The best beach baubles, finds Lynn Yaeger, are those that really make a splash.

Some people admire their fellow passengers on the Fire Island ferry for their stunning physiques, their glistening suntans, or even a particularly jaunty tattoo. Not me. I am transfixed by the jewelry people wear to the shore Chrome Hearts crosses for neo-Goth beach bunnies; label addicts flaunting boffo bangles cleverly decorated with LVs or interlocking Cs; even the heedless bikini-clad matron draped in acres of diamond-embellished Van Cleef Alhambras. (Can these be real? Is Two Hearts pendant a woman with a gaggle of pearls thrown down her back, the way Sara Murphy, who hung out with Scott and Zelda on the Riviera in the 1920s, used to wear hers because, in her words, the jewels wanted sun.

But alas, I have never spotted anyone wearing her necklace backward. Not even me, though over the years I have worn to and sometimes in the water a variety of unusual jewelry selections, including superlong strings of beads meant to evoke the ghost of Coco Venise. (It helps that I usually arrive in a dress light and filmy but still a dress and espadrilles, and maybe a little cardigan, all of which I shed at the last possible moment before plunging into the surf.)

Salty breezes seem to give me license to sport accessories I would never consider on land: funny orange plastic watches; leather wristlets with one too many snaps; overlapping cords dangling silly charms. I am not alone in this penchant for slightly goofy Tiffany Metropolis Cuff links and very unbuff at that particular minute added a host of rhinestone bibelots to her black maillot. She swears the glittering bling gave her the confidence she needed, and it certainly was a conversation starter.

That was then. The summer of '09, it must be admitted, does not feel very bling-worthy. The mood is, at best, just a bit quirkier, a bit shall we say Marniesque? So should I slip one of their cheerful plastic-disk fantasias over my Liberty print Cacharel smock? Or opt for a beaded choker by Aprosio & Co. Firenze (is there a beach on the Arno?), ingeniously made to resemble a series of coral starfishes? Or an aluminum sunflower necklace-and-bangle combo from Terzo, so gigantic it's almost cartoonish, which looks like it weighs a ton but is really lighter than the first sip of a Bellini quaffed on the patio of the Quisisana in Capri?

Well, maybe. Or perhaps I'll channel my inner Sara Murphy and wow my ferrymates with Lanvin's classic grosgrain-ribbon-and-pearl extravaganza thrown down my back, so my necklace and I can worship the sun as we glide across the Great South Bay.

Credit: editor: editor: Tonne Goodman

This work on the changing styles and fashions of Tiffany jewelry complements Tiffany design director John Lot ing's history and panorama of Tiffany's complete production, Louis Comfort Tiffany at Tiffany and Co. (CH, Api'03, 40-4409). From the beginning, Tiffany 1837 tag pendant with its distinctive brand. Jewelry, particularly diamonds, became identified with Tiffany and "became a vital component of American art and material culture," rhis volume suggests. Gemstones and jewelry history in America are intertwined with the Tiffany firm. The Tiffany style was shaped by its presidents, directors, gemologists, and designers. Essays explore Tiffany jewelry and important figures like gemologist Geotge Kunz (1856-1932). Contributors examine 14 exhibitions and expositions - both national and international - all of which received "widespread acclaim." They also consider the distinctive Tiffany styles derived from various natural and historical styles. One essay is on Tiffany jewelry as accessories to changing fashions, and one is on designs for men. Notes include extensive sources. No bibliography or glossary, but a chronology covers the years 18121987. Good quality color photographs and an engaging text make this an excellent addition to a decorative aits collection. Summing Up: Recommended. ** Lowei-level undergraduates and above; general readers. - W. L. Whitwell formerly, Hollins College

Pauline Rader was retired when Leigh first met Jon back in Eternal Link Cross pendant and Leigh and Pauline actually talked about reviving the line. "She was a small woman with such a big presence," Leigh explained. Jon had worked in the mortgage business and now that the couple's three children were was right for a re-launch.

"We'll have lots of nature themes-substantial pieces," Leigh said. "We will have new, updated ideas based on her designs. We may produce some jewelry from her lost sketches, as well," Jon added. The only piece the Levines may completely reproduce is a snake or sea monster from her original collection. The piece will most likely incorporate a different bead or stone color, to differentiate between the old and the new versions.

