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Javad Ahmadi, AliveProStudios.com Ernie Bardocz Danny Ionescu, HP Evan Cambray, Spicers Ken Harbin, Robert E. Thistle Ltd. Steve Klaric, Heidelberg Canada Jana Lucatch, Magnum Fine Commercial Printing George Mazzaferro, RP Graphics Group Brian O’Leary, Kwik Kopy Angus Pady, Digital Solutions Paul Tasker, Spicers
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Applied for Canadian Media Circulation Audit Opinions expressed in this magazine are not necessarily intended to reflect those of this publisher. Graphic Arts Magazine accepts no responsibility or liability for claims made for any product or service reported on or advertised in this issue. Graphic Arts Magazine also reserves the right to limit liability for omissions and errors to a printed correction in the next issue. SUBSCRIBER’S NOTICE: From time to time we may rent our mailing list (names and addresses only) to select third parties whose products or services may be of interest to our readers. Please contact us should you wish to be excluded from these mailings using the contact information at the top. Printed on Sappi’s HannoArt Gloss Text. Available from Buntin Reid.
17 Personalized URLs: what makes them tick . . . . . . . . Heidi Tolliver-Nigro Best practices for making personalized URLs work
20 For the record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristen Read Michael Makin, president and CEO of PIA gives his thoughts on process automation and social media
24 Automate PDF sizes and reduce manual adjustment time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrea Mahoney Find out how you can save time and be more efficient
26 JDF Technology Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . Kristen Read The 411 on JDF and how you can use it to your advantage
30 Featured markets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristen Read This month: Packaging / RFID / Barcodes / QR Codes
36 Graphic Arts’ IT Guy Q and A . . . . . . . . . . . . . . . . . . . . . . . . . Tim Mitra The iPad and more
38 The morphing of camera video . . . . . . . . . . . . . . . . . . . . . . Peter Dulis The DSLR alternative
40 Creative bindery Q&A . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Norm Beange
Make your business more profitable with these tips
44 Preparing images for press . . . . . . . . . . . . . . . . . . . . . . . . .
Angus Pady
Find out what the different types of CMYK can do for you
48 My customer asked me . . . . . . . . . . . . . . . . . . . . . . . . . . . Diana Brown What kinds of clever packaging exist today?
22 .comments 46 List of advertisers 47 Classified When making submissions, please forward to the following email addresses: ADS ads@graphicartsmag.com NEWS news@graphicartsmag.com CLASSIFIED classified@graphicartsmag.com ARTICLES articles@graphicartsmag.com INSTALLATIONS installations@graphicartsmag.com SUBSCRIPTIONS circ@graphicartsmag.com
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GRAPHIC ARTS MAGAZINE would like to thank our contributing writers: Norm Beange • Diana Brown • Peter Dulis Natalia Gilewicz • Andrea Mahoney • Tim Mitra Angus Pady • Kristen Read • Heidi Tolliver-Nigro
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Submission deadlines are as follows: August 17 for September 2010 September 17 for October 2010
Publisher: Joe Mulcahy Associate Editors: Natalia Gilewicz Kristen Read Copy Editor: Mandy Bayrami Senior writer: Tony Curcio Production Manager: Barb Vowles Account Managers: Maureen O’Sullivan Sandy Lee Tim Mulcahy Classified Manager: Bruce MacLean Creative Director: Javad Ahmadi AliveProStudios.com Layout: George Dedopoulos Cover: AliveProStudios.com CTP supplied by: Sina Printing Paper: Buntin Reid Printing: Sina Printing
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JOE MULCAHY
View from the publisher It’s been a busy summer on many fronts. In one of the biggest takeovers in our industry’s history, Wisconsin-based Quad/Graphics will acquire World Color Press (formerly Quebecor World) of Montreal. The agreement was to be finalized at press time and is still subject to the approval of the Québec Superior Court, but no bumps in the road are expected.
America’s largest show specifically for the shorter-run printing market. Go to www.printworld.ca. It’s always nice to see leading members of our industry give back to the community, such as J.F. Moore’s recent involvement in the first annual Joe Carter and Friends Celebrity Golf Tournament on June 23. The company printed all communications for the tournament and built the event’s interactive portal. Proceeds went to the Children’s Aid Foundation.
Congratulations to KBA as 30 of its newspaper customers won awards from WAN-IFRA’s exclusive International Newspaper Color Quality Club. Users of compact KBA presses represented an impressive one-third of the winners.
Finally, in the midst of World Cup fever, some leading European contenders have been knocked out of the competition, and it appears that we’re headed for a showdown between two South American countries. However, at press time, Germany was still a force to be reckoned with. I must say that I’m awed by the high level of player skills, but even more impressed with the level of excitement and camaraderie, even amongst opposing fans, that it has brought to Toronto. The final match should be quite a spectacle.
On the people front, Xerox appointed Mandy Shapansky as president, CEO and chairwoman of Xerox Canada as of July 1. St. Joseph Communications’ CEO Tony Gagliano received an honorary doctorate from Ryerson University, his alma mater. The Ottawa-based Lowe Martin Group participated in the city’s Electricity Retrofit Incentive Program, creating many in-shop strategies that will reduce future energy consumption and its impact on the environment – and received a $25,000 cheque from Hydro Ottawa! Who said going green doesn’t pay?
As always, stay positive and stay focused. ........................................................................................................................................ Joe Mulcahy joe@graphicartsmag.com
Be sure to mark October 3 – 6 on your events calendar. That’s when the 2010 edition of GraphExpo will be held once again at Chicago’s McCormick Place. Graphic Arts Magazine will be there, so be sure to drop by our booth. Check out www.graphexpo.com. Another must-attend is Print World 2010 at the Direct Energy Centre at Exhibition Place in Toronto November 20 – 22. This is North
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NATALIA GILEWICZ
More productive, creative, organized, cutting edge I would like to kick off this issue by first officiating summer! While for some of us this mainly means that the weather is better, for others (primarily students and teachers) this is a very different time of year. I state this fact not to gloat (okay partially to gloat) but rather to take a look at some important business issues. First, some of the best learning that students do happens in the summer. Second, while you start getting inundated with vacation requests from staff, you should plan. The summer is a great opportunity to give your staff a well-deserved break, and to become a teacher for a knowledge-hungry student.
pened in June. In her article, Kristen will take you through some of the main themes of the day. We were also very excited about tweeting the highlights live from the conference (@graphicarts). My favourite moment of the day had to be Jim Harvey’s (CIP4 executive director) advice that automating a crappy workflow will only allow you to make more crappy stuff faster! Once again, we go back to the utter importance of concept. Today, we have increasingly more tools that allow us to be more productive, creative, organized, cutting edge, etc. At the end of the day, however, they are just tools. In my humble opinion, it is the thought leaders who succeed. Not because they have the tools, but rather because they have the thoughts and use the tools. As for my summer exploration of future trends I’m thinking RBA (Rules Based Automation) is the new JDF of the coming fall season. What do you think?
In a university environment, the summers are an exciting time. It is when we conduct the bulk of our research. It’s a time to look at the industry trends coming up on the horizon. This month’s issue discusses some of the movements currently taking place. In our lead article, our digital print expert Heidi Tolliver-Nigro, discusses personalized URLs (or, PURLs). Through a case study discussion, she emphasizes the importance of good marketing being the differentiator for PURL success. I couldn’t agree more. There is nothing more frustrating as a consumer to get excited about my “own” product website only to find that when I get there, I’m just asked to fill out a survey!
........................................................................................... Natalia Gilewicz natalia@graphicartsmag.com
In another genre of familiar industry trends, Kristen Read reports on the JDF conference hosted by Ryerson and CIP4 that hap-
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A new Standard Horizon BQ-470 PUR perfect binder has just been installed at Toronto’s Hume Intermedia Services. The company, a full-service offset, digital and fulfillment firm, purchased the device from KBR Graphics. The BQ-470 produces up to 1,350 perfect bound books per hour. This is the first machine of its kind in Canada with the PUR glue system.
Maclaser has just purchased a new Morgana UFO and Crossfold paper folder from Sydney Stone. This latest installation will help facilitate in the production of the company’s high-volume and short-run right angle and roll folding. The Morgana UFO is 18” x 25” in format and is ideally suited to the modern commercial digital printer. Maclaser owner Sal Indovina also purchased an optional cross-fold unit for his UFO. With the ability to swing to the left or right and run straight in-line for roll folding, the Morgana cross-fold is more versatile than a standard right-angle attachment.
“Our motto has always been ‘service, service, service,’” says John Hume, president of Hume Intermedia Services. “By installing the new Standard Horizon BQ-470 PUR perfect binder, we are anticipating our customers’ ever increasing needs - for both PUR, which all publishers are demanding, and improved reliability and productivity.”
Wendy Glover, president, System Graphics; John Visentin, president, Access Imaging; Liz Glover, general manager, System Graphics
Topknotch’s Amin Suleman, president; Gary Clarke, head pressman; and Michael Espinola, pressman, with their new Komori press
System Graphics
Topknotch
System Graphics, based in Markham, Ontario, has just bought a new HP Designjet L65500 printer to build on its large-format printing business. The company focuses on printing banners and signage for companies ranging from large blue-chip companies to graphic artists. The L65500 printer, which uses special HP Latex Inks, will replace System Graphics’ old solvent-based printer, reducing the company’s impact on the environment. The device was purchased through large-format equipment supplier Access Imaging.
Mississauga-based Topknotch Prep & Print has recently installed a variety of new equipment at its facility. The company purchased a Komori Lithrone press, a Screen automatic platesetter, an Epson 9900, as well as new digital equipment that will allow it to complete many jobs in-house from start to finish. Topknotch has also recently revamped its digital department by installing a Xerox 5000AP and a Xerox 700 printer. For outdoor banners, the company has installed an Epson GS6000 - an ecosolvent wide-format printer that can print up to 63 inches. Company president Amin Suleman says that these new installations will put Topknotch in a different market and allow them to do all of the work in-house with a quicker turnaround.
“Investing in new technology helps us to stay one step ahead and not only meet but exceed our customers’ expectations,” says Wendy Glover, Systems Graphics president. “We are looking to the future and now we’re more competitive than ever before.”
JULY / AUGUST 2010 | GRAPHIC ARTS MAGAZINE
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NEWS & COMMENTS
News and comments TONY GAGLIANO RECEIVES HONORARY DOCTORATE FROM RYERSON On June 18, 2010, Tony Gagliano, CEO of St. Joseph Communications, received an honorary doctorate from Ryerson University’s Ted Rogers School of Management. Gagliano is the second generation in his family to receive this prestigious award - the first was awarded to his father, Gaetano Gagliano, 12 years ago. Combined, the two are the first father and son recipients in Ryerson history.
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The degrees are awarded to candidates who have made an extraordinary contribution to society in Canada, to the development of Ryerson University, or to the betterment of culture, society, or the local community. In his address to the graduating class, Tony recognized that the building of St. Joseph Communications holds a very important place in his life. In addition, his involvement in co-founding the Luminato Arts Festival has been another cornerstone. Gagliano acknowledged and graciously thanked his parents Guiseppina and Geatano, who are soon to celebrate their 65th wedding anniversary. The whole theatre cheered as the couple proudly stood to be recognized.
