July 2012

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Creative Suite 6: For Sale or Rent Prepress guru Zac Bolan pours through Adobe’s latest graphic-arts staple for its biggest advances and shortcomings, while weighing in on the company’s new Cloud approach

Print

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NEWS Australia’s PaperlinX sells operations in the U.S. and Italy, Nichols becomes CEO of Goss International, and remembering Marvin Foy, Lyman Henderson and Léo Thibault

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CALENDAR August 2012 PAC presents a world without packaging waste, IDEAlliance hosts an online roadmap to predictability, and LabelExpo welcomes more than 65 new exhibitors to Chicago

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INKJET Fourteen Billion Pages and Counting Aurelio Maruggi, VP and GM of HP’s Inkjet High-Speed Production discusses the meteoric rise of the T Series

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COLOUR A Diamond Jubilee Tribute of Colour Pantone and Leo Burnett team up to celebrate the colour control of Queen Elizabeth II during her 60-year reign

Digital Printing

Feature

Data Services & List Management

CONTENTS Volume 51, Number 7

e-tools

Variable Imaging

Columns

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CLINT BOLTE PostalVision 2020 v2.0 Postal reformers congregate in Washington to discuss the world’s largest network, encumbered by 1940s work rules

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VICTORIA GAITSKELL Project Phoenix Mike Maggio, VP of Global Engineering for Johnson & Johnson, describes how the Band-Aid is changing lives in Brazil

Archive

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July 1992 The co-creator of Superman passes away at age 82, the Olympic Games kick off in Spain, and Ottawa’s Printed in Canada campaign hits a snag

Resources 16 Services to the Trade Cover Illustration: Clive Chan

www.andrewsdm.com tel: 416.798.7557 email: info@andrewsdm.com 226 Industrial Parkway North, Aurora, ON Est. 1951

25 Marketplace JULY 2012 • PRINTACTION • 3

PERSPECTIVE

The Printery and Peace 14, 1824, political agitator William Lyon MacKenzie published a feature article his seminal newspaper, The Colonial Advocate, entitled Anniversary of the Battle of QueenOstoninn October Heights. Beyond his political views, the article would have personal significance for

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MacKenzie, who emigrated from Scotland to Queenston four years earlier.

The Battle of Queenston Heights was the first major battle in the War of 1812 and one of the most important events in Canadian history, after United States regulars and New York militia had crossed the Niagara gorge. Together, British forces, Canadian militia and Mohawks led by the iconic Major General Isaac Brock, who was killed in the battle, thwarted the invasion despite the Americans’ numerical advantage. Victory at Queenston, more than any other battle during the war, led to a new sense of national solidarity.

As 2012 finishes up, Canadians will begin to see more importance placed on the War of 1812 and the remarkable, ensuing peace that has existed between our country and the United States for nearly two centuries. Appropriately, many of the War of 1812 anniversary events will be led by a joint Canadian-U.S. entity called the Niagara 1812 Bicentennial Legacy Council.

One of the cross-border organization’s first initiatives, in December 2011, was to put out a submission call for a commemorative medal Canada’s Governor General, David Johnston (left), design that will be handed out to congratulates Art Ellis for his medal design. dignitaries during the upcoming bicentennial celebrations, which will run for three years, as the War of 1812 did not officially end until 1815. The winning medal design came from by Art Ellis, who is a board member of the Mackenzie Printery and Newspaper Museum housed in William Lyon MacKenzie’s historic Queenston home.

A ceremony was held in late-June to recognize Ellis’ work, which is being showcased at the Rodman Hall Art Cen- The faces of Art Ellis' winning design. tre at Brock University – named after General Isaac Brock – until August of 2012. The Mackenzie Printery itself – one of Canada’s most-remarkable working museums, which continues to be fostered by the printing industry – is open daily until September and will certainly be a focal point for hundreds of visitors who travel to the region to commemorate the War of 1812.

Jon Robinson, Editor

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Editor Jon Robinson • 416.665.7333 ext. 30 • jon@printaction.com Associate Editor Clive Chan • 416.665.7333 ext. 25 • clive@printaction.com Contributing Writers Zac Bolan, Clint Bolte, Peter Ebner, Chris Fraser, Victoria Gaitskell, Dr. Martin Habekost, Nick Howard, Thad McIlroy, Gordon Pritchard, Josh Ramsbottom, Nicole Rycroft, Andrew Tribute, Trish Witkowski Publisher Sara Young • 416.665.7333 ext. 31 • sara@printaction.com Associate Publisher Stephen Longmire • 416.665.7333 ext. 26 • stephen@printaction.com Production Manager Anders Kohler • 416.665.7333 ext. 37 • anders@printaction.com Intern Tiffany Kay Garcia • 416.665.7333 ext. 34 • tiffany@printaction.com Advertising Sales Sara Young • 416.665.7333 ext. 31 • sara@printaction.com Stephen Longmire • 416.665.7333 ext. 26 • stephen@printaction.com Circulation ADPIC Subscription Services • 800.363.3261 • subscriptions@printaction.com PrintAction is published by Youngblood Publishing Limited and is Canada’s only national monthly publication serving the graphic arts industry. ISSN 1481-9287.

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Photographed with the new Komori, George Mazzaferro, President, and at the console, Brian Auty, Plant Manager (right) and Borge Peterson, Lead Press Operator

OUR FAITH IN KOMORI CONTINUES

PRINT NEWS

LYMAN HENDERSON at age 92 passed away at his Toronto residence in late June. He was best known as one of the builders of Davis+Henderson Limited, a Torontobased printing firm serving the financial market, where he served as President and Chairman, before retiring more than 25 years ago. Henderson, however, was only just beginning to impact Canada’s printing and business communities, flourishing as a professional writer, speaker and consultant – producing around 1,500 speeches, 150 magazine articles, publishing 13 books and booklets, conducting over 100 seminars and consulting with some 50 organizations. He was named as a Member of the Order of Canada in 1995 for his contributions to both Canadian business and culture. Henderson also served overseas in World War II, from 1942 to 1946, in the Royal Canadian Artillery as a Captain.

ian entity was officially purchased by Lecta for €45 million. Spicers Paper Inc., headquartered in Santa Fe Springs, California, is a significant U.S. paper distributor with 12 warehouse locations in the West and Midwest. Kelly Paper, headquartered in City of Industry, California, operates a chain of paper stores with 48 locations across four Western states.