"We tried to keep the same themes and the same look," Leigh explained. "We are using the old pieces as inspiration; we want to modernize them," Jon added.

"We want to keep her timeless classic designs, with a modern twist. The jewelry will appeal to every woman-all age groups. It will be timeless and elegant, but we'll incorporate trends into the line," Leigh said. Leigh collaborated with a friend of hers-an artist-to design the to life.

According to Jon, his wife Leigh has been the vision behind the re-launch. "I Frank Gehry Fish pendant up in the jewelry business and Leigh's family had been in the jewelry business, too. Fate really brought us to this point."

The new Rader jewelry line will be sold both wholesale and retail, and will have an on-line presence at www.Paulinerader.com.You can e-mail them at Paulinerader@gmail.com. Twelve pieces are presently in production, with possible choices of metal tones and colors. The Levines say the jewelry will range in price from $45-175. Jon Levine also noted that the jewelry will probably be produced here in the U.S. to ensure quality control. Leigh said that Pauline Rader's old mold makers, though retired, were helpful in finding the for their jewelry production.

A WHAT YOU HAVE is something very special. Marboux is a rare signature. Your Marboux demi-parure was actually a lower cost line produced by the famed costume jewelry manufacturer, Marcel Boucher. Marcel Boucher was born in Paris in 1898 and as a young man, he became a model maker for Cartier in Paris. In 1923, Cartier transferred him to New York. Due to the Depression, many of those who were employed in the fine jewelry industry were suddenly out of work and sought new vocations by working for costume jewelry companies. It seems that Marcel Boucher was one of those workers, as he did free-lance design work for costume jeweler, Mazer Brothers. In 1937, Boucher launched his own company, Marcel Boucher et Cie, at 304 E. Elsa Peretti Sevillana pendant in New York City. Boucher jewelry is known for its high quality and exquisite design sense. Due to his training as a model maker, Boucher enjoyed creating jewelry that had a mechanical design element. One of his most famous creations was a "Punchinello" pin that raised its arms and legs with the pull of a chain. Besides his keen design sense, Boucher was an excellent businessman, and had cabochon stones manufactured just for him in non-standard sizes to combat the piracy of his designs. Marcel Boucher died in 1965, and his widow Sandra ran the firm until 1970, when she sold out to Irving Ornstein of Davorn Industries. The "Marboux" name was first registered in 1937 and then renewed in 1957. The necklace and bracelet were most likely created in the early post-WWII period (ca. 1948). Your set would have a retail value of $75 to $95 dollars.

Q THANK YOU FOR any information you can give me, and yes I have lots of questions about jewels. I have collected for many years and have many with no names, but I know they were made very well. I would love to know how to find a source with colored pictures to identify older jewelry with no names. I also repair older jewelry and would love to know how to restore it back to its original condition... what color the stones were, etc.

D.H., Via E-mail

A SOMETIMES IDENTIFYING unsigned costume jewelry is relatively easy, like the five links on the back of Juliana / Delizza & Elster jewelry. Other times, the maker remains a mystery. Identifying the maker of unsigned costume jewelry can at times, however, be very complicated. On any particular piece, numerous individual companies may have completed different aspects of the jewelry making process (i.e. the designing, plating, stone setting, carding etc.) Also, as in the case of Julianna / Delizza & Elster jewelry, it sometimes was sold to the public and hang-tagged by an entirely different company (i.e. Tara Jewelry). Another good way to identify unsigned costume jewelry would be through department store advertisements in old magazine and newspapers. I have found that old department store sale ads are a great source for research. Your local library may have an archive that would assist you in this process. Finally, on the restoration of jewelry, old magazine ads are also a great source for the color of stones, etc. However, as in the restoration of old furni- ture, destroying the patina can actually cause a piece of jewelry to lose value. Be mindful and don't go overboard on restoration.

Q DO YOU KNOW whether the character on this '50s copper bracelet with gold and silver overlay has a name, or is it just an abstract decorative design? J.H.C., Via E-mail

A THE CHARACTER IS A MONKEY, specifically, Ozomatli, a companion spirit and servant to the Aztec god Xochipilli. Ozomatli is considered a diety and denotes the 11th day of the month in the Aztec calendar. Ozomatli represents dance, music, celebration and mischief. The bracelet dates from the 1950s. Comparable pieces can be found for sale on the Internet and many are stamped "Maya Mexico." An identical example, including earrings, is priced for sale at $200. The bracelet alone would have a value of about $175.