Ryerson’s Daniel Doz, Dean of the Faculty of Communications & Design; Adam Kahan, VP of University Advancement; Ian Baitz, Acting Chair of the School of Graphic Communications Management; and Gary Marron, President and CEO of HIFLEX.
Gagliano left the several hundred business students with three pieces of advice:
Real JDF connections will be formed between the new MIS and the university’s current systems and equipment so that students can experience both the legacy method of print workflow as well as the future of the industry with complete integration and automation throughout the entire printing process.
1. Experience what it feels like to achieve something you and others thought impossible. 2. Come to know the incredible purpose and happiness that comes from a life of service to others.
“With this HIFLEX donation, students will be able to learn how the printing industry standard, JDF specifications language, can be used to automate production processes from Web2Print, to estimating, to order entry, to scheduling, to prepress, to press, and to bindery and then feed shop floor data (JMF) back to accounting for job costing, invoicing and management reporting,” explains Ian Baitz, acting chair of GCM.
3. Discover the unimaginable strength that comes from putting your faith and family squarely in the center of your life.
HIFLEX MAKES SIGNIFICANT CONTRIBUTION TO ENHANCE JDF EDUCATION AT RYERSON UNIVERSITY Gary E. Marron, president and CEO of the HIFLEX Corporation of North America, accepted an award at Ryerson University on June 14 in recognition of the company’s continued dedication to improving print education. HIFLEX recently donated an integrated enterprise software solution to the university’s School of Graphic Communications Management.
The faculty at the school buzzed with excitement at the signing ceremony, as everyone collaborated on ways to integrate the software into the curriculum. The system provides a great deal of teaching advantages, helping to promote big-picture thinking to future print managers. Adam Kahan, vice-president of University Advancement, Daniel Doz, dean of the Faculty of Communication & Design, and Ian Baitz, acting chair of the School of Graphic Communication Management, were all in attendance to recognize HIFLEX’s efforts to improve the distinguished Ryerson University programs. The HIFLEX MIS & Web2Print systems were selected by Ryerson for
The HIFLEX MIS and Web2Print systems – which are currently being implemented within the GCM program at Ryerson – will be used to teach students about workflow, JDF automation and MIS applications in every department of the printing industry. www.graphicartsmag.com
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NEWS & COMMENTS
installation in its facilities due to the number of proven JDF implementations, the breadth of functions the systems are able to complete and the extensive applications that the system will have in courses from estimating all the way to those that focus on bindery. Ryerson University is the most recent benefactor in HIFLEX’s mission to support the education of print industry students around the world.
NEW PRESIDENT & CEO FOR XEROX CANADA Xerox has appointed Mandy Shapansky to the position of president, CEO and chairwoman of Xerox Canada, effective July 1. She has replaced Kevin Warren, who moved to a new role as president of Xerox’s US-based Solutions Group.
THE EXTINCTION OF THE PHONE BOOK Toronto’s phone book was not printed and delivered to doorsteps this year, The Toronto Star is reporting. The familiar White Pages have provided residents with the ability to find each other since it was first printed in 1879. Surprisingly though, the absence of this year’s directory went largely unnoticed. Out of over a million households that would have received the phone book this spring, the publisher reportedly only received 1,000 requests for the directory. Seven major Canadian cities, including Toronto, will no longer receive distribution of the book.
Shapansky has been with the company for 25 years. During her time at Xerox she has held a variety of roles, primarily in finance and marketing. She is a chartered accountant and has been chief financial officer for Xerox Canada since 2002, and is also a member of the Corporate Governance Committee. In her new role, Mandy Shapansky will be responsible for all aspects of Xerox Canada, including sales and support of Xerox’s portfolio of document technology and services, human resources, marketing, and other operations within the country. She holds an Honours B.A. in Economics from the University of Waterloo.
A portion of The Toronto Star’s recent article reads: While once upon a time newspapers heralded the book’s annual arrival, marveling at its expanding girth, a measure of a city’s growth and wealth, today Toronto’s home telephone book may well be out of service, as passé as a rotary dial. According to Annie Marsolais, communications director for Yellow Pages Group, the change will save 3,500 metric tons of paper every year. Since more people are searching online for phone numbers or saving them in their cell phones, it seems there is no longer a need for a directory. A number of people rely on cell phone technology alone and don’t even use a listed landline. While the residential White Pages will no longer be distributed, the Yellow Pages Group will still deliver the yellow pages phone book for businesses.
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NEWS & COMMENTS
ALBERTA TEEN’S WINNING PHOTO TO BE PRINTED ON 1 MILLION CANADA POST STAMPS
SONY CREATES ULTRA-THIN FLEXIBLE VIDEO SCREEN
A 15-year-old from Edmonton, Alberta, for the second time, is one of five winners in Canadian Geographic’s annual Canadian wildlife photography contest. The excited teenager will have her winning photograph of a Selasphorus Rufus hummingbird featured in print on one million Canada Post stamps. Wing Yan Tam first took an interest to photography at age 11. She snapped the winning photo last summer with her father’s Canon EOS 50D. It required more than 100 frames to capture the shot of the tiny bird in mid-flight. She won last year in the same category – Best of the 15-andunder – for her photograph of a Canada goose gosling. Her photo is one of five winning pictures that were selected for the stamp collection, chosen from more than 6,400 entries. The photos are also featured in Canadian Geographic magazine’s annual wildlife issue, as well as a traveling exhibition organized by the Canadian Museum of Nature. Jim Phillips, director of Stamp Services at Canada Post, says of the contest: “It’s a wonderful opportunity for us to showcase the beauty and diversity of Canada’s wildlife, provide a unique prize for the winners and issue a set of spectacular stamps that’s sure to delight and fascinate Canadians and others around the world.”
The world’s first prototype of a bendable, colour video screen has been developed by Sony. Flexible enough to be rolled around a pencil, the 0.3mm thick screen could lead to a new future in electronic newspapers and magazines. The screen, measuring 2.5 inches, is built on a sheet of plastic. The ultra-thin material is covered in organic semiconductors, creating an OLED (organic light emitting diode) display. Reportedly, even after 1,000 cycles of rolling up and stretching the display, there was no visible degradation in the screen’s ability to reproduce moving images. It has a resolution of 160 × 120 pixels.
J.F. MOORE INTEGRATES ECO-FRIENDLY PROCESSES AT ITS TORONTO FACILITY Toronto’s J.F. Moore has recently made the transition to incorporate more environmentally-friendly processes into its workflow. Founded more than two decades ago, the company says that its latest step of integrating chemistry-free platemaking has not only reduced waste but also cut costs. Company President and CEO, Dean Baxendale, says: “This transition marks the final piece in our three-year plan to become a global leader in environmental, ethical and value based best practices. A true win-win!”
Did You Know You Can Print On Magnets?
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is also one of only three printers in Canada to achieve FSC certification as well as G7 Master Printer certification and ISO 2846 compliance.
CANADIAN GOVERNMENT FUNDS $810K ENVIRONMENTAL PULP & PAPER PROJECT
J.F. Moore worked with Agfa to introduce the eco-friendly plate-making process into its facility. The :Azura TS chemistryfree plates were chosen, which utilize ThermoFuse technology. Unlike conventional thermal plates, this system uses simplified gumming technology that cleans the plate and gums it in one step, making it press-ready without the need for chemical processing. As a result, water consumption and waste are considerably reduced. “The demand from consumers and J.F. Moore customers to invest in lean and green products has consistently increased in recent years,” explains Baxendale. “By working with Agfa we have made an investment that supports our commitment to environmental best practices. Most importantly, we were able to continue to deliver high quality products via a costeffective process for our customers that are in line with their sustainability specifications.” In addition to adopting chemistry-free plate-making technology, J.F. Moore also uses Bullfrog Power, which is 100% percent green electricity, to run its operations. The company
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Tolko Industries, a manufacturer or specialty forest projects, will receive $810,000 in funding from the Government of Canada. This investment will go towards improving energy efficiency at the company’s specialty kraft paper mill in The Pas, Manitoba. The funding is part of the Canadian Government’s Pulp and Paper Green Transformation Program (PPGTP), which will allow Tolko to purchase new equipment and implement more sustainable practices. The company is one of 24 pulp and paper companies across Canada that qualified for credits under the $1-billion program. “With the PPGTP projects installed and operating at Tolko Manitoba, our greenhouse gas emissions from fossil fuels will be cut in half,” says Blair Rydberg, site man-
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ager for Tolko Manitoba. “The support of the PPGTP allows us to meet our goals of substantially improving energy efficiency while maintaining productivity excellence.”
AGFA GRAPHICS
The Pulp and Paper Green Transformation Program complements initiatives that are being delivered under Canada’s Economic Action Plan to sustain and improve the forest industry in Canada. Budget 2010: Leading the Way on Jobs and Growth is delivering $100 million over four years to support the development, commercialization and implementation of advanced technologies in the forest sector – helping create a world-class industry able to compete in the clean energy economy of tomorrow.
Looking Ahead?
In addition, the Government of Canada has committed $170 million to assist the development of next-generation forest products and expand global markets for Canadian forest products. This funding includes $40 million to develop pilot-scale demonstrations under the Transformative Technologies Program.
We can help.
“Our government recognizes the important role that transformation and energy efficiency will play in the future of Canada’s forest industry,” says the Honourable Christian Paradis, Minister of Natural Resources. “The Pulp and Paper Green Transformation Program is supporting investments in green technologies that are helping the pulp and paper sector reduce their environmental footprint, while it continues to provide important forest products for consumers.”
Our philosophy is simple: if you succeed, we succeed. That’s why we’ve invested in innovative technologies like our :Anapurna line of UV-curable inkjet systems :M Press Tiger and most recently :Jeti high performance systems. So whether you want photo-quality results on a variety of media or high-speed printing options, Agfa has an inkjet system to meet your business needs. Plus these engines are robustly engineered and maintain affordable cost of ownership. Today, Agfa’s portfolio of inkjet solutions will help your business get ahead and stay ahead.
THE E-READER PRICE WAR
In hopes that more consumers will hop on the e-reader bandwagon, Barnes & Noble recently slashed the price of its Nook device to under $200. Hours later, Amazon did the same with its Kindle. Pressure from the increasingly popular iPad played a role in this price war, forcing e-reader manufacturers to widen the gap.
Stay Ahead. With Agfa Graphics.
Amazon’s Kindle now retails for $189 while the Nook is $199. The e-reader market is still small but experiencing growth. Apple’s iPad starts at $499, and the company just announced that it has sold three million of the devices in only 80 days. Michael Norris, a senior trade analyst at Simba Information, noted that the recent reduction in e-reader costs points to the conclusion that companies like Barnes & Noble and Amazon are “admitting that when they’re up against a $500 digital photo frame on acid that does everything, they can no longer keep a straight face when selling something for $259 that only does books.” Amazon’s Kindle, when it first came out in 2007, cost $399. Since then, the retailer lowered the price to $299, and then again in October to $259. In an effort to jump ahead, Barnes & Noble just released a new version that can hook up to Wi-Fi, including AT&T’s national network.