Combined sales for both companies were approximately US$500 million in the most-recent fiscal year.

THIERRY BARBEAU becomes Presstek’s Print Solutions Sales Manager for Quebec and the Maritimes region. He brings 28 years of printing-industry experience, having most recently worked with manroland Canada, where he sold offset presses into the commercial printing and packaging sectors. “I am excited that Thierry has elected to join the Presstek team,” said Todd Phillips, Presstek’s Director of Canada Sales. “He has strong customer relationships within the region and the right skills to grow Presstek’s RICHARD HAMILTON, Sarah Kesek and presence.” Prior to joining manroland in Michael Chirka of a Kwik Kopy franchise 2002, Barbeau previously worked at in Sudbury, Ontario, along with Mark Xerox and at Heidelberg Canada as a DisFlannigan from Pressdown Services, cel- trict Sales Manager. ebrate the installation of a DigiXpress envelope printing system. The machine produces full-colour envelopes from 3 x 5-inches up to 12 x 18-inches at a maximum speed of 50 envelopes per minute.

The machine is also capable of producing postcards, labels and banners up to 47inches long.

CUSTOM COLOUR IMAGING & PUBLISHING of Toronto, Ontario, installed a second HP Indigo 5500 press to increase production capacity for its professional and retail photography business. The 39-year-old company, now housed in a 30,000-squarefoot plant, brought in its first HP Indigo 5500 five years ago. Custom Colour Imaging specializes in printing photos and LÉO THIBAULT, founder of Unigraph Inter- products for professional photographers, national and one of Canada’s printing pio- including photo books, cards and calenneers, passed away at his home in Montreal dars, gallery wraps and fine-art prints, and on June 23 after a battle with cancer. He a range of marketing materials. was 77. Unigraph International has a long and storied history in Canada’s printing industry, beginning with Wilbert Thibault, Léo’s father, who founded Commercial Litho Plate Graining in 1933. Léo joined the company in 1951, just as it was beginning to drive the use of metal printing plates in the industry. “There is no doubt our father was a pioneer in the North American market with the elimination of alcohol in the pressroom – Unigraph played a big, big part in that.” says Mike Thibault, Technical Vice-President. “We weren’t the only ones, but we certainly were WENDY CEBULA, Chief Operating Officer a major force back in the day when it was of VistaPrint, announced she is stepping really unheard of.” down from the role in order to spend more time with her family. She will remain with PAPERLINX LIMITED of Australia, amid its the company in a part-time role within continuing restructuring, has completed Vistaprint’s human resources department. the sale of operations in the United States After joining VistaPrint in 2000, Cebula led and Italy. PaperlinX’ U.S. operations, the company’s North American operations listed as Spicers Paper Inc. and Kelly and became COO in November 2010. The Paper Company, are being purchased by company has a large manufacturing facilCentral National-Gottesman (CNG) for ity in Windsor, Ontario, but is headquarUS$76 million, while the company’s Ital- tered in The Netherlands.

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acquisition by the large Chinese conglomerate Shanghai Electric Group. In June 2010, Shanghai Electric, which also controls the Akiyama press brand, took full ownership of Goss, after becoming its largest shareholder one year earlier.

MARVIN FOY, a long-time leader in Greater Toronto’s printing community and founder of MFM Design & Print, passed away last month at age 75. Based in Richmond Hill, MFM Design & Print was established in 1984 and became one of the region’s first printing operations to place a significant emphasis on also providing marketing services for clients. Foy retired in 2005 and his sons, Martin, who is President, and Chris, Director of Business Developement, continue to drive the company, along with Foy’s daughter-in-law, Donna. Marvin Foy was an avid jazz drummer in his youth and enjoyed playing the guitar in his retirement years. He had a passion for sports such as golf and hockey, and was a Junior A/Junior B coach in his younger years. He was involved with various charitable organizations, primarily the Prostate Cancer Society and was a lifelong member of the Knights of Columbus.

RICHARD NICHOLS becomes the CEO of Goss International, replacing Jochen Meissner who had led the press maker since 2008. Nichols does not have a printing-industry background, having spent the past few years within the executive structures of Terex-Demag Gmbh & Co., which is a large global construction and mining group. Meissner had worked at Goss for the past decade, including his four years as CEO. Meissner led the company during its

JON ZINK becomes Eastern Regional Sales Manager for Xitron, which develops software for prepress workflows, including products like Navigator Workflow Server, Navigator Direct-to-Film, Navigator Direct-to-Plate, Navigator GPS, Navigator Elite and KeySetter Connect. Zink will support Xitron’s dealer network in the Eastern United States, as well as the Canadian provinces of Quebec, Nova Scotia, New Brunswick, Newfoundland and Prince Edward Island. Zink’s prepress expertise is based on previous positions with companies like Kodak, Fujifilm and Xerox.

MICHEL MOATTI and David Martin, owners of Vivimar Creations in Montreal, oversaw the installation a new HP Scitex TJ8600 inkjet press into their Montreal facility. Vivimar Creations runs both inkjet and screen-printing technologies to focus on large-format printing applications.

While the company currently works with a previously installed HP Scitex FB7500 machine, Vivimar’s co-owners have been using their new HP Scitex machine for smaller, customized applications primarily with retail clients. The HP Scitex TJ8600 reaches a maximum speed of 480 m² per hour at 600-dpi resolution, while also allowing for matte or gloss finishes.

OBJECTIF LUNE signed an agreement with UK-based Intec Printing solutions to distribute Objectif Lune’s PrintShop Mail Suite VDP software. Intec manufactures colour printers for multimedia and heavy stock printing and has its own network of 70 partners. Objectif Lune acquired Melbourne, Australia-based PrintSoft and its line of products in July 2011. In the past year, it has expanded its presence in Europe by opening new offices in Italy and Russia and now operates in 21 countries.