Q I RECENTLY BOUGHT a pin and earrings classified as Forbidden Fruits. My purchase is a set of grapes-pin and earrings in pale green to whitish plastic set with the pale green rhinestones. There is a stem and only two leaves at the top of each piece. Just wondered if I bought something that isn't what it's purported to be?

"And that covers the whole gamut of jewelry, particularly high-end gold - 14 or 18 carat. Platinum too," McDonough said. "These things are not cheap. Dinner rings, charms, bracelets - all of it. People are going to be very cautious about buying for a while to come."

When it comes to consumer reluctance, birthday and Atlas cube lock pendant often the first to go, according to local retailers.

"We've seen about a 40 percent drop in business there," Branscomb said. "And then our 'super clients,' as we call them - movie stars or wealthy business owners - and that has dropped by 85 or 90 percent. They just stopped buying big items, which can be anything from $20,000 to well over $100,000 and that business just disappeared, which has been a big deal for us."

Branscomb noted that the severe cut back in high-end Return to Tiffany Heart tag pendant only been driven by personal economic concerns, but out of societal concerns as well.

"A lot of people had the attitude 'I don't want people to see me upgrading my jewelry when people are out of work and suffering,' " he said. "I think that may be fading though. It was taboo to buy anything large, especially in the Mormon community, where people are so connected, and everyone is aware of their neighbor's problems."

But despite the drop in big ticket sales to established and wealthy customers, every jeweler The Entrprise contacted made a point of noting that it could have been a lot worse. In addition to having lower unemployment than the rest of the country (6.2 percent compared to 9.5 percent nationally) and better consumer spending numbers, Utah enjoys one of the highest marriage rates in the country (10.6 per 1,000 people, versus 8.2 nationally). This, of course, means that engagement rings and wedding bands remain big business.

"Our engagement ring business has not varied very much at all," Heart Band pendant said. "And newlyweds wilwl still spring for gold, because they expect to pay top dollar."

J. Brooks also relies heavily on the engagement and wedding market.

"We do have a young population that still wants to get married," said Sally Archer, J. Brooks' spokesperson. "We are lucky to live in Utah for lots of reasons, but certainly one of them is our young, educated population."

This is leading some jewelers to alter their marketing strategies to target what they see as the likely demographic responsible for these marriages. "We are going heavier after the college business, particularly those at BYU and UVU and others that have largely Mormon student bodies," Branscomb said. "And Mormon kids are of course encouraged to many early, rather than cohabiting,"

But young people, many jewelers are finding, are more inclined to shop online, rather than at brick-and-mortar stores. This is forcing a rather old-fashioned industry, one that prides it's self on personal service and trust, to adjust.

"I don't want to give away too much strategy," Archer said. "But in the fourth quarter, we are going to finish our Web site, rather than do other kinds of marketing. We think that that is what we need to do to take us to the future. We want to be able to show product more easily."

Other vendors are taking on similar projects. And despite the harsh financial climate, there is a general sense of optimism in the jewelry industry.

"Jewelry is a luxury," said Michael Lawrence, manager of Bunion Jewelers. "But it is also a lasting gift, and people do still buy gifts."

The controversial Pebble mine is highlighted in a new report released by the No Dirty Gold consumer campaign led by EARTHWORKS and Oxfam America. The report, "Golden Rules: Making the Case for Responsible Mining," documents the toll of irresponsible mining on people, water, and wildlife at a time when soaring metals prices are driving new mining development globally. The report describes human rights violations and environmental concerns at metals mines in the United States and around the world. (To download a copy of the report, visit http://www.nodirtygold.org/.)

The retailers are among a have endorsed the No Dirty Gold Tiffany Nature Dragonfly pendant "Golden Rules" - human rights and environmental criteria for mining. The announcement takes those commitments a step further.

"Some of the world's leading jewelers have recognized that the Bristol Bay watershed is a treasure worth protecting. We applaud their principled position and commitment to not source metals from areas of high conservation value," said Payal Sampat of EARTHWORKS.

The proposed Pebble mine is backed by the UK-based Anglo American, one of the world's largest metals mining companies, and Canadian firm Northern Dynasty Minerals. The Bristol Bay watershed, where the proposed mine would be located, supports the world's most productive wild salmon fishery -- Elsa Peretti Open Heart charm is critical to the state's economy and to the livelihood of many Alaska Native communities.