NEW PARTNERSHIP FOR AVANTI AND PRINTABLE
In a new partnership between two leading providers of Web-to-Print solutions, Avanti Systems and Printable Technologies will come together to offer a collaboration between products. Avanti’s Print MIS will now be integrated with Printable’s MarcomCentral.
Agfa Graphics 5975 Falbourne Street, Unit 2, Mississauga, ON L5R 3V8 Tel. (800) 540-2432 x 4848 www.agfa.com/graphics
“We are pleased to offer this new integration with Avanti,” says Coleman Kane, president and CEO at Printable Technologies. “Printable remains committed to expanding our partner network in order to achieve best in class workflows. MarcomCentral customers will now have access to Avanti’s JDF-certified, open architecture Print MIS which will better manage and track important customer data and prowww.graphicartsmag.com
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YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY
NEWS & COMMENTS
vide more accurate reporting functionality.” In a recent release, Avanti stated that the integration of these two powerful technologies will provide print shops with a zero-touch work environment from job creation to submission, right through to delivery. This will reduce costs and inefficiencies and increase customers’ satisfaction by reducing turnaround time. “As the Web-to-Print market continues to grow, it is important for Avanti to partner with a market leading technology such as MarcomCentral,” says Patrick Bolan, president of Avanti. “Printers are looking for very tight integration between their customer-facing Web-to-Print portals and their back-end production environments as they strive to drive down the cost of doing business. This is achieved by eliminating the re-entry of data as a job makes its way throughout the shop.”
AGFA INTRODUCES LED-CURING TECHNOLOGY TO ITS :ANAPURNA LINE
GRAPH EXPO 2010: EXECUTIVE OUTLOOK CONFERENCE SPEAKERS ANNOUNCED The Graphic Arts Show Company (GASC) has recently announced that NAPL’s chief economist Andy Paparozzi, and consultant Steven Schnoll, will set the stage at Graph Expo 2010’s Executive Outlook Conference. Their focus will be on the show’s theme of “The Challenge of Change in the New Era of Print.” “A printer’s success in the new era of print will depend upon a complex mix of the state of a still-recovering economy, changing customer requirements, the extent that electronic alternatives impinge on print, and the printer’s ability to comingle print with e-alternatives in a multi-media environment,” notes Bill Lamparter, president of the PrintCom Consulting Group and chair of the Executive Outlook Conference. “Executive Outlook will provide Conference attendees with information about the business and technology tools that are the keys to a printer’s success in the new era of print.” The Executive Outlook Conference will be held on Saturday, October 2 - the day before Graph Expo 2010 opens. NAPL print economist Andy Paparozzi will discuss economic trends and their impact on print. Steven Schnoll, managing director of Schnoll Media Consulting, will focus on what is happening in the print marketplace and what printers must do to participate in the evolving new era environment and the vertical markets most likely to offer growth opportunities.
The latest from Agfa is the addition of the :Anapurna 2500LED to its portfolio of wide-format digital ink-jet printers. Utilizing LED technology in this device will allow for reduced running costs and the ability to print on a wider range of materials. This printer from Agfa uses low-power solid-state diodes which don’t require any warm-up time and have a very long life when compared with mercury arc UV lamps. Because the ultra-violet radiation is more consistent and the diodes generate no infra red, even heat-sensitive and traditionally difficult media can now be handled. The LED-curing technology on the :Anapurna 2500LED marks the first time it has been utilized on a UV-curable 2.5m flat-bed and roll-fed platform. Agfa says it is a high-quality, cost-effective solution for print service providers, display producers and sign-makers. “The incorporation of LED UV-curable technology in the new :Anapurna 2500LED offers greater flexibility on more materials and substantially lower energy costs,” says Willy Van Dromme, business line manager for wide format inkjet at Agfa. “The launch of our 2500LED printer will see the start of a revolution in the wide-format printing sector as users look to reduce their running costs and maintain a high-quality output on all types of media.” Speeds on the device are up to 54 sq. meters per hour on both rigid and flexible media. It can print at widths of 2.5 meters and with a resolution of 1440 dpi, ensuring crisp text down to 4 pt. JULY / AUGUST 2010 | GRAPHIC ARTS MAGAZINE
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The Conference will also reportedly shed some light on new era technology including: a review of digital print technology by InfoTrends Group Director Jim Hamilton; a rundown on trends in offset by consultant Ray Prince; ways that print can come alive by consultant Hal Hinderliter; “What kind of a printer do you want to be - quality or commodity” by David Hunter, Principal of the Pilot Marketing Group; and a review of IT trends and necessities by ConsultWare Principal Don Goldman. A feature presentation Printers Panel moderated by NAPL’s Howie Fenton will offer practical insight into how to achieve success with a mix of press technologies. Printer panelists will include a digital specialist (operates only digital print equipment), a hybrid digital/offset printer, a digital label printer, a packaging printer, a DI printer, and an all-offset printer. Afternoon sessions will be “how to” tutorials that get down to the nitty-gritty of how to harness the technology to costeffectively produce an end product that provides a competitive edge and profit. For more information about the show, visit the GASC’s website at www.gasc.org.
SUBMIT YOUR NEWS TO GRAPHIC ARTS MAGAZINE We want to help you get your news out to the graphic arts community. Email us at news@graphicartsmag.com with your latest news for consideration for inclusion online and in the print edition. www.graphicartsmag.com
Revealing the Future of Print to Commercial Printers A Customized Trade Show for the Americas • Worldwide introductions of the hottest new technologies • Live equipment demonstrations of the latest applications and workflow solutions • Learn something new—over 50 seminars in 20 education categories • Network with industry experts and peers
Explore Equipment & Products of Interest to YOU • Digital Presses & Copiers • Offset Presses • Wide Format
• Software • Parts & Accessories • Consumables & Substrates
Discover Special Show Floor Features Back by Attendee Demand!
AND announcing the debut of T HE NEWSPAPER PAVILION
1899 Preston White Drive, Reston, VA 20191 USA | T 703.264.7200 | graphexpo@gasc.org | www.graphexpo.com
ECO NEWS
Eco News
RICOH PUTS UP FIRST 100 PERCENT SOLAR-POWERED BILLBOARD IN TIMES SQUARE
The collection from Appleton Coated is called Curious Metallics. The four new shades with 100 percent PCW content are Ice Gold Recycled, Ice Silver Recycled, White Gold Recycled and Gold Leaf Recycled. Phil Cavalier, vice-president of marketing at Appleton Coated says, “One of the first in its category to offer 100 percent PCW content and Green Power, Curious Metallics increases the environmental and creative choices for designing and printing outstanding communication projects.” Swatches are available for viewing on the company’s website. The site further explains that “Curious Metallics have glittering alloy effects with a luminescent sheen that offers a shimmering play of light that will put a glint in any designer’s eye. Curious Metallics now offers a fashionforward palette of 23 colours, 11 new colours combined with 12 classic colours.”
Located at the corner of 7th Ave and 42nd Street in New York City is “The Ricoh Eco Board” – the first 100 percent solar-powered billboard to be put in Times Square. Illuminated by 16 LED floodlights, the 47-foot x 126-foot sign is powered solely by 62 solar panels. Ricoh is known for providing digital office equipment and advanced document management solutions and services to companies around the world. This latest effort is part of a new commitment by the company towards sustainable management practices. As part of the United Nations World Environment Day on June 4, Ricoh turned the lights off on all of its billboards around the world to demonstrate this commitment. “When Ricoh decided to advertise in Times Square, we wanted to do so in an environmentally-responsible way that would have minimal negative impact on the environment,” says Jason Dizzine, director of Corporate Communications, Ricoh. “Our hope was that the Eco Board would become a powerful symbol of Ricoh’s commitment to green practices and would challenge others to become more active.” Ricoh made a promise not to use conventional electricity from the grid to light the Eco Board, and will allow it to go dark if there is a lack of sunlight. This will save on carbon emissions that are released by conventional electrical power sources. A special ceremony to celebrate the completion of the Eco Board took place on June 8 in New York’s Times Square. “Most billboards deliver a message, but this billboard is itself the message,” continues Dizzine. “For Ricoh, if the sign goes dark, that is okay. What is more important is that Ricoh is sharing in the bettering of our planet for everyone.”
NEW METALLIC PAPER USES 100 PERCENT POST-CONSUMER FIBRE Appleton Coated has just introduced 11 new colours of metallic paper, four of which are made using 100 percent post-consumer fibre. All 23 shades of the shimmering, luminescent stock are FSC certified and manufactured using electricity from Green Power such as wind, hydro and bio gas. JULY / AUGUST 2010 | GRAPHIC ARTS MAGAZINE
The stock is available in 80-pound text and 111-pound cover. Both weights are offered in smaller sheet count packages as well. They can be printed with desktop laser and inkjet equipment, and are also compatible with digital presses and offset lithography.
LOWE MARTIN GROUP RECOGNIZED BY HYDRO OTTAWA FOR ENVIRONMENTAL CONSERVATION ACHIEVEMENTS For its participation in the Electricity Retrofit Incentive Program, The Lowe Martin Group has received a $25,000 cheque from Hydro Ottawa. The company has instituted many programs at its facility that will cut back energy consumption and reduce its impact on the environment. The Electricity Retrofit Incentive Program, headed by Hydro Ottawa in cooperation with the Ontario Power Authority, is a provincial rebate program that provides financial incentives to influence its customers to undertake projects to improve both the energy efficiency of their facilities and their bottom line. Presenting the cheque to The Lowe-Martin Group’s President and CEO, Ward Griffin, were the Honourable Brad Duguid, Ontario’s Minister of Energy and Infrastructure, and Rosemarie Leclair, president and CEO of Hydro Ottawa. “At The Lowe-Martin Group we believe in reducing the impact we have on the environment and our success at reducing our energy consumption has contributed significantly to achieving that goal,” says Ward Griffin. The Lowe Martin Group has implemented a number of energy conservation programs at its Ottawa headquarters. Among them is a T5 lighting retrofit in the production facility that will deliver energy savings of over 370,000 kilo-watt hours per year. The new lighting system has a 66 percent longer lamp life than the previously installed system.
