doodles a child would draw when
coloring at home or with friends. Its abstract simplicity is purposeful: It is
relatable to all and encourages children to assign their own story to the
bug, thus sparking their imaginations.
Named Filia, meaning "friendship," Golden Media's firefly personifies the
company and helps bring its stories to life.
filia is the symbol of golden media
golden media: symbol inspiration
839
740
Just like Golden Media, it is important to Filia to respect all sorts of com-
munication and entertainment platforms. To ensure that she achieves
maximum impact, Golden Media has arranged two versions of the logo,
each optimized for use in specific mediums.
The primary version of the logo, in which Filia sits on top of the word
Golden, is to be used in print applications. The secondary version, in
which Filia sits to the right of the words Golden Media, is to be used in
web applications, such as the corporate website.
golden media: logo versions
841
filia in
filia on
the web
742
As the symbol of Golden Media, Filia appears in a wide variety of places.
Many consumers will recognize her from the spines and covers of books
and other Golden Media products. This is how the company communi-
cates its mission to consumers.
To show that Golden Media’s corporate culture ascribes to the same
values, Filia also appears on the company’s official business stationery,
including letterhead, business card and envelopes.
golden media: business stationery
843
1745 broadway
new york, ny 10019
1745 broadway
new york, ny 10019
212-789-9000
December 14, 2011
Mrs. Kirstin Siegler
1671 Claremont Avenue
Schaumburg, IL 60193
Dear Mrs. Siegler,
This is further to our meeting of last week at which we agreed to hold a series of meetings
over the next two months to review your experiences with the pilot implementation of the
One-to-One Customer Relationship Management Program.
As discussed at that meeting, the objectives of our review sessions will be to: review and
assess the overall effectiveness of the program; identify and document strengths weak-
nesses of the program; propose customer-focused solutions to address areas of weakness;
develop an approach and action plan for Phase 2 of the project; determine the staff mem-
bers who will make up the Phase 2 Team.
As agreed, meetings will be held every second Tuesday from 9 a.m. until noon, and the
location will alternate between our two offices, the first one to be convened here at
Inter-Office on January 14, 2012. Fred Johnson of your CRM group is to act as the meeting
co-ordinator and recording secretary throughout the process.
As discussed, at the end of the process, Deborah Buxton of Consultek will draft the sum-
mary report for review by the steering committee.
I trust I have covered all of the points that we discussed. If you have any questions or would
like to add anything please give me a call at 745-9878.We look forward to seeing you at the
Jaunary 14 meeting.
Sincerely,
Ruthie Napier
Editorial Director
our stories belong to children.
ruthie napiereditorial director
p : 212-789-9000 f : 212-789-9010
1745 broadway new york, ny 10019
www.thenewgoldenbooks.com
744
Filia also is a prominent feature on Golden Media’s website. The website,
www.thenewgoldenbooks.com, is a hub for both consumer and corpo-
rate interests. Filia helps ensure that all kinds of visitors are served, bridging
the gaps between participants in publishing industry, curious parents and
enthusiastic young children.
golden media: website
845
we became the best of friends
we’ve been inseparable ever since
we’ve been inseparable ever since
750
Golden Media’s logo is made up of two parts: the symbol (Filia the Firefly)
and the wordmark (the company name).
The symbol is to be used in conjunction with the wordmark in nearly all
applications. There are only two exceptions: when used on book spines
and as icons for the web and digital media.
In contrast, the wordmark should always be used in conjunction with the
symbol. The wordmark should never appear on its own.
Using the measurement M, when M equals the cap height of the M in the
wordmark when used at its largest, the logo should never be used larger
than 12 2/3 M. The logo should never be used smaller than 3 3/4 M.
golden media: logo usage and standards
filia insists on playing by the rules
851
12 2/3 M
M
3 3/4 M
752
5/4 M
M M
M M
1/2 M
1 7/8 M
853
Using the logo has strict anatomical guidelines. To explain these rules,
we’ll again use the unit M.
For example, take the logo’s clear space, or the amount of breathing room
Golden Media’s logo requires for clarity and maximum impact. No image,
text or object may be placed closer than one M away from the logo.
The word Golden is 5/4 M below Filia’s glow. The word Media is 1/2 M
below the word Golden’s baseline.
The symbol is “flying” at a 60-degree angle so that the outer tip of the left
wing is aligned with the letter D in the word Golden, and the crest of the
right wing is aligned with the letter N. This means that the edge of Filia’s
glow is 1 7/8 M from the letter N.
golden media: logo clear space and anatomy
754
Golden Media’s branding uses four typefaces. Each has a specific purpose.
Archer
Archer is a slab serif typeface designed by Hoefler & Frere-Jones. While it
has a variety of weights, Golden Media uses only its Medium and Light.