TC TRANSCONTINENTAL PRINTING’s plants in Pointe-aux-Trembles, Quebec, and Vaughan, Ontario, have helped La Presse and The Globe and Mail (Metro Edition), earn membership in the International Newspaper Color Quality Club (INCQC), based on a competition held every two years to recognize world-class printing.

More than 192 titles from around the globe vied for INCQC membership.

Eighty-one publishing and printing companies from 29 countries achieved success.

Germany now has the highest number of members at 24, followed by Switzerland with 10, and India and The Netherlands both with five. La Presse, printed by Transcontinental Metropolitan, and The Globe and Mail Metro Edition (Toronto), printed by Transcontinental Vaughan, are the only two Canadian members.

TRADER CORPORATION, formerly owned

by Yellow Media Inc., will no longer produce print editions of three well-known properties, including: Auto Trader, Truck Trader, and Bike, Boat & RV Trader.

Trader Corp. will continue to print 27 titles across Canada, ranging from Heavy Truck & Equipment Trader to autoHEBDO in Quebec. IT World Canada also announced it will be going online only with its trade publications, including CDN, Computerworld, CIO Canada, and Direction Informatique. “Print just can’t come up with the kind of solid

proof of audience reach that online can provide,” Fawn Annan, President and Group Publisher of ITWC, told the CBC. The CBC story also attributes part of the decline in print magazines in Canada to the end of the Publication Assistance Program in 2010, which subsidized part of the mailing costs of many Canadian periodicals.

HEBA MAKHLOUF and George Makhlouf of Logos Graphix, with RAM Imaging’s Bill Stankiewicz, celebrate the installation of an HP Designjet L25500 inkjet printer.

Now in its fifth year of operation, Logos Graphix specializes in wide-format production, including applications like display banners and vehicle graphics, as well as general signage. The company’s 60inch HP Designjet L25500, with its thermal inkjet architecture, reaches a maximum speed of 22.8 m2 per hour in 4-pass bidirectional mode.

DISTRIBUTECH, with locations in Toronto and Brantford, Ontario, has installed a Xerox iGen4 EXP press. The EXP designation refers to the inclusion of a 26inch (660 mm) sheet kit for working with a sheet size (14.33 x 26 inches) larger than the standard iGen4 format. Introduced to the market in 2010, the Xerox iGen4 EXP press reaches a top speed of 110 pages per minute. It is rated for a monthly duty cycle of up to 3,750,000 pages per month. In addition to print production, Distributech provides services to cover much of the marketing supply chain, including warehousing and fulfillment.

NORTH PLAINS, which purchased California-based Xinet in April 2012, added five executives to its management team.

The company is also installing a new Office of the CTO to spearhead product development for both its TeleScope and Xinet product lines. North Plains Systems Holdings has appointed Mohan Taylor as a Principle Consultant to join its Office of the CTO, which already includes Steve Sauder, CTO, and Scott Seebass, VP of Engineering. The company also appointed the following four executives: Anthony Nehme becomes VP of Finance and Administration; Michael Stamler becomes VP of Global Customer Services; Eric Courville CANADIAN FLEXOGRAPHIC TRAINING becomes Director of Marketing and COMMITTEE held its 31st Annual Ontario Alliances; and Theresa Edwards becomes Roll Label Golf Tournament at the No- HR Director. bleton Lakes Golf Club in Ontario. The fundraising event brought out industry RESOLUTE FOREST PRODUCTS has idled its notables, such as FTA President Mark Mersey newsprint mill in Brooklyn, Cisternino, FTA Director Jay Kaible and Nova Scotia, due to falling newsprint FFTA Chairman Gregg Platt, as well as prices. The idling will affect 320 employretired Flexo Hall of Famer Dave Hors- ees. The operation is a joint venture beman. Students from Ryerson Univer- tween Montreal-based Resolute Forest sity’s 2012 Collegiate Phoenix Challenge and Washington Post Company. The team aided the event’s fundraising ef- mill has a capacity of about 250,000 forts by staging the putting contest, tons. Resolute operates 21 pulp and while the 1st & 2nd place 2012 High paper mills and 22 wood products facilSchool Phoenix Challenge winning ities in the U.S., Canada and South teams from Mississauga Ontario’s Gor- Korea. It sells paper products in over 90 don Graydon Memorial Secondary countries. The company is the world’s School were also on hand. largest manager of FSC-certified forests.

JULY 2012 • PRINTACTION • 7

PRINT CALENDAR

AUGUST McCormick Place, named for Chicago Tribune publisher Robert R. McCormick, is North America's largest trade show venue. The original structure first opened in 1960 and became a huge money-maker for the city of Chicago. Disaster struck in January 1967, however, when a massive fire decimated the building, previously thought to be fireproof due to its glass and steel construction. The replacement building, as it stands today, would not be complete until 1971.

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Printing-sales guru Peter Ebner hosts a lunch-hour Webinar (noon EST) called Drive your Over-the-Counter Print Sales Through the Roof, with topics like three questions you must ask every walk-in and how to turn a business-card inquiry into a $1,000 order. $69.95

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The Canadian Marketing Association, in partnership with Pitney Bowes, hosts a one-hour Webinar focusing on customer-centric call centres, under the theme of moving cost centres to profit centres.

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IDEAlliance ends its new 3-part Webinar series, called A Roadmap to Efficiency and Predictability, covering G7 process control in one-hour sessions.

(Part 1 took place on July 26, while Part 2 begins at 2:00 pm on August 2.)

The organization claims to have qualified more than 1,000 companies through its G7 testing.

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Ontario Printing Industries Association hosts its annual Toronto Golf Classic event on the south course of Angus Glen Golf Club – home to the 2007 Canadian Open – in Markham.

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Two months from today, GraphExpo 2012 begins at McCormick Place in Chicago under the theme of Print Integrated. The 2012 version of North America’s largest printing tradeshow features Marketing and Newspaper Pavilions, as well as specialized events like Executive Outlook, Xplor Seminars and the ING Conference.

The Canadian Marketing Association hosts a lunchhour Webinar covering the sustainability movement from a marketer’s perspective. The event focuses on the nuances of carbon and water footprint, product lifecycle, design, label declarations, and stakeholder engagement.