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FOR THE RECORD
KRISTEN READ
For the record This month I had the opportunity to chat with Michael Makin, president and CEO of Printing Industries of America (PIA), to discuss how process automation and social media are important tools that many printers still aren’t utilizing. First of all, for our Canadian readers, what’s new at the PIA? A lot of things are new here at the headquarters. We’re very busy on a number of fronts. One thing we’re working on is process automation and getting that ball rolling through the industry. Its importance needs to be recognized. Another topic is the importance of social media. We will soon be releasing a report about how companies can use it to their advantage going forward. Legislatively, we have to maintain a proactive agenda in the face of the Obama administration. It has not been the most business-friendly organization to deal with, but we’re minding our Ps and Qs. Going back to your point about social media, I noticed that you have both a LinkedIn account and a Twitter feed. How do you think printers can use social media to their benefit? I think it is just another tool in the communication arsenal for companies to get their name out there. It is important that they do so judiciously. It can be used as a tool for printers to help their customers in identifying opportunities. I have seen examples of printers doing this successfully by providing helpful tips to assist their customers to become more successful. Printers are not always known as being the greatest communicators themselves, but social media can definitely be used as a tool to champion your services. What do you think of Apple’s new iPad? Do you think in the end it will enhance or harm our industry? Well, that’s the $64,000 question. I’m a purist when it comes to books – I like the tactile experience. I haven’t purchased a Kindle or any other type of e-reader. But I think the iPad will definitely have an impact on the book market. For publishers it will be great, but it will pose a big challenge for traditional book printers. We have to embrace new technologies though, and there are ways that printers are getting involved with innovative campaigns involving mobile devices. It can be used as yet another potential communication ally. You were recently at a seminar at Toronto’s Ryerson University about JDF technology and education. You spoke about how every printer is trying to be more efficient, and one of the only levers available to them is automation. Have you seen JDF catch on well in the U.S. or are a lot of printers still slow to adopt? I think it’s fair to say that for the most part there is still a lot of ambivalence when it comes to JDF. We’re in the wake of the worst financial crisis since the Great Depression, so many companies are just focusing on survival and are not able to look at opportunities like www.graphicartsmag.com
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this. However, many assume that introducing a JDF workflow requires a large investment, new technology and new equipment. This is sometimes the case – but not always. JDF has been slower off the mark than CTP, for example, but there Michael Makin, president and CEO of Printing Industries of is no doubt that the America profit leaders are looking at avenues such as this to reduce cost and be efficient. In a cut-throat environment where pricing is used as a mechanism, it is critical to look at ways to achieve this. Having just visited Canada, what are the similarities and differences you see in the industry in our country versus the U.S.? I think there are huge similarities. Fundamentally, the industry is still made up of many small players and a few large players. I think there are some interesting consolidations that are happening in Canada though – especially in Atlantic Canada – that we’re not really seeing in parts of the US. However, I think the challenges are the same. Success for printers everywhere requires investments in technology and capital. Everyone is facing the changing perceptions of customers. The industry also requires boot-strapping entrepreneurship! What is your favourite part of your job as president and CEO of the PIA? I would have to say my favourite thing is visiting members. I’ve been very fortunate that for my job I get to visit hundreds of facilities, not just in the US, but all across the world. I think that’s the most enjoyable part because I get to see the members and talk to them and hear firsthand what concerns them and what their issues are. That’s a privilege that I relish and cherish. One of my favourite questions to ask the people I interview is: when you were a kid, what did you want to be when you grew up? I had all sorts of grand aspirations. At one point I wanted to be an actor and be the next Richard Burton. And then I had a phase where I was going to be the next Peter Jennings. Interestingly enough, all of these grand plans had a component of communication in them. I have held on to that and always enjoy being around people and communicating with them. Kristen Read kread@graphicartsmag.com
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MANAGEMENT
HEIDI TOLLIVER-NIGRO
Personalized www.graphicartsmag.com/ronsmith
Dear Ron Smith,
URLs: What makes them
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The use of personalized URLs as the latest way to grab attention and market products started as a trickle and turned into a flood. These URLs take recipients to their own individual landing pages (www.janesfurniture/bobsmith). There, recipients enter personalized mini-sites that greet them by name, personalize pages based on their stated preferences or information from the marketer’s database and record visitors’ behavior while on the site. Sites can range from extremely simple to vastly complex. But what makes a personalized URL tick? Years ago, just the novelty of going to one’s own custom-created, JULY / AUGUST 2010 | GRAPHIC ARTS MAGAZINE
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personalized website was a sufficient draw to boost response rates. Today, personalization has become more common. What are the best practices for making personalized URLs work?
WHAT’S IN A NAME?
The most recognizable term for these applications is “PURL,” which is short for “personalized URL.” However, while the software for producing personalized URLs is available from more than a dozen manufacturers, the exclusive right to use the term “PURL” is claimed by Nimblefish. For this reason, you will see these applications referred to by other names, as well. www.graphicartsmag.com
These include “personalized URLs,” “response URLs” (RURLs, trademarked by XMPie), “personalized landing pages,” “personalized websites,” “one-to-one micro-websites” and even “customized websites,” although the latter is technically inaccurate. Regardless of the medium, personalized URLs have a wide variety of uses, including direct sales, sales prospecting, customer surveying, event registrations, information dissemination, fundraising and obtaining customer and user feedback. But while personalized URLs have generated a lot of success, they have generated a lot of disappointment, too. This is primarily because of a lack of realistic expectations on the part of both 1:1 printers and their clients. At their most basic, personalized URLs have two components: the personalized URL itself and the mini-site to which the respondent is driven. This distinction is important because the technology for creating personalized URLs, in itself, is very simple. Product differentiation is found in the design engine, the flexibility of the templates and (unless it is a point solution) the larger workflow/multichannel marketing solution into which it is built. But the most important differentiator in personalized URL campaigns is the marketing savvy behind them. It’s possible to send out a basic invitation asking people to log into a personalized mini-site, answer a few questions and enter to win a prize and be successful. For everyone that is successful, however, there are many more that bombed. What’s the difference between success and disaster? It is the thought process behind the campaign and how well matched the components were to the client’s goals. In other words, the difference is good marketing. Let’s take a look at two illustrative examples discussed in “Personalized URLs: Beyond the Hype,” an educational report on this topic from Digital Printing Reports.
THE ZEITERION THEATRE
The Zeiterion Theatre, a regional theater in Massachusetts, wanted to move into 1:1 print marketing, but it had little data on its customers. Its print provider, Reynolds De-Walt, worked with the theatre to create a demographic profile of the “typical” patron of the Z, as the theatre is called, and then purchase mailing lists of local residents who matched this profile. Each mailer was personalized using the prospect’s name spelled out across a set of theatre seats, saying that a seat had been “reserved” for them. Recipients were invited to log into a personalized URL for an opportunity to win free tickets. Once logged in, recipients were asked a series of qualifying questions about the types of performances they preferred and given the option to provide an email address for future communications. The Z mailed out the piece to approximately 10,000 recipients. Twenty-one percent logged into the personalized URL. Of those, 14 percent provided their email addresses.
WHY DID THIS CAMPAIGN WORK?
• Relevance. Before sending out the campaign, the theatre took the time to let its provider create a “best www.graphicartsmag.com
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client” profile. This increased the chances that the offer would be relevant to those receiving it. • Relative novelty. Personalized URLs are not yet commonplace among consumers. With a relevant offer, response is likely to be high. The same response rate might be more difficult to achieve in the B2B marketplace, which is more used to seeing personalized URLs. The interest level threshold and incentive value for response would likely be higher. • Well-matched incentive. Because the target profile is people who have not yet become theatre members but who are likely to attend shows, the incentive of winning free tickets is a good one. If the incentive had been less relevant (say, a sweepstakes for a gift certificate to a local restaurant), the response might have been adversely affected.
TASER INTERNATIONAL
Taser makes incapacitation devices that jam the nervous system and are used by law enforcement. To market its product, Taser sends out tens of thousands of personalized postcards every year, sending law enforcement officers to their own personalized URLs for personalized cost analyses using the Taser system. Once logged in, officers can input their department information. The online ROI calculator projects start-up costs and estimates injury and liability savings, the number of months to achieve payback and the initial savings after the desired time period. It also includes a 10-year impact estimate. This includes net costs saved, estimated officer injuries avoided and estimated lives saved, among others. All of the estimates and charts are calculated on the fly based on the information input by the officer. Officers can change data based on varying scenarios and see how the value proposition changes and add upsell or cross sell items like long-range tasers or infrared sights. Once the ROI analysis is complete, all of the information is automatically sent back to the police officer by email and piped to the Taser salesperson for follow-up. The system emails the officer a 32-page brochure containing the estimates and value propositions created during the visit, then emails the Taser salesperson the same information in a custom PowerPoint presentation that can be used to present the data on a subsequent sales call to the law enforcement agency.
WHY DID THIS CAMPAIGN WORK?
• Extreme relevance. Police departments are intimately acquainted with tasers, so the approach the company took was to give police departments the tools necessary to see the cost-benefit in their own organizations. It’s the ultimate “what’s in it for me” scenario. • Personal involvement. By getting the police departments invested in the process, it created an involvement that ultimately led to great success. These two case studies represent the extremes of personalized URL applications, one technologically straightforward and the other highly complex, with a full range in-between. The point here is that it’s really not the personalized URL itself that is driving success. YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY
include questions that will help you better understand your prospect’s purchasing habits and needs and that can be used for more precise targeting later. Some companies use the surveys on these personalized websites to generate novelty giveaways, such as personalized tickets to events or personalized “album covers” showing recipients as their favourite rock star. This showcases the marketer’s ability to do fancy things with data, but it overlooks the real power of personalized URLs, which is to drive relevant offers. One marketer, MindZoo, a U.S.-based marketing services company, has used its survey page extremely well. In a recent campaign, it asked prospects three key questions: 1. Which direct marketing program type reflects your primary interest (new subscriber acquisition, new customer acquisition, customer retention, CRM, no preference)? 2. Which niche marketing program type reflects your primary interest (lifestyle marketing, life-event marketing, event marketing, partner marketing, no preference)? The personalized URL is simply a tool — a response mechanism — to facilitate the campaign goals. For some campaigns, in fact, a personalized URL is not going to be the right response mechanism. The right response mechanism might be generalized URL, QR code, 800 number, or something else. The wisdom in deploying personalized URL campaigns is knowing when they are well matched to the target audience and campaign goals.
WHAT ABOUT DATABASES?
Even for the simplest personalized URL campaigns, a database will be required. At least, first name, last name and address separated into different fields. Although more data is often better, what should be encouraging to 1:1 printers is that this isn’t always the case. Success in building personalized URL (and all 1:1 campaigns) comes from the ability to create relevance to the recipient, not the number of variables you have. The level of detail you have to “build” (whether through purchasing, collecting, or refining data) actually can be relatively low as long as the data you do have is relevant. (Just look at the Zeiterion Theatre example.) If you aren’t starting out with an in-house marketing database, you can approach this relevance two ways: 1. Target your prospect base at the outset by purchasing a qualified mailing list, either reflecting the desired target market or the current customer profile. The more qualified your initial database, the more effective the prospecting will be. Although this sounds expensive, it isn’t anymore. Purchasing and managing databases for personalized marketing used to be the domain of high-priced specialists. Today, many print shops creating and producing 1:1 applications have developed their own in-house expertise. Many offer database development and management capabilities (to be distinguished from database analytics, which is still the bailiwick of specialists). 2. On the surveys on the personalized mini-sites,
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3. I am interested in learning how personalized URLs and landing pages can increase the effectiveness of my direct mail campaigns. Just imagine what kind of head start this gives MindZoo’s sales force when following up with respondents! This is data gathering with long-term relationships in mind. Likewise, in the Taser campaign, the company gathered information from law enforcement agencies that included the size of the agency, the number of officers and other information critical to future targeted marketing. It also allowed Taser to personalize an estimate for each law enforcement agency on the fly, including the number of lives saved, the number of officer injuries presented, the liability savings, injury cost savings and total return on investment. The sales angle here is obvious. At the same time, however, you need to be discerning in how you collect this data. You don’t want to invite recipients to a personalized URL on the premise of entering a sweepstakes only to barrage them with invasive questions that scream, “Give us all your personal information so our salespeople can hound you later!” There is a line between information-gathering and scaring or offending your prospects so that they never get past the survey page. That line has to be walked carefully, and that’s where good marketing comes in.