It is to be used in Golden Media’s wordmark and logo and nowhere else.
MrMoustache
MrMoustache is a display typeface designed by Georg Herold-Wildfellner
in 2011. Its characters’ handwritten qualities echo the brand’s friendly and
imaginative tone. MrMoustache is used only for headlines and is set in
large point sizes and in small quantities.
Museo Slab
Museo Slab is a slab serif typeface designed by Jos Buivenga in 2009.
It comes in a variety of weights, but Golden Media only uses it in bold.
Museo Slab 700 is used for headings and subheadings.
Museo Sans
Museo Sans is a humanist sans serif typeface also designed by Buivenga.
It was designed to be a complement to Museo Slab and comes in a variety
of weights. Golden Media uses Museo Sans 100 for its text type.
golden media: typefaces
855
abcdefghijklmnopqrstuvwxyz
abcdefghijklmnopqrstuvwxyz
abcdefghijklmnopqrstuvwxyz
abcdefghijklmnopqrstuvwxyz
756
Golden Media uses a five-color palette, with three primary colors and two
secondary colors. These colors reinforce the brand’s tone, look and feel.
The three primary colors, solar flare, golden glow and fresh cement, are
featured prominently in the symbol and wordmark. For example, golden
glow is used for Filia’s body and inner glow and solar flare is used for her
wings. The words Golden Media are in fresh cement.
The two secondary colors are used as accents throughout the branding
system. For example, inner warmth is used in Filia's outer glow, while
washable marker is used to denote headers and subheaders in official
documents, such as this brand guide.
golden media: color palette
857
primary
colors
secondary
colors
c : 0 m : 55 y : 85 k : 0
r : 245 g : 140 b : 60
hex: F5963C
pms coated: 1585
pms uncoated: 1585
pms matte: 1585
c : 0 m : 15 y : 95 k : 0
r : 255 g : 210 b : 30
hex: FFD21E
pms coated: 116
pms uncoated: 116
pms matte: 116
c : 15 m : 20 y : 20 k : 50
r : 125 g : 115 b : 115
hex: 7D7373
pms coated: cool gray 11
pms uncoated: cool gray 11
pms matte: cool gray 11
c : 0 m : 30 y : 80 k : 0
r : 250 g : 185 b : 75
hex: FAB950
pms coated: 136
pms uncoated: 136
pms matte: 136
c : 60 m : 5 y : 5o k : 0
r : 105 g : 185 b : 150
hex: 69B996
pms coated: 3395
pms uncoated: 3395
pms matte: 3395
golden glowsolar flare fresh cement
inner warmth washable marker
758
how should filia never ever be used?
Filia should never be flying
any direction but to the right.
Filia should never be
stretched vertically.
859
Filia should never be used
with text in washable marker.
Filia should never be used in
alternate color combinations.
Filia should never be
stretched horizontally.
Filia should never be skewed
or distorted in any way.
chapter four:
the stories golden media tells
762
Golden Media will shift its focus to engaging and educating kids across
multiple platforms. It will become more than a publisher and expand
to use various media, products and activity programs.
Golden Media will no longer be a passive participant in the children’s
entertainment marketplace. It will stop lending its signature spine to com-
peting characters and actively tout its own original stories. Golden Media
will reclaim, and build upon, Little Golden Books’ iconic identity.
It will respect its past but function in the present. This will require updates
on every level of its operations, including book design. For example, the
classic primary colors of Golden Books have been replaced with a less
abrasive, friendly palette that celebrates modern childhood.
Golden Media also will look to the future. It will entertain and educate
children through various platforms, such as television, DVDs and board
games. Furthermore, it will help children grow, making their dreams
tangible and accessible with products such as plush toys and Halloween
costumes and experiences such as art classes, writing workshops,
traveling stage shows and amusement parks.
stories are read, told and lived
863
learn
play
grow
golden media: brand analysis
764
golden media tells stories holistically
Learn
Golden Media is committed to children’s early educational
development, with products that stealthily make learning
fun. It also provides parents, parents-to-be and other
adults who work with children the tools they need to keep
their young ones on track.
865
Play
Golden Media recognizes that a child’s wonder and
unbridled joy are precious gifts. Golden Media provides
products and experiences that foster and nurture such
entertainment and delight.
Grow
Golden Media values positive reinforcement through
interaction and experience. To encourage and inspire
children, Golden Media provides hands-on literary
and artistic training and personal publishing services.
we learn
768
Golden Media knows that a child’s story begins before he or she can read,
or, in many cases, is even born. Therefore, Golden Media has a line of
products and services to help new and expecting parents prepare for their
children. Through informational books about motherhood and courses
in basic diaper-changing, Golden Media teaches parents how to create
a home environment that is conducive to a child's successful development.
help for parents and parents-to-be
869
770
As previously stated, a child’s story often begins before he or she can read.