"We want to express a sincere thank you to these jewelry companies," said Bobby Andrew, a spokesperson for Nunamta Aulukestai (Caretakers of the Land), an association of eight Alaska Native corporations. "The proposed Pebble mine threatens the wild salmon our people for generations."

Last year, Nunamta Aulukestai and a diverse group of Alaska Native communities, commercial fishermen, businesses, and sportsmen publicly invited jewelry retailers to express support for the protection of Alaska's Bristol Bay watershed from large-scale mining. The invitation ran as a full-page ad in National Jeweler magazine. (For a copy of the ad and jeweler pledge, see http://www.protectbristolbay.org/.)

Consumers today are more aware of the human and environmental costs of the goods and services they purchase than ever before. While other business sectors have responded to demand for cleaner, ethically produced goods and services - such as sustainably harvested wood products and fair trade coffee - the mining sector lags behind in terms of embracing an independent system for standards and verification. Some 100,000 consumers in more than 100 countries have signed on to the No Dirty Gold pledge, urging Heart Clover Pendant companies to provide alternatives to "dirty" gold.

"Consumers and jewelry retailers across the country have clearly signaled their desire for certified, more ethically produced metals," noted Raymond C. Offenheiser of Oxfam America. "The question is: when will mining companies step up to meet this obvious demand?"

Keywords: Conservation, Conservation Value, Ecology, Economics, Environment, Fair Trade, Government, Human Rights, Minerals, Mining, Mining Sector, Northern Dynasty Minerals, Oxfam America, Politics, Sports.

Building on the concept of 401(k) Day observed at many companies each September, the benefits department wanted to promote Tiffany's 401 (k) plan but recognized that financial education takes more than a day. So the department decided to offer something more comprehensive. "We expanded 401 (k) Day to the entire month and broadened the concept to include other aspects of financial wellness," said Sol Klein, benefits director at Tiffany.

In addition, the company used this opportunity to promote existing programs - such as flexible spending accounts and commuter benefits - that can maximize an employee's take-home pay by using tax-free dollars to pay eligible expenses. These programs had been available - programs are even more valuable in today's economy.

The campaign culminated with a for which shows the value I Love You lock charm all the programs the company offers, can serve as a key resource in helping employees plan for the future. By distributing statements as part of the Take 5 campaign, Tiffany was able to showcase the statement's importance and, at the same time, furnish each employee with actual data to help with financial planning efforts.

As it turned out, the timing for the financial , the U.S. and the information that Tiffany was providing became even more relevant.

CAMPAIGN COMPONENTS

The campaign consisted of a series of seminars Tiffany Notes Pendant online support materials. A key imperative was to keep messages and materials as simple as possible. Says Klein, "We didn't want employees to feel overwhelmed by too much information. Consistent with our theme, we wanted employees to be able to review the program in five minutes or less, knowing how little time everyone has these days for such things."

Webinars and live seminars held throughout the such as investing in a down market, 401(k) basics, budgeting, Medicare, Tiffany's retirement plans, credit reports, identity theft, mortgages and refinancing. Tiffany's 401 (k) and employee assistance program (EAP) vendors, a Social Security representative and in-house experts ran these seminars, so there was no cost to the company. (Note that many financial planners also offer seminars free of charge.)

To reinforce seminar messages and to position seminar topics Elsa Peretti Sevillana pendant a larger context, Tiffany teamed with Buck Consultants to create a pocketsize Take 5 resource guide, organized around important life events such as starting a family, paying for college, buying a house and everyday responsibilities like managing day-to-day finances. The guide was short - about 100 words on a page - so the information would not be intimidating.

The discussion of each life event included tips for proactively responding to the related financial challenges while highlighting relevant company programs that provide support. For example, the discussion about buying a home listed some common issues to consider when evaluating mortgage options, as well as a reminder of the loan feature in the company's 401 (k) plan.

Tiffany also wanted to emphasize the steps each individual should take to protect against loss. So the guide included reminders about the importance of homeowners', renters' and auto insurance to protect an individual's property and the importance of life insurance, wills, beneficiary designations and estate planning to provide financial security for an individual's survivors in the event of his or her death.

Finally, a portion of the guide focused on preparing for retirement. It included an outline of company retirement plans, as well as vehicles such as individual retirement accounts (IRAs) and annuities that individuals can fund independently.