USING PERSONALIZED URLS
As the personalized URL market continues to evolve, one of the areas of rapid growth is the application of these campaigns to a wide variety of marketing needs. “Personalized URLs: Beyond the Hype” breaks these applications down into six primary categories: Lead generation. When we think about personalized URLs, we tend to think about lead generation. Indeed, this is the category in which most of the case study applications fall. Traditional methods of lead generation have extremely low response rates, so marketers have historically relied on volume. By using the increasingly well-developed strategies for using personalized URLs,
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however, marketers can turn static, low-response lead generation into a more effective and higher “response marketing” tool. Direct sales/cross-sells and upsells. We don’t see personalized URLs used as often for direct sales as we do for other types of campaigns; but when we do, they are most often used for cross-sells and upsells to an existing customer base. Event registrations. Personalized URLs are a quick and easy way to enable people to respond to an invitation to sign up for a seminar, attend an event, or anything else that requires registration while, at the same time, allowing marketers to easily collect additional information. Email confirmations of registrations are often sent automatically. The marketer can easily monitor the progress of the campaign, but doesn’t have to remember to send confirmations or make sure the tickets were mailed. This saves the staff hours of time. Customer retention and loyalty. There is such a focus on using all types of personalization —not just personalized URLs — for lead generation that it’s easy to forget that this approach works as well to retain your existing customer base. When personalization plays to an already friendly crowd, its power is magnified. You can use personalized URLs to deepen that customer relationship and maintain and grow their loyalty. Fundraising. One rapidly growing application for personalized URLs is fundraising. Although you can send recipients to a general URL, too, personalized URLs play upon the relationship between the recipient and the organization. Often, fundraising organizations have good records on donors that allow them to personalize the mini-site experience, matching images, text and solicitations based on the donor’s past history. The micro-sites might be populated with images from an alumni’s graduating class, for example, with comments from his or her teachers or professors that year. Information dissemination. This category is very similar to customer service and customer loyalty, but it is sufficiently different (with a more “push” orientation)
that it can be seen as its own category. At its core, this classification has “soft” benefits such as branding, company image and savings in administrative costs. These benefits are just as real as direct sales benefits and, for many marketers, just as compelling.
MEASURING SUCCESS
Regardless of the type of campaign, tracking and measurement is critical to achieving long-term marketing goals. There are many different ways to measure personalized URL campaign success. These include response rate, conversion rate, cost per lead, cost per sale, revenues per sale, ROI and lifetime customer value. All of these speak to different aspects of the campaign, so multiple measure may need to be used. It’s also important to keep in mind that Web metrics are different from print, so you’ll want to consider things like click-through rate (did people click through to different pages), form fill or survey completion rate, download rate (whether people downloaded PDFs or white papers), video view rate (if any) and whether or not people made it to the final thank-you page. Also whether they downloaded anything, took advantage of the offer and so on. You want to know to what extent people are interacting with the site.
BOILING IT DOWN
Is it possible to boil down all of the information in a nutshell? If it were, it would be this: personalized URLs are simply a response mechanism. They don’t drive traffic in themselves. If you want to maximize your success with this approach, do the following. 1. Follow the best practices of direct marketing at large, including those for 1:1 (personalized) printing. 2. Take advantage of the unique opportunity that Internet-based applications provide to measure and track your results. Go beyond the “obvious” metrics to dig deeper and really mine the tremendous data resource you now have. 3. Use multiple channels to communicate the message. When possible, use multiple response mechanisms, as well. Not everyone responds the same way to the same media. 4. Commit to personalization for the long-term. Tweak, test and wrap results around to future campaigns to refine your program over time. There are best practices for personalization, but the details of how they are to be implemented are unique to your company, your goals and your customer base. Like any other marketing program, personalization is a work in progress. Like any other investment, there is often an initial payback, but its true value is only discovered over time. Heidi Tolliver-Nigro is an industry analyst specializing in digital and 1:1 printing. She is founder of Digital Printing Reports. heidi@digitalprintingreports.com.
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Talkback Topics - check out what the industry is saying about some of the latest news: Re: The extinction of the phone book “Of course no one noticed. No one ever noticed at all until the white pages showed up on your door step. It was just one of those things. It came out when it came out and if it was a month or 2 late you still had the old one. Since this is the 1st I’ve heard of this I wonder what the response will be when it’s more widely reported.” -Scotian “I don’t think that’s the point, the fact that no one noticed. I think the point here is that yet another piece of the print world that we once called a necessity is going extinct. Yet another iconic source of information and human connection has been lost because of the internet. This is a telling sign of the direction that technology is taking us - into a print-less society.” -Dylan
Re: The way of the future: 3D computers? “I’m not sure about this whole 3D thing. Who wants to sit in front of a TV or computer with 3D glasses on for hours? It doesn’t add that much appeal for me. Then again, I haven’t seen Avatar so I haven’t been exposed to the “magic” yet. -Dave Re: The e-reader price war “This is exactly the problem that happens when you use new technology to try to build a direct replacement for something that exists. In five years the e-reader will look as silly as candy cigarettes or mp3 players that look like turntables. Wake up Amazon and Barnes & Noble. Have some imagination!” - Greg “Not every body is looking for a “digital photo frame on acid.” Some of us actually read books, and the display on the Kindle is much better suited to this. Try reading your iPad on a beach. Not going to happen!” - Peter
We’d love to hear what you think. Feel free to leave your comments and opinions at graphicartsmag.com and don’t forget to vote on our weekly web polls!
JULY / AUGUST 2010 | GRAPHIC ARTS MAGAZINE
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YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY
TECHNOLOGY
ANDREA MAHONEY
Automate PDF sizes and reduce manual adjustment time A previous article talked about PDFs received from an online source and how parts of the production process could be automated. Some items that are not so easy to automatically fix can have automation assist to reduce the manual work. Adjusting bleed and page size in a PDF is one example. Adjusting a PDF page size to accommodate bleed can be automated using JavaScript. An automated workflow should initially sort items by the product ordered. From there, the size of the PDF’s page can be determined and compared to what is required. Instead of failing a job without bleed, a copy of the file can be adjusted using JavaScript to make room for the bleed and the same JavaScript can set the trim box and bleed box for imposition.
To accomplish this there are some terms you need to familiarize yourself with in order to set up JavaScripts for Acrobat. The Bounding box or BBox is the grouping of actual image on the page. The measurements of the Bounding box cannot be changed but can be compared to the measurements of the media box. If the Bounding Box is smaller than the media box, you may not need to add image bleed. If it is the same size in either height or width, you will need to check out the file. Automation tools work perfectly to compare this data and sort files into what passes and what needs to be looked at. Page boxes determine what we are sizing and how they fit together. The Page boxes are named: Media, Crop, Art, Trim and Bleed. The Media box, is the actual size of the page size we are working with and what will print. The dimensions used in JavaScript are measured in points in the following order: [left, top, right, bottom]. JavaScript uses the left bottom corner for its [0, 0] measurement. So JULY / AUGUST 2010 | GRAPHIC ARTS MAGAZINE
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the Media box [left, top, right, bottom] of a 3.5 × 2 business card supplied without bleed would look like this: [0, 144, 252, 0]. To increase the size of the page, we adjust the Media box by 9 points all the way around. So the Media box will be adjusted as follows from the bottom left corner: [left -9, top +9, right +9, bottom -9]. This will make the PDF image centered in a 3.75 × 2.25 PDF page. The value of the new Media box will be [0, 162, 270, 0] and all new settings will be based on this value. The Trim box will then be set to [9, 144, 252, 9] and the Crop box and Bleed box will be set to match the Media box. A simple JavaScript using the getPageBoxes( ) command and setPageBoxes( ) command can update any PDF automatically and send files that require bleed adjustment to an operator. This command gives you the ability to make the size change to a multi-page document or selected pages only (like even and odd pages). Not all files arrive with the perfect specifications, but we do not want to have to open up every one of them. An automation tool like FullSwitch can inject a JavaScript into Acrobat based on a product or any other sorting information you would like to use. FullSwitch can send files to a folder on the server for viewing and send notification emails when they arrive. To increase image bleed, you can use the touch up object tool built into Acrobat or another PDF editor like Pitstop Extreme or the Pitstop Plugin. A more sophisticated tool like PowerSwitch can use Acrobat with the Switch Client to make items available in a checkpoint on a network for updating and forwarding to production. All Adobe products have JavaScript reference guides, tutorials and examples online. It is worth your while to learn how simple JavaScripts and automation tools can be used and how fast they will increase your productivity. Andrea Mahoney designs and installs automated workflows for all types of printing professionals. Tribay, a workflow automation company, offers the tools, training and setup for successful automated workflows. Visit www.tribay.ca and/or email Andrea at andrea@tribay.ca.
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TECHNOLOGY
KRISTEN READ
JDF Technology Seminar On Thursday, June 17th, CIP4 and the School of Graphic Communications Management held a day-long JDF technology seminar at Ryerson University in Toronto. Experts came from the U.S. and around Canada to educate over 70 industry professionals who attended on the latest developments in workflow automation and JDF technology. Bright and early on the Thursday morning of the event, the sun was shining and everyone in attendance at Ryerson University was in great spirits and ready to learn. After catching up with some friendly faces over coffee and pastries, everyone took to their seats and opened their notebooks. Following brief introductions to the event from both Dr. Abhay Sharma and PIA President and CEO Michael Makin, the floor was passed over to the day’s first speaker: James Harvey, executive director of CIP4. He was able to provide answers to questions that many printers have about JDF, and give the audience some practical considerations for getting started with workflow automation.
While this may seem intimidating, he said that once printers start small and get the ball rolling, it will be a chain reaction and they’ll notice the benefits quickly.
WHAT IS THE BEST WAY TO GET STARTED WITH JDF? Getting started with JDF technology may seem like a daunting task for many printers. While the potential exists to automate an entire workflow from start to finish, Harvey’s recommendation was not to look at the “big project.” Don’t try to automate everything at once. His advice is to start small and look for small successes. Treat it as a learning experience. By the same token, Harvey also offered words of warning to printers, explaining that this will become an ongoing process that takes work and planning. To put it bluntly, he said: “JDF is not plug-and-play. It is not
CIP4 executive director James Harvey’s JDF implementation advice is to start small and treat it as a learning experience.
JULY / AUGUST 2010 | GRAPHIC ARTS MAGAZINE
something that is simply purchased. JDF won’t just ‘happen to you.’ Just because you have JDF equipment doesn’t mean it will magically start.”
SO…WHAT IS JDF?
JDF stands for Job Definition Format. The CIP4 website explains that JDF is an industry standard designed to simplify information exchange between different applications and systems in and around the graphic arts industry. The seminar’s next speaker, Brandon Iskey, JDF product certification administrator at PIA, explained that, “Automation is not JDF, but JDF is automation.” But what does this all mean in plain English?