Golden Media participates in these stories and sparks cognitive develop-
ment through its line of baby toys for infants and toddlers. With their bright
colors and soft, plush stuffing, Golden Media’s baby toys are as stimulating
as they are huggable.
baby toys
871
772
While Golden Media still holds precious the books that made its parent
brand famous, it recognizes that books are no longer the sole medium for
educational entertainment. As a result, Golden Media has created televi-
sion programming that teaches and engages children.
Featuring some of the brand‘s most beloved characters, these series and
specials air on several channels, including basic cable on PBS, online on
Hulu and on satellite networks on Golden Media’s own channel, FiliaTV.
educational tv programming
873
774
Golden Media is also keenly aware that reading is not always a child’s
favorite way to experience a story. This is especially true since the advent
and popularization of video and computer games. Rather than compete
with these new technologies, Golden Media has embraced them and
turned them into an alternative storytelling format.
Through a partnership with LeapFrog, Golden Media provides learn-and-
play video games and consoles. Children can interact with their favorite
Golden Media characters while honing their cognitive skills.
learn-and-play video game systems
875
we play
778
There are few things a child cherishes more than his or her favorite blanket,
doll or stuffed animal. Rarely are these artifacts just playthings; they are
their child’s best friend.
Golden Media admires the belief and imagination kids employ in loving
a favorite toy. The company prizes its hallmark stories and characters
in a similar fashion and has featured them in its line of plush toys. These
playthings ensure that Golden Media’s stories, and, subsequently, chil-
dren’s best friends, are not confined to a page.
plush toys
879
780
Golden Media also brings stories to life through collective experience.
The company has teamed up with the American Library Association and
the American Booksellers Association to sponsor story time events in
various venues across the country. Golden Media has crafted these
events to include activities and play times that spark kids’ imaginations.
sponsored play and story times
881
782
Like adults, children prefer to share holidays and special occasions with
their closest friends. For a child, this includes his or her favorite plush toy
or storybook character.
Golden Media has crafted a plethora of party planning tools, including
cake decorating kits, piñatas, balloons and tableware. The company made
a special effort to provide costumes for adults, suitable for Halloween
trick-or-treating or surprising the birthday boy or girl with a visit from their
favorite Golden Media character.
party decorations
883
784
Golden Media literally brings its stories to life in its amusement parks.
Working with Six Flags, the company has established Golden Media-
themed rides, shows and games in Six Flags’ amusement parks, both
indoor and outdoor, across the country.
amusement parks
885
we grow
788
Golden Media does not stop at fostering a love for storytelling and imagi-
nation in children. The company believes that it is its responsibility to give
children the tools to actually do what they love.
Golden Media sponsors writing workshops for children across the country.
The company works with a variety of partners, including 826 National,
the Boys & Girls Clubs of America and the National Writing Project, to make
these workshops accessible to as many children as possible.
writing workshops
889
790
In addition to the writing workshops, Golden Media sponsors art classes.
Through partnerships with the National Arts Council, Art Institutes and
stores such as Michael’s and Hobby Lobby, Golden Media gives children
the opportunity to try and hone a variety of techniques.
art classes
891
792
For budding writers and artists, there’s nothing more encouraging than
seeing your work in a professional, published format. Golden Media
provides a publishing house for children’s works. Here, children can bring
their creations to fruition and see them in a professional format. Golden
Media hopes this process will encourage and inspire their creativity.
personalized and custom publishing
893
chapter five:
the story's conclusion
796
children’s books were expensive and fragile. In fact, one could say these
books weren’t made for children at all.
That was back in 1941, before Little Golden Books changed children’s
publishing. As time went on, the industry continued to change, but Little
Golden Books didn’t — until today, when it became Golden Media.
Golden Media recognizes how children’s entertainment has changed.
It is not enough to occupy a child’s attention; kids want to be entertained,
educated and engaged. Golden Media does just that, giving children
stories that can be read, told and lived.
Golden Media never loses touch with its inner child. Its symbol, Filia the
Firefly, serves as a public reminder of that commitment. She is a source
of inspiration because, like the firefly, Golden Media sparks children's sense
of delight, possibility and wonder.
not long ago, in a land not far away,
897
Golden Media © 2011
Written and designed by Holly Leach. Photography by Holly Leach and
photographers kind enough to share their work on the World Wide Web.
Copy edited by Teresa F. Leach.
A fall 2011 Nature of Identity book with Hunter Wimmer and Gaston
Yagmourian at Academy of Art University in San Francisco, California.
Published at 2151 Mason Street, San Francisco, California, 94133. Printed
on French Paper with an Epson 3880 printer. The typefaces used were
Archer, MrMoustache, Museo Slab and Museo Sans.