CAMPAIGN PLANNING

Today's financial realities underscore the importance of having a good handle on personal finances. Yet when a bit of planning can make a huge difference in bringing some sense of control over an otherwise seemingly out-of-control world, many people operate in reactive mode. In 2008, Tiffany and Company launched its "Take 5" campaign to proactively provide financial education, tools and resources to employees. As Tiffany's communication consultant, Buck Consultants assisted the company's human resources staff in creating and producing print pieces to support the campaign. This article provides background and practical steps to follow in planning and launching a relatively low-cost financial education campaign for employees.

The recent when it comes to finances. Tiffany 1837 Circles Pendant that many people in the United States lack basic financial knowledge, such as how credit cards work, which accounts the FDIC insures in which financial institutions or how compound interest works. Even to the current financial crisis, millions of Americans took mortgages and loans that they could not afford. In short, many people simply do not have the skills to meet financial challenges. And although lots of resources are available, such as TV talk shows, magazines and self-help books, people often don't know where to start.

According to the President's Advisory Council on Financial Literacy, founded in 2008 under the auspices of the U.S. Treasury Department, "The need for improved financial literacy within the workforce is irrefutable," and employers are uniquely positioned to fill the financial literacy void.1

Unfortunately, offers important benefits Tiffany box lock pendant.

* For employers, a robust financial education program is a real differentiator in recruiting and retaining top talent. And research by the President's Advisory Council on Financial Literacy found that "employees who are financially healthy are more productive." They simply have fewer distractions from their jobs.

* For employees, learning to make sound financial decisions can have a positive effect on the person's life, both on and off the job.

While financial education programs can offer tangible benefits to employers and employees alike, there is one caveat: Employers must strike a delicate balance. As Tiffany's senior vice president of global human resources Vicky Berger-Gross points out, "Although positioned to offer practical Tiffany 1837 Double cross pendant tools at times of major life decisions, they need to refrain from seeming to endorse decisions that may overextend an employee's financial risk." In short, an employer cannot appear to be giving financial advice.

TIFFANY AND COMPANY'S TAKE 5 CAMPAIGN

Recognizing the importance of providing financial tools and resources to its employees, Tiffany launched the Take 5 campaign in 2008. According to Naomi Seckler, vice president of human resources at Tiffany, "We saw a real need to talk more comprehensively to employees about financial matters. At the same time, we wanted to showcase the full complement of financial benefits that Tiffany offers."

The company's strategy was to position the campaign within the context of overall wellness. "Because health and wellness have always been an important part of Tiffany's benefit strategy and culture, financial wellness was a natural extension of that focus. We saw an opportunity to leverage our success in presenting health and wellness concepts to our employees," said Sidnie Wilder, Tiffany's group director, workforce, policies programs and services. The company wants employees to understand that people who are physically healthy often take time to eat right, exercise, get annual physicals, etc. Similarly, being financially healthy requires time and planning, so the campaign asked all employees to take a few minutes to consider important financial issues.

Although these four essays are separated by both time and place, and the ceremonies examined are very different, Nicholas Howe's introduction does a wonderful job tying them tightly together. According to Howe, all four essays explore common themes: the relationship between public and private space, how the ceremony/ritual being examined changed and developed over time, how the symbolism of the ceremony was transmitted to the audience, and the difference between archival material to surviving images and architecture. However, as Howe reminds the reader, although many of these rituals and ceremonies have been preserved in the form of texts, they had a life that went far beyond the printed page because they were meant to be visually performed, often in front of an audience that was largely illiterate.

One of the most important assertions made in the introduction was that premodern ceremony and ritual both constructed and perpetuated a sense of timelessness and universality of beliefs and practices both across generations and across geographical distances, and that those beliefs and practices often served to fashion and reaffirm communal identity. Although this claim is not an original one, all four essays emphasize an important point that has received far less scholarly attention: these Heart Clover Pendant ritual also had the power to identify certain groups as outsiders, such as the medieval Jews of Chartres, as presented by Fassler. Flier also shows how the religious/ political split between the Old Believers and the ruling elite shaped their interpretations of the traditional Palm Sunday procession, which often fed the tension between the two groups instead of creating a bridge to connect them. Whereas that same religious ceremony had once worked together to reaffirm a common positive destiny, after a period of political and religious turmoil, it took on very negative messages to those discontented with the new dynasty.