Brandon Iskey, JDF product certification administrator at PIA, says that “Automation is not JDF, but JDF is automation.” 26
Event organizer Dr. Abhay Sharma describes JDF in simple terms: JDF is to a print job what a flight tag is to luggage - it is the ticket and instructions, but not the content itself. www.graphicartsmag.com
JDF is like a language that allows each piece of equipment in a workflow to “talk” to each other. It contains all of the information regarding each job, which is passed along down the chain from creation to completion. With JDF, the physical job ticket is replaced by an electronic one. Information only has to be entered once, improving accuracy and efficiency. Quite possibly the best description of how JDF works was demonstrated by Dr. Sharma in his presentation. He held a duffel bag above his head and pointed to a luggage tag attached from a recent flight. He explained that JDF is to a print job what a flight tag is to luggage. “It is the ticket, it is the instruction of how to get the bag from Point A to Point B – but it is not the actual content itself.” If Oprah were around, she would have called that an “Aha! Moment.”
WHAT ARE THE BENEFITS OF JDF?
JDF automation allows print companies to do more with less people. “Twenty-five percent of all of the printers out there make all of the profit,” explained James Harvey. “These profit leaders have lower cost of goods sold and a lower payroll, while maintaining a high capital investment.”
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Citing two different real-world case studies, it seems that the leading companies in the industry are onto something: substituting labour for capital is profitable. This is what the big guys are doing right, and the small guys are doing wrong. Later in the morning, Dr. Abhay Sharma showed the audience some statistics that elaborated on this point. Looking at a typical printer’s cost structure breakdown, the materials needed for each job (ie. paper, prepress, proofing, capital) contribute to only 25 percent of the overall operation. The other 75 percent comes from overhead. If you can reduce some of your overhead by automating your workflow, you can turn more profit on each job. The PIA’s Brandon Iskey explained another important benefit of JDF automation: accurate reporting. He gave everyone something to think about when he posed the simple question: “Let’s say you have 10 percent waste running a certain job. How do you know that number couldn’t have been only 6 percent?” With accurate reporting you can track costs and get specific and detailed audit information back, allowing you to see areas to improve your workflow. If you multiply that extra profit from each job over the course of a year, the savings can really add up.
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DO YOU HAVE TO BUY BRAND NEW EQUIPMENT? The answer to this common question is that no, you don’t have to go out there and buy a brand new fleet of press and bindery equipment. First of all, a lot of equipment sold these days is already JDF compatible. If you have older equipment though, it can still be integrated because your workflow is unique to your company. If you are already in the market for new equipment, however, James Harvey’s advice is to “make JDF a requirement. If a machine doesn’t support it – don’t buy it. It is a waste of money. Buy smart.” An excellent free tool you can use is the JDF Integration Matrix chart – available and updated monthly on the CIP4 website (www.cip4.org). It is a detailed index that shows the industry’s automation partnerships between vendors. When it comes to working with vendors themselves, the CIP4 executive director had some more important advice: “Don’t work with vendors individually – make it a collaboration. Get vendors around a table and get them to understand your goals and objectives. Make sure your final payment does not just include installation, but proven interoperability between devices.”
DIGGING DEEPER INTO THE WORLD OF JDF After the informative “JDF-101” presentations from James Harvey, Brandon Iskey and Dr. Abhay Sharma, we heard from Tony Karg, senior marketing director at Fujifilm Canada. He went into depth about the latest developments with Adobe Print Engine and how it integrates with JDF workflows. HIFLEX President and CEO, Gary Marron, and Director of Marketing, Daniel DeBoyace, then showed how HIFLEX’s MIS system works and used Guelph’s Ampersand Printing as a real case study for a successful integration of JDF. After a brief lunch and some more time to catch up with familiar faces, the audience was split up into groups to participate in live demonstrations of four workflow automation solutions. Experts were on hand from Heidelberg, HIFLEX, Dalim and Avanti to show how each system functions. The floor was open to ask questions, share experiences and learn about how the technology could improve current business practices. All in all, the seminar was very informative and received positive feedback from attendees who learned a lot and who were also given a lot to think about for the future of their companies. For more information on JDF, check out the CIP4 website at www.cip4.org. There are a lot of helpful resources and links there to help get you started. Kristen Read kread@graphicartsmag.com
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MANAGEMENT
KRISTEN READ
Featured markets Your monthly buyer’s guide to the latest print industry products This month: Packaging / RFID / Barcodes / QR Codes Every month, when I sit down to write Featured markets, I look at the topics and think about which companies in the industry have recently done something interesting within those markets. This month’s subjects centre around packaging, RFID, barcodes and QR Codes, which leaves the door open a little bit to try something different. This time, let’s have a look at some of the coolest and most interesting recent ideas and developments in this field as a whole. Package printing has been, and will continue to be with us for a long time. Neither the Internet nor the latest device from Apple will lead to its decline – it’s not going anywhere. You can’t make a cereal box out of pixels. On that note, let’s take a peek at some of the ways that packaging has evolved over the years, using technology like RFID, QR Codes and barcodes. If you are a printer, or even in marketing, this might spark some new ideas to try something unique and win more jobs. These types of tactics can transform an ordinary printer into a communication facilitator. So, let’s dig in and “think outside the box” – pun intended.
THE BARCODE
Newsweek magazine recently ranked the UPC Barcode among its list of the “Top 20 Innovations that Rocked the World.” Since it was invented in the 1970s, the scanable barcode has streamlined the process of purchasing, shipping, receiving, and selling products, says the article. It has helped grocery stores alone generate billions of dollars. Barcodes have set the standard for digitizing and automating business, paving the way for the future of e-commerce. The first ever commercial appearance of the barcode was on a package of Wrigley’s Juicy Fruit gum at a supermarket in Ohio in 1974. That very first pack of gum and its receipt are on display at the Smithsonian Institution. Today, it would be difficult to find any package without the familiar white box of black lines. It has become an integral part of modern civilization.
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The barcode works because it is an optical machinereadable representation of data. The multi-digit code is unique and can identify any product. At first, printing the barcode proved to be a problem because presses would smear the fine lines of ink, making it unreadable. To solve this problem, designers and printers must remember that packages should be printed in the direction of the barcode stripes. For many printers, the barcode is just a boring and necessary part of what has to go on a package. But it doesn’t have to be boring. Some fun twists on the generic barcode have surfaced recently that can make products engage customers and become unique conversation pieces. The latest trend on the packaging scene is called “Vanity Barcodes,” that turn the ordinary barcode into a customizable decorative design. Vanitybarcodes.com believes, “They’re a powerful marketing tool that can transform a boring, space-hogging barcode into a terrific brand asset.” Here are some creative examples – that actually scan like a regular barcodes:
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RADIO FREQUENCY IDENTIFICATION (RFID) While RFID tags are commonly used in product packaging for tracking inventory and deterring shoplifters, the technology was actually invented in 1945 as an espionage tool for the Soviet Union. Radio waves containing audio information could be transmitted, creating a covert listening device. This initial model is considered to be the predecessor of the modern RFID tag, because of its ability to be activated by electromagnetic waves from an outside source. This is the basic concept of RFID, although there now exists three different types of tags in common usage. “Active” tags have their own battery, making long-distance reading possible. “Semi-Passive” tags also have a power source, but mainly act as a transponder that can actually reflect information back to the reader. Lastly, “passive” tags have no battery, but are activated by the energy from the tag reader. Passive tags are the most widely used commercially because they are relatively inexpensive and versatile. Sometimes they can be cleverly hidden behind stickers on products so that stores can catch shoplifters as they try to leave the premises. Another use of RFID tags is for inventory and tracking. Wal-Mart requires its top 100 suppliers to track every shipment using this technology, improving its supply chain management. (Think about how this could also be used in the printing industry to track paper shipments and skids of finished jobs!) The possibilities are endless. Imagine that every book in a library has a tag, and there is also an identity chip on your library card. As you walk out with your books, sensors at the door detect your identity and record the books you borrowed. Now let’s get sci-fi and imagine that each human has a tracker implanted in their body and every product on store shelves is tagged. You would never have to wait at a cash register line again! You
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could just walk out with your bags while the tag reader identifies you and your purchases and automatically withdraws money from your account. While this would obviously be very controversial – not to mention an invasion of privacy – it is not too far off from what’s possible. The smallest RFID tags in existence measure only fractions of millimeters and are nearly invisible to the naked eye. It is easy to imagine them used in Hollywood spy movies. (Anyone remember that scene in Mission Impossible when one of the IMF operatives put a tracking tag on the computer programmer’s shoulder?) What’s fascinating for our industry is that a number of printing inks out there support RFID, meaning that the chip and antenna can actually be “printed” right on the substrate! The future of this technology is pointing in the direction of things like printed electronics, batteries and even solar panels – expanding the scope of applications that the printing industry can offer.
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cards. Even printed on a T-shirt, QR readers instantly recognize the matrix and decipher it. Basically, any object that users might need more information about could potentially benefit from this technology.
QR CODES
QR (Quick Response) codes take the original UPC barcode to the next dimension…literally. These twodimensional codes have the ability to not only store individual product information, but can provide unique embedded hyperlinks to websites. Created by a Japanese company in 1994, this technology was originally meant for the auto-manufacturing sector to track vehicle parts. The contents of the QR can be decoded at high speed because of its advanced design. The three boxes in the upper and left corners are for positioning, and the fourth box near the lower right is for alignment – allowing code scanners to immediately read and recognize the content.
Taking this concept back to packaging – imagine a world where cereal and cookie boxes no longer have to display nutritional information or ingredients printed on the side. Giving space back to the package design itself, consumers would only see a QR matrix in the corner that they can read with their smart phone to access all of the product’s necessary information. Whether it be Vanity Barcodes or RFID tracking or QR marketing, why don’t you suggest one of these ideas the next time your client wants to try something new? Communicating with consumers can go beyond the world of print, and can easily work handin-hand with the latest electronic technology. This type of innovation can be beneficial in many different campaigns, creating new ways to interact with your target audience and setting you and your customers ahead of the game.
Since they were invented, QR codes have been applied in a much broader context within a variety of different markets. Today, many smart phone cameras can actually read this type of matrix. Although it requires the user to download a special software app, by pointing your camera at a QR code, the phone will automatically launch a specific website. Think of how this could be used as a powerful marketing tool! QR codes with a stored URL could be used in so many applications, from magazines and books to signage and bus/vehicle wraps even to business
Kristen Read kread@graphicartsmag.com
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TECHNOLOGY
TIM MITRA
Graphic Arts’ IT Guy Q and A I’m thinking of buying an iPad. What size should I get? The iPad is really a great device to use and I recommend them to everyone. At this point, the iPad is only available for purchase from Apple’s retail and online stores. You can also buy them in Canada at Best Buy and Future Shop as well. AppleCare is also available for them. There are also two network options; one with Wi-Fi and a second with both 3G cellular & Wi-Fi. The 3G funtionality adds $130.00 to the price and an optional monthly service. The available memory sizes relate to the storage capacity of the iPad, not the performance. Both versions come in 16GB, 32GB and 64GB configurations. All the models use only 256 MB of RAM for the operating system. You may find that all of the 3G models and the 64GB Wi-Fi models sell out quickly. The Apple iPad case, $45.00, is one of the best cases available and also sells out quickly. The case protects the iPad while you transport it, making it easer to hold. It also folds over to support the iPad in an angled position for typing. If you’re thinking of getting a 3G model: the current Rogers data plans are 250MB for $15.00/month and 5GB for $35.00/month. These are “no contract” accounts, which means that there is no long-term commitment required. You can also switch between plans as many times as you like. Similar plans will also be available for the iPhone 4.0. Apple is reportedly pushing for its users to sign up with another data provider when traveling. I was surprised to find out that I could not use data roaming while in
the U.S. with the Rogers plans – so you may want to check your options before you leave, if you plan on using the device in the U.S. Apple wants to make the iPad and iPhone user experience to be as painless as possible. With flexible plans users won’t be caught by huge data charges. The iPad is a perfect fit between a smartphone and a computer.