One month from today, LabelExpo Americas 2012 begins at the Donald E. Stephens Convention Center just outside of Chicago. The 3-day September event is expecting over 400 suppliers and manufacturers, including 67 new exhibitors.

One month from today, PAC, The Packaging Association, hosts its annual conference in Ottawa, under the theme of Creating Next Life Solutions: A World Without Packaging Waste. The September event focuses on policy, innovative leaders and products, and green economics and jobs.

Pricing listed at standard rates, with * denoting the availability of member of early bird discounts.

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ARE YOU SURE YOU WANT TO BE PART OF A GANG?

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PRINT INKJET

Fourteen Billion Pages and Counting uring drupa 2012, PrintAction spoke with HP’s Aurelio Maruggi about the speed at which printing and publishing operations around the globe are adopting the company’s T-Series of Inkjet Web Presses. At the time of the interview, HP had installed more than 70 such machines since their commercial launch four years ago. Together, these units had produced more than 11 billion pages.

In early July 2012, just seven weeks after drupa closed, Maruggi led a Webcast to update journalists from around the world on the fact that HP has now installed more than 80 T-Series presses, which have produced over 14-billion pages. In the following Q&A from drupa, Maruggi shares some of the strategies behind the success of this unique inkjet architecture, which today drives three upgradeable press lines in the T200, T300 and T400 series.

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PrintAction: Does the number of installed T-Series units surprise you, given their relatively recent release?

Aurelio Maruggi: I’d say no – it was part of the plan. What is more surprising is their distribution, because we expecting fewer units in publishing. If I look at the number of units and pages, we are about 60 percent in publishing and 40 percent in production mail.

They are well-balanced between North America and Europe, and we are now putting more into Asia where we started later.

Why did HP focus so heavily on field upgrade-ability for the T-Series?

When we introduced this strategy at drupa 2008, everybody said, “Yeah – this is the usual promise.” And when we showed the first press, people questioned why it was so big. There is a very good reason for why is it so big, architecturally, for it to be modular and scalable. I would say more than half of our customers who purchased the T300 have now upgraded to a T350. They went from having a product that was 400 feet per minute to one that is 600 feet per minute; and now even customers who purchased the T300 can upgrade to the T360. People are starting to say, “Oh yeah – this is real.”

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We listened to customers who realize, that in the printing industry, you cannot afford to make an investment that becomes obsolete a couple of years later. In the past, you could afford some [machine obsolescence] for niche markets with high-value pages. But if you go into the mainstream production of books, for example, you need equipment that can stay on the production floor and remain competitive for five, seven or even more years.

Do you envision a wider format T-Series model?

It’s more important to focus on what the capabilities are and to develop them with customers. It is more about print quality, in a very broad sense. This also relates to the media range and flexibility, as well as productivity.

How has HP advanced media flexibility with this unique inkjet process?

There have been two main focuses, including the technology we developed for uncoated media, which is the bonding agent that allows the press to work with virtually any uncoated offset media. This has been available from the beginning of the T-Series introduction. The second, for coated or glossy media, we co-developed a set of media technologies branded as ColorPRO, which can also be applied through uncoated media. Customers of HP that use ColorPRO uncoated media can turn off the bonding agent on the press, because it is a media that has already been pretreated and will cost less to have colour in it.

What data-processing challenges did you face with the T-Series?

When I started in this business, I thought HP would be successful because, fundamentally, if you look at a digital press like the T300 or T400 there is as much printing technology as there is IT. HP is the largest IT company in the world and we are taking advantage of that knowledge, scale and infrastructure… in order to achieve the data range needed to sustain these presses. This is what we’ve done for companies like Courier and CPI, helping them with the IT infrastructure needed to take advantage of a digital solution.

What impresses you about the Canadian T-Series installs at Webcom, which now runs two presses?

It is very similar to what other companies like Courier have done. It’s really a transformative play for Webcom – not in terms of printing the same thing with a different technology. It’s really about managing business in a different way, being able to attract new business with different services that traditional printers are not able to provide. Webcom is an example of a company that has been able to not only migrate pages they were already printing for publishers, but also attract new publishers.

Can the T-Series be employed by less-industrial printing operations?

Our very first [T-Series] customer, O’Neil Data Systems, now appears to be a giant because they are growing so fast, but in the beginning they were not a very large printer. They now have six Inkjet Web Presses. They have four in Los Angeles, as a result of how business grew in two years, and they have a new location in Dallas, where they already have two presses. This plant will be 100 percent digital.

– Jon Robinson

Aurelio Maruggi, Vice President and General Manager of HP’s Inkjet High-speed Production Solutions Division, Imaging and Printing Group.

PRINT COLOUR

A Diamond Jubilee Tribute of Colour antone, in association with advertising firm Leo Burnett, has created a special colour guide in celebration of Queen Elizabeth II’s Diamond Jubilee this summer.

“When you see footage, or read commentary, of Queen Elizabeth on her official engagements, at a Royal Wedding or even watching her horse race at the Derby, there is always mention of what she’s wearing,” says Justin Tindall, Executive Creative Director at Leo Burnett London. “It has been an everpresent subtext to the 60-year reign of our Monarch. The Diamond Jubilee Colour Guide is a celebration of that reign through colour and its meaning – a blend of Leo Burnett’s creativity and Pantone’s expertise in honour of the Diamond Jubilee.”

The swatch-book lists 60 notable colour choices made by the monarch over the past 60 years, including date and occasion. The back

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of each swatch also includes commentary

by Pantone’s Leatrice Eiseman.

“The Queen’s decision to favour one colour in every outfit is a strong style statement,” says Eiseman. “Monochromatic colour schemes make the wearer appear taller, delivering a more stately air – perfect given that Queen Elizabeth is not tall at 5'4". Choosing one colour theme also ensures the outfit does not detract attention from the wearer – which is particularly important if you’re the Queen.”

The project, of which only 60 copies were produced (from which one will be presented to Her Majesty), was printed on an HP Indigo 7500 press using the 7-colour (CMYKOV) HP IndiChrome on-press Pantone emulation, which matches 97 percent of the Pantone colour range.