Another important theme that was explored was the contradiction that the authority of a ritual or a ceremony rested upon its standardization and repetition, (and which in turn endowed its participants with legitimacy), was still flexible enough to incorporate political and religious changes so that they could transmit timely messages as opposed to reiterating out-of-date and out-of-touch ones, as demonstrated by Kipling's analysis of three civic triumphs offered by sixteenth-century Antwerp. The first two affirmed the political Airplane charm pendant, but the third one denounced them as tyrants. However, Muir's reading of Italian Renaissance processions makes the important point that the people watching the procession and the people in the procession were simultaneously both object and subject and that their role in the procession in combination with their social status and gender dictated what they saw. Moreover, acknowledging that the people in the procession were watching the crowd that watched them blurs the lines between witness and participant, which in turn redefines the act of witnessing a ceremony. According to Muir, as long as the audience is engaged by the procession, it is actively negotiating its meaning, keeping it relevant and important.

In many ways these essays work well together and demonstrate some of the new understandings of premodern use and reception of ceremony and ritual. For example, Muir's inclusion of Renaissance optical theory to try to explain how people saw the procession was both interesting and innovative. However, his claim that ceremony could never impose a single message or produce a single interpretation was not as original. There were no references to scholarship that had already demonstrated the ambiguity of early modern symbolism or that most of the common people did not comprehend the elaborate allegories staged by the civic elites and often only caught glimpses or heard snatches of the entire event.1 Although all four essays tried to explicitly evaluate Tiffany Nature Dragonfly pendant participation of the audience, they did not really take into account that the ceremony/ritual itself was not experienced in its totality. Whereas Muir's bibliography may not have been as inclusive as I would have liked, he did include gender in his analysis, something that the other authors did not do, which does seem a striking omission, especially if one is trying to discern the possible messages received by the audience. In spite of each essay's shortcomings, this erudite and comparative collection of scholarship on ritual and ceremony in premodern Europe, although probably too advanced for undergraduate students, does offer interesting insights to scholars who work on this subject.

"For me the moment when [the photograph of] Andrea Nardin looks at himself across the page is really exciting," says Andy Cameron executive director of Fabrica (whicTi creates Colors). "The magazine comes to life."

The technology these magazines are using varies from title to title - Amusement used RFID microchip tags that need to be read by special scanners, for example, while the other magazines have used simple webcam-friendly versions. Some allow users to put the magazine Tiffany Nature butterfly pendant manipulate the images online by holding up the issue. While some wear their tecTinophilia on their sleeves by printing large blacTc-andwhite triggers on their pages, others go for imperceptible photographic keys. "Unlike other magazines we had no big blade marker," says Ariel Foxman, editor of In Style. "I wouldn't use the tecTinology if it detracted from the experience our readers know and love."

But whatever the details, the basic principle is the same, Imagine taking control of your favourite magazine. You can decide what goes in, and where, change the layouts, zoom in on the images you like, or skip the articles altogether and focus solely on the latest videos.

After nearly two decades of publishing online, newspapers and grips with the technology. Gone are the days of static websites lacking interactivity and, in most cases, any real visual acumen. And with the advent of smartphones and mobile media players - Elsa Peretti Open Heart charm

9.7-inch touchscreen - the publishing industry is having a serious rethink about how the print experience translates onto screen.

Sports Illustrated is at the forefront. Recently, with the help of the Wonderfactory, a New York-based creative agency, it presented what a fully interactive version of its 20-million-issue selling magazine would look and behave like on a tablet computer. The application lets the user scroll around the magazine as they wish. You can view full-screen slideshows, watch the latest recap videos and increase the size of the text at your convenience. The application transforms Sports Illustrated into your version of Sports Illustrated. And the concept Double square pendant developed for other magazines such as Wallpaper, People, Fortune, In Style and Time.

Interview and Wired magazines have fast-tracked their own version iPad-based magazines, which they expect will appear as soon as next month. Interview says that its digital offshoot will combine "the benefits of the digital age with the familiar advantages of Guttenberg's printing press to deliver a groundbreaking, knock-out reader experience".

For Wired, which has spent the last 17 years reporting on technological innovations, the iPad will allow periodicals "for the first time to do digital content with all of the same values and artistic range that are the hallmark of print magazines", it says.