When I’m in the Mail application and I hover my mouse over an address, a little arrow shows up. How does that work and what else can you do with it? What you have stumbled across is part of Mac OS X called Services, which is a special set of scripts that allow applications to interact and share features and information. It was originally introduced in the Next OS and utilizes a special pasteboard to move chunks of data to another application automatically. For instance, if you select the address in a senders signature a contextual menu will pop up offering to create a new contact for you. Behind the scenes a script in Services is willing to take the sender’s information block (name, address, email, phone number) and update or create a new contact in the Address Book application all at once. Hover over, right click or control click on a street address and you can find the address in Google Maps (on your Mac, iPhone or iPad). Click on a list of items and you can create a new Sticky Note, select a URL and it will open in Safari. In the Finder, select a series of images and it will offer to rotate the images, set your Desktop image or even create a web gallery or iPad gallery – with the addition of a simple script. There are several third-party scripts out on the Internet that will add automation to your applications. You can download some “.services” files that will select data and images from FileMaker Pro and move it over to Pages and create a catalogue. You can find out more at macosxautomation.com. To test what is available, select some text or images and either control click them, or visit the Service Menu in the current applications menu and see what is available. Try this: open a web page in Safari, select some text, control click and choose Start Speaking from Speech and sit back while your Mac reads the page to you.
Timothy Mitra IT specialist (IT Guy) Do you have a question you would like answered by the IT Guy? tim@it-guy.com 416.278.8609
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TECHNOLOGY
PETER DULIS
The morphing of camera video There is a real sense of excitement taking place in the video arena recently. The world of video and video production has reached a new point in its development; and it is changing the modes of capture themselves in an incredible and ground-breaking way; a point that sees still photography mediums morphing into the world of video in a visually stunning and a technologically exciting way.
insight into a project he is working on in the townships of South Africa. Originally a photojournalist, Gardner was super-charged about the way EOS Movie has enabled him to re-engage with his former occupation: “I’ve actually been rediscovering my career through using EOS video.”
It used to be that in order to shoot a movie, you had to work with professional cinema equipment worth as much as your average house in Toronto, with a minimal crew of four people (director, camera operator, camera assistant, sound engineer). Not to discount the value of a good production team, but today you can do everything yourself. All it takes is a high-end DSLR (Digital SingleLens Reflex camera) high-definition (HD) camera and a creative mind.
Many film directors have embraced shooting with DSLRcameras for a very good reason. Unlike video camcorders, professional DSLR still cameras are fullframe (35mm) or cropped sensor — both a lot bigger than the largest 2/3-inch professional broadcast camera sensor. A huge sensor is one thing, but having the ability to put very fast (low F-Stop) 35mm stills lenses in front of the camera is quite another matter. The result is an unbelievably shallow depth of field, a very common practice in the world of professional cinema.
PROFUSION 2010
Many videographers had a chance to experience this first hand at the recently held ProFusion 2010 Pro Video Expo. This two-day event was held at the Toronto Congress Centre on June 18 and 19, and produced by Toronto-based Vistek Ltd. Ron Silverstein president of Vistek, says the idea for a pro video show had been germinating at Vistek over the past couple of years after VicePresident Kevin Parker, and other members of the management team, attended NAB conventions in the U.S. “We thought it would be good for these manufacturers to talk to our customers,” Silverstein says, “but there is no venue for this.” Six months ago, Vistek began early preparatory work on the project, and intensive work began about four months ago. The fruit of the company’s labours were witnessed by approximately 2000 people attending the Provision 2000 event June 18-19. “The video side of the industry is really where the excitement is,” Silverstein states. “It doesn’t take $400,000 worth of equipment to do a 30-second commercial anymore. Now you can do it for $12,000. The intent of the show was to showcase pro video equipment, including DSLRs with HD video capability, showcased by Canon, JVC, Nikon, Panasonic and Sony.
EXCITEMENT IN THE INDUSTRY
At the beginning of the year, at the WPPI show (Wedding and Portrait Photographers) this passion and excitement was very evident by many photographers who spoke at the Canon live stage. As well, recently in Britain, a twoday event (Converge) – organized by The Flash Centre, in association with Canon UK – helped to underline the growing significance and excitement surrounding capturing HD movies on Canon DSLRs, such as the EOS 5D Mark II, EOS-1D Mark IV and EOS 7D.
BEAUTIFUL DEPTH OF FIELD
A shallow depth of field allows you to focus on the subject, leaving the rest out of focus. This isolates the subject from the background and allows the film maker to control where he wants to place the attention. If everything were sharp, the viewer could easily be distracted by details that do not matter to the storyline. The results of shooting with an HD video DSLR is simply amazing. However, working with a shallow depth of field is not easy: subjects tend to move around, so you have to keep turning the focus ring to keep them in focus. But this can be mastered. There are still some challenges to this new DSLR video technology, but many third-party companies are stepping up with solutions to overcome the limitations.
CONCLUSION
DSLR cameras have definitely filled a void left behind by the market leaders in broadcast. True convergence in video production is now well underway. Should you go DSLR or stay with semi-professional video equipment? The answer all depends on what kind of video you are making, how much knowledge you have of DSLR technology and how much time you plan to invest in the project at hand. Working with DSLRs, much like digital cinema, is probably better suited for those who have the time to set things up properly. Without any stabilization equipment and manual sound recording, DSLR may not the best camera to have for a quick press interview. You probably still want a shoulder-mounted ENG (Electronic News Gathering) camera for that. The typical price points of those, however, are not within most people’s budget. So if time is not of the essence, going with jazzed-up DSLR can be a very attractive alternative. Peter Dulis Wide Format Printing Specialist Canon Canada pdulis@rogers.com
Drew Gardner, an established photographer, and a speaker at the first Converge, delivered presentations on both days of this event, giving audience members an JULY / AUGUST 2010 | GRAPHIC ARTS MAGAZINE
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BINDERY
NORM BEANGE
Creative bindery Q&A The following question and answer section focuses on creative bindery techniques, tips and ideas that can help make your business more competitive and profitable.
E-Z RELEASE GLUE APPLICATION What can E-z release glue be used for?
-It’s an economical and attractive substitute for wafer/ clip sealing. (Properly manufactured products work great in the U.S./Canadian mail stream.)
printer. However, hot melt remoist dries much faster than cold application, which helps speed the project through subsequent production stages. Many remoistenable glue jobs are done inline with other binding processes. For example, you may apply remoist glue, stop-perforate the sheet, apply seam glue to form a pocket, fold it (barrel folds, accordions and gatefolds), apply wafer/ clip seals, slit it and keep the job in mail-sort order…all inline. Common applications: envelopes, direct mail response vehicles (2-ply business reply cards or BRCs).
RETACK
Retack glue is a relatively new form of glue that allows users to remove glued pieces and re-stick them several times before the adhesive properties fade. Common applications: interactive consumer promotions, adjustable point-of-purchase (POP) displays.
SEAM (PERMANENT)
Permanent glue which is designed to keep two panels together indefinitely. There are several common applications for permanent glue, such as paste binding or affixing easels to create point-of-purchase displays. It’s also used to tack two pieces together during subsequent finishing operations, such as die cutting. The glue is placed on extra material that will be trimmed off once the “tack” has served its purpose. -It keeps fold-outs and gatefolds from unraveling during binding operations -It holds products together so they can be automatically inserted (i.e. consumer product instruction sheets into bottles or boxes). It’s great for pharmaceutical and/or miniature folded products. E-z release glue performs best on penetration-resistant, highly calendered, dense paper with heavily inked and coated surfaces. Matte and other lightly calendered enamel stock, offset paper or sheets with a heavy clay fill are susceptible to delamination and fibre tearing when trying to achieve an E-z release effect. Managing variable adhesion and chemical reactions is important. Some E-z release glue solvents, such as ammonia, dissolve aqueous and other coatings and result in permanent adhesion.
Solving the Glue Puzzle
REMOISTENABLE GLUE (REMOIST)
Remoist glue is what’s found on the inside edge of an envelope. It is moistened and affixed by the end user, making envelopes and other return mail pieces the exclusive application for this glue. Cold and hot melt remoist application methods offer distinct advantages based on specific production needs. Since cold remoist application isn’t heat activated, it is ideal for pieces that will subsequently be sent through a laser JULY / AUGUST 2010 | GRAPHIC ARTS MAGAZINE
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Resin-based permanent glue are applied cold and provide a good bond with a relatively small amount of residue. Hot melt glues set nearly instantaneously. Permanent glue needs to bite into the paper, so the harder the surface, the more difficult it is to penetrate the sheet and create good adhesion. Common applications: envelopes, direct mail response vehicles.
E-Z RELEASE
Latex E-z release glues require long setup times (three or four minutes) and tend to spread when the opposing sheet is tightly squeezed. Their curing period is really 24-hours even though they appear to be dry after 10 minutes. Oil-based E-z release glues have a shorter curing time. Common applications: Self-mailers, wafer/ clip sealing substitute, temporarily hold forms together for other operations (i.e. saddle stitching).
FUGITIVE GLUE
Fugitive glue, also known to some as removable glue, is ideal for direct mail applications. It’s designed to hold tow panels together until they are separated by the end user, making it a suitable closure for a self-mailer. Fugitive glue can be removed without tearing paper fibre and can be rubbed away easily after use. This makes it a good choice for applications that require glue to be placed in a visible location on the piece. www.graphicartsmag.com
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Spot Gluing in Trim-Off Areas
creeping into the final trimmed product.
WHY SPOT GLUE IN TRIMOFF MARGIN AREAS?
The following question and answer section focuses on creative bindery techniques, tips and ideas that can help make your business more competitive and profitable.
Most gate folds, over and over folds and accordion folds will unravel during the saddle stitching or perfect binding processes unless they are held together by glue. However, products often need to be glue-free when they reach the end-user. Spot glue, properly engineered and applied in trim-off margin areas, will accommodate production efficiency needs, yet be completely removed after downstream operations. Spot glues can be applied using either a “cold” watersoluble formula or a hot melt process. Since hot melt is the more common production method for most spotgluing applications, we’ll stick to that as our basis for glue comparison. Spot gluing offers its own set of production challenges distinct from those associated with adhesive binding. Whereas adhesive binding is the placement of a glue on a specific location - namely, the edge of a book block - spot glues are placed anywhere and everywhere on a printed sheet.
I had a job that was too thick for my flat-stitching machine to produce. I lost this thick job to a competitor who has the same model stitcher. Do you know how he was able to stitch the job? Diagram A illustrates conventional flat stitching. Diagram B illustrates what is commonly referred to as stab stitching, where stitches are driven through both sides of the pad and not crimped. This is most likely the procedure your competitor utilized.