– Clive Chan

“

PANTONE 13-0755 Primrose Yellow “The Queen’s royal wedding outfit from 2011 was Primrose Yellow. Yellow is a colour that speaks to the future with hope and optimism. William’s wedding was a time of national celebration and this choice of yellow complements the joyous mood of the occasion. It’s a colour that is highly visible (befitting a queen), while still not detracting from the bride.”

”

JULY 2012 • PRINTACTION • 11

CLINT BOLTE

PostalVision 2020 v2.0 “Gang of Four,” Simon explained how they have developed “fundamentally new business models embraced by scores of companies.” They each represent business platforms with a bevy of integrated, consumer-oriented “planks.” These in turn are features, applications, programs, or services each enhanced by vibrant ecosystems.

While rooted in emerging technologies, each firm in the Gang of Four have iconic leaders engendering a cultural mindset among employees that results in scale, experimentation and speed.

These platforms hinge upon the strength of the plank ecosystems, which in turn promote external innovations from partners and developers. Such third parties have both sufficient incentives and powerful tools. Apple’s financial package, which is quite similar to the other gang members, offers 70 percent of the revenue stream to the developers and retains 30 percent for themselves. The tools are the Open Application Program Interfaces (APIs) and free software development kits (SDKs).

During PostalVision’s panel discussion on Platform Perspectives, moderator Jeff Jarvis eloquently summed up the end goal: “When taken over by users, the platform has arrived, such as Craigslist.” He then asked the Platform Perspectives panel to describe what they see as USPS strengths.

Syed Hoda, General Manager of Cisco Systems Emerging Solutions Group, used an interesting analogy of New York City’s massive metro system. He explained, that as a classic metro, NYC’s is mediocre without offering cell phone or WiFi access when in underground cars, and yet the system is extremely effective in physically networking disparate pieces of NYC. Marshall Van Alstyne, Professor of MIT’s Center of Digital Business, added, “Universal access and their unique security network are features if open to others [and] potentially fit the 70/30 revenue share model. Or possibly the Skype model where basics are free and advanced features cost.”

Postmaster General Patrick Donohoe in his presentation highlighted a key strength: “(USPS is the) Largest physical network in the world – facilities, routes and people – Platform perspectives Referring to the combined power of Ama- though still encumbered with 1940 work zon, Apple, Facebook, and Google as the rules.”

he second-annual PostalVision conference drew 150 attendees to Washington DC’s L’Enfant Plaza Hotel for two days.

This was two Metro stops from the city’s real decision makers: Congress and the United States Postal Service. No one from Congress could squeeze PostalVision into their itinerary, but the new Digital Solutions President and Strategic Planning Manager of the United States Postal Service (USPS) were in attendance, as well as representatives of two primary postal unions.

The USPS, clearly the core of an intertwined trillion-dollar business sector, directly impacting the employment and livelihood of some 9-million citizens (a quarter of Canada’s entire population), was intellectually chopped, diced, and casseroled back together by truly some of the most intelligent, degreed and experienced academic, political, high-tech consultants and association executives on the planet.

The real benefactors of this conference were the entrepreneurs in attendance. They recognize: (1) Congress will never allow the USPS to go under, (2) USPS can only embrace digital technologies via work-share contracts with the private sector, and (3) USPS, despite cascading physical mail volumes, is still a $50 billion business projected to handle half of the world’s mail volume by 2020.

During his opening remarks, John Callan, founder of PostalVision 2020 and Managing Director of the consultancy URSA Major Associates, stressed the need for all stakeholders to heed calls of reason and action to ensure the USPS meets its full potential. The current state of the USPS is a big problem with no easy answers, affecting all Americans – and most Canadian printers. Its future requires mutual reason, compromise, and sacrifice.

Future vision is required – fueled by imagination, radical thinking, collaboration, and commitment. After his Clarian call, Callan introduced the keynote speaker Phil Simon, author of The Age of the Platform; How Amazon, Apple, Facebook, and Google Have Redefined Business.

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12 • PRINTACTION • JULY 2012

Ground growth

Describing the physical layer of the world’s largest crown mailing system, international postal consultant Pierre Kacha said, “The USPS delivered 168-billion pieces, managed a database of 138-million addresses and 228,160 delivery routes in 2011.” This includes a sophisticated integration of business processes across a broad product mix.

Mark Schoeman, President of Atlanta’s Colography Group, detailed key trends in this physical layer. Ground parcel shipments are growing at 9-plus percent a year, but is the least profitable segment of the UPS/FedEx product mix. DHL’s parcels in the United States are actually delivered by USPS. Unfortunately, Schoeman described how the contribution from parcel business is not growing and the USPS’ last-mile network is the organization’s most costly operational element. As a result, incremental volume opportunities exist to cooperate with UPS/FedEx, so long as the USPS‘ costing model is not incremental, but fully costed.

Matt Swain, Associate Director of InfoTrends’ Document Outsourcing, described the Digital Layer trends as 55 national posts throughout the world are offering e-services and how all of this has ramped up since 2009. In the United States alone, InfoTrends projects that two-billion documents will be delivered to digital mailboxes by 2015.

Hybrid mail

The PostalVision panel discussing Digital Layer trends included the Universal Postal Union (UPU) representative. The UPU was created by the United Nations for the purpose of managing communications globally.

The e-business expert from the UN, who is part of the UN’s Directorate of Business Development for its 192 member countries, was Farah Abdallah. Her responsibilities include the development of an Internet toplevel domain, “.post,” which will serve as a platform for the formation of international hybrid postal services. These would be the integration of digital and physical networks based on identity and address management.

Management and control of intellectual property can certainly be enhanced by this global capability, which also poses an interesting challenge: While the opportunity is

attractive, questions arise as to who will control this network; and whose investment is going to put it together. The USPS brand lends itself to be very trustworthy in consumers’ eyes with regard to participating in the authentication of identifications, plus they have the extensive experience of their own police force in dealing with ID fraud.

Would the sender or receiver pay for these services? Within the USPS‘ business model, only the sender pays.