PRODUCTION ON THE SPOT
Here are a few tips to keep in mind when designing a piece that will receive spot gluing: Make it laser-friendly. Glues must be chosen carefully for pieces that will be sent through a laser printer for personalization. Many hot-melt glue will cause the sheet to pucker and curl when run through a laser printer. Occasionally, “re-melted” glue will seep from the edges of the piece, making a mess both inside the printer and on sheets that pass through it. Test it when necessary. There are a myriad of production and end use factors that come into play when selecting spot glue. Warehouse, shipping and destination climate; packing details; ink and paper chemistry; size and weight of the finished project; and even government regulations all need to be considered before placing glue on paper.
THE UGLY TRUTH…
A glue dot will spread, no matter how small it is. Practically speaking, glue usually spreads more than 1/8th. Therefore, if paper efficiency is a major concern, and it almost always is on long run jobs, the most efficient printing layout may not be good for spot gluing. If the glue dot is too close to the edge of the sheet, it will spread beyond the paper causing individual sheets to stitch together in a “brick.” If the dot is too close to the final image area, the glue will not be completely trimmed out.
SUGGESTED GUIDELINES
Allow at least 3/8” (1/2” preferred) trim-off area in the non “jot-to” end of the product and apply spot glue there. Allow for a 1/8” margin on the “jog-to” end and don’t apply spot glue there. If these margins aren’t possible for your job, consider using latex E-z release instead of permanent spot glue. If you go this route, you will likely need to apply glue on both the jog-to and non-jog-to ends of the product due to E-z release’s weaker adhesive properties. Also, advise your customer that you may get some E-z release glue remnants JULY / AUGUST 2010 | GRAPHIC ARTS MAGAZINE
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CAN YOU GIVE ME SOME IDEAS ON HOW I CAN CERLOX BIND BOOKS SO THE TITLE OF THE BOOK CAN BE READ ON THE SHELF? There are a number of ways you can do this. Three methods, which are shown here, will allow the title of the book to be read along the spine. A one-piece cover with a small portion of the rings exposed on the spine only. A one-piece cover that has no rings exposed on the front or spine. The rings appear only through the back cover. A one-piece cover with no rings showing on the front spine or back. The rings are punched and bound through the edge of the back panel, which has been folded back as a sixth page. Norm Beange Specialties Graphic Finishers Ltd. info@specialtiesgraphics.com
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TECHNOLOGY
ANGUS PADY
Preparing images for press If you are one of the millions of people that think converting to CMYK simply means going to Image / Mode / CMYK and viola you have a CMYK image ready for press, you may want to think again. The reality is that there are numerous flavours of CMYK, from Web to Sheetfed and coated to uncoated. Simply choosing the default may not be your best choice. The goal is to target your image using the correct flavour of CMYK. But what are the specific printing conditions or flavours? Lets break them down.
profile. It is better to have too little ink than too much. But if you can determine that your job is going to be printed on a quality stock with a sheetfed press then use the GRACoL2006_Coated1v2.icc. Always use Photoshop’s convert to profile option and select the options seen in the screen capture below.
SWOP, WEB PRESS
Everyone has heard of SWOP (Specifications for Web Offset Publications) but not everyone knows what SWOP means as it pertains to their image and its reproduction. The original US Web Coated (SWOP) v2 profile has been around for a while but is slowly being replaced by the more accurate and up to date WebCoatedSWOP2006Grade3.icc and WebCoatedSWOP 2006Grade5.icc profiles. They are installed with CS4 and CS5. One of the main differences between SWOP and a Sheetfed press is the amount of ink viscosity or thickness. The US Web Coated (SWOP) v2 profile puts down an ink volume close to 300% total area coverage in the darkest tones compared to 340-350 for sheetfed. But what else makes a Web press unique? Web presses are faster, up to 40,000 impressions per hour and are designed for longer run lengths (20,000 + impressions). Limitations of a Web or roll fed press are stock choices and paper thickness. Gamut; a web press printing on a number three stock has a smaller gamut compared to GRACoL on a number one stock.
SHEETFED
GRACoL is defined as General Requirements for Applications in Commercial Offset Lithography or printing on a number 1 sheet on a sheetfed press. GRACoL is gaining in popularity and has proven to be an excellent specification for colour reproduction in the sheetfed arena. Remember our discussion on ink thickness; the GRACoL spec for TOC is 340% verses 300% for Web. This is a notable difference because a large majority of images are converted using the US Web Coated (SWOP) v2 profile and it has a TOC that is too low for a sheetfed press. The result is the photograph prints lighter than expected in the shadow regions because the sheetfed press is starved for ink. So what can you do to ensure your images are given their full potential? Here are a few rules. If you are unsure use the default US Web Coated (SWOP) v2 JULY / AUGUST 2010 | GRAPHIC ARTS MAGAZINE
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MYTH-CONCEPTIONS….
I used the default CMYK settings in Photoshop and get good results. I call this a blind conversion because you have no idea what flavour or recipe of CMYK you are using. Don’t do it!!! Use the Convert to Profile option and select your flavour of CMYK. Converting from CMYK to CMYK in the convert to profile is destructive? No. This is not a damaging conversion if done once. Sure if you do it 15 times it will degrade the image but not once. But the benefit is that you can repurpose a CMYK to another printing conditions using this method. Traditional Separation Tables are more accurate than ICC profiles for making Colour separations/conversions? Big fallacy here, traditional separation tables are significantly less accurate then today’s ICC profiles supplied in Photoshop. I can’t specify dot gain when using an ICC profile so I prefer to use Separation Tables where I can dial in the parameters. The dot gain values are built into the ICC profile as well as the white of the paper and the Total Ink Limit. Understanding the differences will help you make a more informed decision when converting your images for print and always ask your CSR or print broker how the job is being printed and convert your images accordingly.
Angus Pady is the president of Digital Solutions. Complete colour control from desktop to press. T: 905.764.6003 E: Angus@ColourManagement.ca www.colourmanagement.ca
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Dollco Printing now has immediate openings in Ottawa for the following positions:
Bindery Supervisor 1st and 2nd Heatset/Web Pressman Please visit our website for full job description and application details at www.dollco.com. Resumes can be forwarded to: HR Department, Dollco Printing, 2340 St. Laurent Blvd., Ottawa, ON, K1G 6E3 or by fax to 613-738-4655 or by e-mail to jobs@dollco.com. We thank all applicants for their interest and will be contacting only those who best meet our needs.
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MY CUSTOMER ASKED ME
DIANA BROWN
My customer asked me “What kinds of clever packaging exist today?” Those who know me know I love outside-of-thebox ideas. From design concepts, to interesting uses for everyday products, to fun, quirky (and sometimes useless) merchandise. I love it all! I also enjoy finding clever and interestingly packaged products. Smart businesses and intelligent marketers are always trying to set themselves apart from their competition, which not only means differentiating the products and services they provide, but also ways in which these products are packaged. Over the next three issues, I will be digging up some unique examples of consumer packaging. In this first installment, I will examine eye-catching packaging design and designs that increase the functionality of the product. Many of the products lumped into these categories are similar or have comparable target markets, which speaks volumes about the consumers they are trying to reach and the strategies with which they are trying to reach them. As a side note, I have no affiliations with any of the brands listed below; I simply admire their creativity and drive to stand out on store shelves. I hope this article gets your own creative juices flowing. Let’s go!
Eye-Catching Design MR. CLEAN DUMBBELL PACKAGING
NAOTO FUKASAWA’S FRUIT JUICE PACKAGES I really believe that this packaging speaks for itself. These fruit juice packages are clever, funky and wellexecuted, and I absolutely love the use of texture to mimic reality. This design by Naoto Fukasawa is simple, yet no detail was overlooked (there is even slight bruising of the banana depicted at the score lines). I adore this idea.
ANTI THEFT LUNCH BAGS
Genius! No longer will you have to tolerate an inconsiderate co-worker stealing your lunch. This design comes straight from my favourite fun-stuff go-to guys at Friend & Friends. Who wouldn’t be grossed out by taking one look at your sandwich?! It’s the perfect crime… the only thing you have to worry about is your germconscious co-worker mistaking your moldy bag for the real deal. Maybe just keep it in the back of the fridge…?
Mr. Clean products have always been branded as “strong and powerful on grime,” as depicted by Mr. Clean himself. This idea is sure to catch consumers off-guard in the cleaning aisle, and my favourite part of this concept is the actual work-out DVD contained in the cap. Perfect!
JULY / AUGUST 2010 | GRAPHIC ARTS MAGAZINE
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yellow to show the level of ripeness. This product eliminates the need for consumers to handle fruit to determine ripeness, and it takes the guesswork out of the grocery store produce department.
GRIND COFFEE, SENIOR THESIS BY DESIGN STUDENT TALIA COHEN
EL PASO CHILE COMPANY`
This assortment of tasty-looking sauces and spices almost makes a person want to head to the grill even in our cold, Canadian winter. El Paso Chile Company has brought the fun back into barbeque sauce by designing its packaging to resemble paint cans and brushes. There are only two steps you have to follow: 1. Slather it on to your BBQ item of choice (and you don’t have to stay in the lines) and 2. Enjoy! Mmmm…delicioso!
This unique student project uses strong and bold typography to create a series of coffee products that communicate boldness, brew strength and flavours. The strong and simple lines and colours create a visually striking collection.
STEREOTYPE BY DAIZI ZHENG Of all the eye catching designs in this category, this is the most thought-provoking. The designer’s goal was to change the way consumers think about their eating habits. This design includes carrot sticks concealed in a cigarette package, celery sticks as the replacement for calorie-busting French fries and blueberries in a blister pack.
There are so many creative designers and print professionals that are breaking the rules of conventional packaging. By looking for ways to package products outside of the box (quite literally) other major players are forced to keep up and compete. This helps keep the growing packaging industry current and exciting. In my next installment, I will explore packaging that is eco-sensitive and packaging that is cohesively designed to the product it contains, including CocaCola, Absolute Vodka and Tetra Packs. Stay tuned for more in the fall…
Increased Functionality RIPESENSE
JULY / AUGUST 2010 | GRAPHIC ARTS MAGAZINE
By “turning pears into bananas,” RipeSense labels help consumers easily navigate the produce department. This label is designed to be used on “climacteric” fruit packaging, which is fruit that continues to ripen after its harvested and looks the same from the time it’s picked to the time it’s sold. The printed label responds to aromatic changes in the fruit and uses a gradient from red to 50
Diana Brown is an account representative in the Trade Book Publishing division with Toronto-based book printer, Webcom Inc. diana.brown@webcomlink.com
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sop
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our obligation to the environment doesn’t end with certification. There is more to being environmentally responsible than chain-of-custody certification. Look at the big picture. We can help! When you buy locally, your actions have a global impact. Buying paper manufactured in North America, specifically in and around the Great Lakes, is not only smart buying- you are also being environmentally responsible. Driving to the corner store everyday only for today’s needs, versus to the supermarket once a week for all groceries is wasteful of time and resources. To maximize economies of scale and to minimize unnecessary transportation we source world-class products from environmental leaders like Domtar and Sappi – sites close to home – in full truckloads or by rail. In concert with your internal efforts, minimize your carbon footprint through smart buying. Looking for ways to be more environmentally aware? Give us a call. We would be happy to help.
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