The USPS has no expertise in digital product development, plus United States statutes prevent the USPS from competing with the private sector. Hence, the only open venue is a work-share arrangement. The UPU initiative has no doubt attracted the attention of the U.S. Federal Communications Commission, as well leaders focused on United States policy perspective.

Gene Del Polito, President of the Association of Postal Commerce, commented, “Hybrid mail has been discussed for 15 years. The USPS does not have the financial resources or the capabilities to move in this direction.” Del Polito also pointed out how there is a “long history of the USPS not playing well with other children in the sand box.” When a novel idea comes up, the USPS insists upon seeing perfectly predictable results from the proposal. If such measurements are not readily available, they will not even test the idea remarked Del Polito.

One of the global leaders in the business of hybrid print and mail was in the audience, listening to the Hybrid Mail panel. Glenn Lombino, Founder and CEO of NYC’s Digital to Print (digitaltoprint.com), described an example of helping a graphics design and imaging firm protect its intellectual property.

DTP’s proprietary software finds an unauthorized use of a branded or copyrighted image. They send a legal letter to the user to pay a royalty or to cease and desist. Lombino said that cash flow is generated from this letter in 28 percent of the cases.

Patent potential

John Cronin, Managing Director of ipCapital Group, an intellectual property consultancy, has been responsible for the submission of one precent of all patents issued in the United States. His staff researched the postal patents by the dominant suppliers and showed that UPS had the Continued on page 24

VICTORIA GAITSKELL

Project Phoenix ohnson & Johnson is the world’s mostcomprehensive and broadly based manufacturer of health care products and services, with over 250 operating companies and 120,000 employees in 57 countries. The multinational conglomerate runs six operating companies in Canada with facilities in Montreal, Quebec, and Markham and Guelph, Ontario, and some 1,400 workers. In 2011, Johnson & Johnson recorded $65 billion in worldwide sales.

Amidst this gigantic global presence, fostered over 126 years, the company is probably best-known for its Band-Aid brand of adhesive bandages.

In late-June, Mike Maggio, Vice President of Global Engineering for Johnson & Johnson Group of Consumer Companies, visited Toronto to share recent efforts to improve the sustainability of the iconic Band-Aid brand. Speaking at Walmart’s sixth-annual Sustainable Packaging Conference (SPC), he described how Band-Aid has fostered progress in Brazil for both the environment and human dignity.

J

Catadores, or trash pickers, in Brazil comb through the world’s largest landfill for recyclables to resell. Initially the recyclables were sold to middlemen of ill repute, but programs are now in place to sell directly to suppliers.

ing Band-Aids in a cardboard box, it was careful to maintain consumers perception of value for both the product and its packaging. Thus, to preserve the visual impact of the package, rather than shrinking it holistically, Maggio’s team decided to try reducing the carton size from front to back.

His team’s second goal was to ensure that the new package could physically run on existing manufacturing lines at required high production speeds. So between 2007 and 2008, Maggio orchestrated the work of various teams who diminished the package Engineers of Band-Aid Based in New Jersey, where Johnson & size gradually in two experimental stages to Johnson maintains its worldwide head- ensure the practical success of the project.

Maggio emphasizes his company’s apquarters, Maggio’s own purview is packaging and new product engineering, proach to product development and the including product development, processes, interdependence of the various teams reequipment, and management of several sponsible for each of its parts: “We have a hundred engineers and contractors worldwide. He explains that BandAid brand’s sustainable journey started with the basic question underlying all sustainable packaging: Can it be done with less? Accordingly, his team worked with their entire supply chain to reduce the size of the Band-Aid package, while also focusing on two additional goals.

The first of these goals was to avoid losing consumer recognition and shelf space for the product. In his SPC presentation, Maggio re- Illustration by Tiffany Kay Garcia counted that Band-Aids were invented in 1920 by an employee of Johnson really amazing design group, which for & Johnson named Earle Dickson, whose Band-Aids is based in New York City. But wife Josephine was prone to kitchen acci- in packaging, it’s not always about freedents. In those days, people typically dom of design, but the ability to design dressed minor wounds with gauze and ad- within constraints. Producing a smaller hesive tape, both products of which John- package that would still be impactful reson & Johnson already produced, but both quired a strong collaborative effort among had to be cut to size separately before ap- the total supply chain. Every time we make plication. Dickson’s inspiration was to a change, it’s never one team doing it on combine the two materials into a single its own. It always requires all the partners precut form that was easier and faster for to be involved.”

The net result of their efforts to improve Josephine and others to use.

Later in an interview, Maggio explains environmental sustainability was an overall that in the early years Johnson & Johnson reduction in the Band-Aids package of six sold Band-Aids in metal tins which con- millimeters, front to back (from 36 to 30 sumers found valuable as collector’s items; mm), with a corresponding savings of but the entire marketplace eventually 1,080 tons of material, or the equivalent of shifted to more disposable packaging pro- 18,360 trees, and $990,000 in annual costs.

For almost seven years, since before duced on high-speed manufacturing lines.

Although the company switched to packag- Maggio joined Johnson & Johnson, about

90 percent of all Band-Aid packaging has been produced in Brazil. “It used to be made in New Jersey, but at one point it became fiscally better to move production to more of an emerging market where it was more cost-effective,” he explains.

A further step came in 2009, when the company switched its paper supplier to the FSC-certified Brazilian company Suzano, a leading world producer of eucalyptus pulp.

Johnson & Johnson calculates that this cost-neutral switch has since resulted in an annual savings of 6,000 tons of materials and 102,000 old-growth trees. The Brazilian manufacturer Rigefa converts the paper purchased from Suzano into boxes, which are then filled at Johnson & Johnson’s plant in São Paulo.

Catadores of São Paulo

A third and dramatic innovation of Johnson & Johnson’s operation in Brazil was to transform the process of collecting recyclable materials through assuming increased social responsibility. Specifically, the company worked with a co-operative of catadores, a word meaning “scavengers” in Portuguese and referring to marginalized poor people, who subsist by picking waste. Such populations of waste pickers are found not only in Brazil but also many other parts of the world.

Maggio explains: “To oversimplify the situation, the Brazilian catadores formerly lived and scavenged in landfill sites, collecting any materials of value to sell to a middleman, who was often involved with organized crime and rather than a cash payment would give them drugs and alcohol in exchange. Since 1992, with the help of not-for-profit groups and governmentformed co-operatives, the catadores organized their own national movement and created a system where they can operate collectively rather than individually outside of landfills to recycle waste materials, eliminate the middleman, and start selling directly to suppliers. Johnson & Johnson

Eucalyptus, introduced into Brazil at the turn of the 20th century, is a fast-growing source of pulp.

entered the picture later by saying to one of the six co-operatives we work with, the Futura Co-operative in São José dos Campos: ‘We will buy more of your recyclable materials if you work with us to achieve SAI certification.’”

Maggio stresses that while FSC certfication is pointed at paper, the SAI standard, called SA8000, is pointed at people. The system was developed by the New York City organization Social Accountability International to advance the human rights of workers and improve working conditions worldwide through such measures as occupational health and safety; elimination of child labour, discrimination, and excessive hours of work; and effective management and documentation procedures.

Published in 1997, the SA8000 standard is based on international ethical codes, such as the United Nations human rights conventions, and the widely used global methodology of the International Organization for Standardization (ISO). It is one of the world’s first auditable social certification standards for decent workplaces that can be applied to all countries and all industrial sectors. Besides providing better working conditions for people around the world, it also creates a way to inform consumers about the workplace quality of the companies whose products they purchase.

“We looked at several certification systems,” says Maggio. “SAI’s seemed most in line with our own values and the right way to go.” He clarifies that, rather than following explicit environmental and humanitarian rules governing its dealings and partnerships, Johnson & Johnson bases its ethical standards on a broad corporate statement called Our Credo, formulated by Robert Wood Johnson, a member of the company’s founding family and its Chairman from 1932 to 1963.

“Our Credo was written before Johnson & Johnson became a publicly traded company, when Robert Wood Johnson was the single stockholder at the time, and is an unbelievably forward-thinking document,” says Maggio. “While most documents of its kind place profit for shareholders as a comContinued on page 22 JULY 2012 • PRINTACTION • 13

ZAC BOLAN

Creative Suite 6: For Sale or Rent Software: Adobe Creative Suite 6 Master Collection System Requirements: Mac OS X 10.6.8 (64 bit processor), Windows XP, Windows 7 Tested: 27-inch iMac 3.1ghz i5, 16GB RAM, Mac OS X 10.7.4, 13-inch Air (Oct. 2010), 1.86ghz Core2Duo, 4GB RAM, Mac OS X 10.7.4 MSRP: US$2,599; upgrades from US$525; Creative Cloud Subscription US$29.99/month Reviewed: Photoshop Extended; Illustrator; InDesign; Edge; Muse (included but not reviewed – Acrobat Pro X; Flash Pro; Flash Builder; Dreamweaver; Fireworks; Premiere Pro; After Effects; Audition; Speedgrade; Prelude; Encore; Bridge; Media Encoder)

Y

ou know you’re getting old in the printing industry when reminiscing about past versions of Creative Suite.

Remember when Photoshop didn’t have content-aware fills?

How did we ever get by before CS2 without the spot-healing brush?

Remember when InDesign didn’t have drop shadows – Me either!

They say if you can remember CS1, you weren’t there. And now Creative Suite 6 (CS6) is on our stoop, scratching at the door of the graphic arts industry, just as we’re getting back on our feet.

Can we talk? I don’t know about your neck of the woods, but from where I sit it’s been a tough couple of years in the print business. Cutthroat competition (slim margins and lack of access to capital), blurring lines of production (between litho, toner and inkjet) and maturing Internet tools (iPad and so on) have combined into a perfect storm for today’s printer. And now Adobe comes along tempting me to spend money on a problem I’m not sure I have… things have been pretty stable in the old prepress department lately. Printers have to ask themselves, “Do I really need to change it up now?”

Creative Suite has been a wildly successful product for Adobe since its introduction in September 2003 and over the years has evolved into mission critical software for design, production and prepress – so much so that often Creative Suite is its own worst competitor with many users opting to stay the course with older versions of the ubiquitous suite. Print pragmatists, meanwhile, suggest that the majority of new features in CS6 revolve around digital publishing with only a few perks thrown in for the print world.

When I reviewed CS5 (PrintAction, May 2010), Adobe seemed on target for expanding the functionality of the suite for the nascent eContent market – remember, at this point the iPad had only been on the market for a few months. In April 2011 Adobe released CS5.5, its first step towards an aggressive annual upgrade cycle. As in CS5, this interim update gave developers greater ability to optimize their content for the growing number of smartphones and tablets invading cyberspace.

Now that CS6 has landed and the mobile Web coup 14 • PRINTACTION • JULY 2012

is fête accompli, no one can ignore this new reality for content creators. Print has persevered, but now has a permanent ePartner in content delivery. Can Adobe soothe the nerves of its loyal print customers, while addressing its priorities to enable the digital – online communications – transition? To find an answer to this question, I plunged headlong into Creative Suite 6 Master Collection hoping to find new solutions to old problems and perhaps an insight into the dynamic content realm. My quest starts with the big three applications in the print world – Photoshop, Illustrator and InDesign – before exploring the less familiar.

Photoshop: Can it get any better

When Thomas Knoll first coded a humble program to display grayscale images on his tiny Macintosh Plus monochrome display back in 1987, no one could have predicted that one day it would form the cornerstone of the Adobe software empire. From its beginnings in a University of Michigan dorm room, Photoshop has evolved through 13 versions to stand uncontested in the image-editing world. To accomplish such dominance in the fiercely competitive software sector is no meager feat. Photoshop’s hold on the imageprocessing market is so strong that Adobe did not have to improve much to keep this stalwart on top. However,

Adobe’s legacy is one of innovation not stagnation – and Photoshop CS6 (PS CS6) does not disappoint.

Many die-hard Photoshop fans have already been working with the public beta of this new version, available since March. Code-named Superstition, PS CS6 already appeared ready for primetime, gaining a solid following in the image-editing community.

Upon first launch, users will immediately notice Photoshop’s new dark look. Photographers have long bemoaned the “bright” GUI interfering with viewing of their images under metameric circumstances. In past versions of Photoshop, this was resolved to some extent by viewing images in full-screen mode, but at the loss of access to all tools and menus. While it might seem superficial to some, having a functional GUI in a “dark mode,” that does not compete with the image you are working on, is a pretty big perk.

The long-ignored cropping function has seen some significant attention in PS CS6. For starters, images can be cropped non-destructively by de-selecting Delete Cropped Pixels in the menu bar. Additionally users can now choose from a number of overlays depicting many of the preeminent image framing philosophies, including Golden Ratio, Rule of Thirds, Triangle and the everpopular Golden Spiral. Used sparingly, the new perspective crop can be applied to straighten angular problems created through lens distortion. If people are the subject, however, care must be taken to avoid creating fun-house mirror effects. Once you have made your perfect crop it can be saved as a preset, though this would be of limited use unless working with a large number of similar images.

Adobe’s Mercury Graphics Engine has been fully leveraged in Photoshop CS6, enabling responsive realtime effect previews such as Liquify, Puppet Warp, Transform and 3D even when working with very large images. Adobe claims between 10x and 100x performance gain for all PS CS6 tools.

First introduced in PS CS4, the Content Aware technology has been extended in PS CS6 through the introduction of the Content Aware Move tool and a Content Aware mode for the Patch tool. As their names imply, these new tools enable users to quickly repair or recompose images with problematic elements. Users can lasso image elements and move them while the

Photoshop CS6: Content Aware Move is the latest addition to Photoshop’s arsenal. In this example, one piece of bacon is moved to the left and the hole left is automatically filled with a cloned texture.

background fills in the space. As with previous Content Aware tools, the technology works best with images that have easily repeated backgrounds such as a field of grass or a concrete wall. Images with complex backgrounds require more operator intervention.

To the chagrin of many plug-in developers, PS CS6 introduces a new Blur Gallery featuring a considerably freshened collection of effects. Users can manipulate and apply Tilt Shift Blur through the Gallery’s uncomplicated interface to control a plane of sharpness, creating a miniaturized model effect given the right subject image, such as a high angle cityscape. The Iris Blur simulates the Bokeh of a lens-induced shallow depth of field to isolate subjects from the background, while the Field Blur tool enables the placement of multiple focus points, each with unique sharpness settings to build highly customizable blur effects.

Once again these effects preview in realtime regardless of image size thanks to the Mercury Graphics Engine leveraging powerful graphics-processing cards found in many newer workstations.

Several productivity enhancements have been added to PS CS6 through both new and re-engineered design tools.

Starting with powerful text-formatting tools, PS CS6 now features character and paragraph panels similar to those found in InDesign, including styles and support for discretionary ligatures, ordinals and fractions. Vector layers have been introduced in PS CS6 that can contain shapes, lines and objects, which can then be styled with gradients, fills and custom strokes while remaining vectors. These objects can be aligned to the pixel layers with the new Snap to Pixel or Aligned Rendering alternatives. Undoubtedly, many designers will opt to build complete single-page layouts such as ads in Photoshop rather than bouncing to InDesign for typography and Illustrator for vector work.

Other productivity perks include an improved Camera Raw workflow that now works with any image format, including JPEG and TIFF. The new Adaptive Wide Angle adjustment filter makes short work of straightening photos distorted by wide-angle lenses through selecting edges to constrain and straighten – by far the best lens correction filter I’ve had the opportunity to work with. I anticipate using this filter extensively to cor-

rect distortions in panoramic images created with Photoshop’s Photomerge.

And speaking of Photomerge… nothing to see here, please move along! A personal favourite of mine, Photomerge has not changed substantially since it was introduced in Photoshop Elements. I was really hoping for some improvement here: Maybe some control over image placement, or perhaps some Mercury magic for real-time previewing? Oh well, maybe in Creative Suite 7.

Video editing has gradually crept into the workflows of many Photoshop users as rich media becomes increasingly important for eBooks, interactive PDF files and Websites. While Photoshop has had limited ability to work with video contents since CS3, Photoshop CS6 introduces a highly functional albeit basic video editor complete with timeline, transitions, clip duration and speed, audio, motion effects and trim settings. Adobe has done an admirable job of providing Photoshop users with just the right amount of video-editing capability without crossing the line into Adobe Premiere territory. Clearly this move was intended to compete head-on

with Apple’s iMovie and other entry-level video editors.

Photoshop CS6 Extended features revamped 3D controls with the intent of simplifying the 3D workflow. If you’ve ever tried your hand at building a fully rendered 3D image, complete with textures and lighting effects in an earlier version of Photoshop Extended, you will know how perplexing the whole process can be. In PS CS6 Extended, users can merely drag shadows around the canvas, easily animate 3D objects and add textured lighting effects with intuitive controls. Additionally, familiar 2D editing tools have been included in the 3D workflow, enabling users to easily change text or edit paths in rendered objects thanks again to – you guessed it – the Mercury Graphics Engine.

Other less glamorous features, such as improved migration of presets from earlier versions of Photoshop, as well as Background Save and Auto Recovery, are nonetheless welcome additions to this mature image editor. No doubt there are a plethora of lesser features and tweaks I’ll encounter over the coming months,

but I am impressed with Photoshop CS6.

And while there is always room for improvement, that room is getting smaller with each successive release. Now if Adobe could just show Photomerge some loving…

Illustrator: An old dog learns new tricks

To hear me go on and on about Photoshop you would think it was Adobe’s first born, but this is not the case. Adobe’s original business is Postscript and fonts.

To build the outline files required for the fonts, Adobe developed its own in-house tool for vector editing. Originally launched as Adobe’s first commercial product in January 1987, “the” Adobe Illustrator (as it was originally advertised) quickly became an industry standard for vector-art creation and editing within the digitized graphic arts community. ReContinued on page 16

Illustrator CS6: qCommon to both Illustrator and Photoshop, the new Dark interface doesn’t compete with your image; wTear-off Tools can be rotated, docked and configured to your heart’s content; eLong considered the Holy Grail of security design, AI CS6 makes short work of creating variable width strokes. Variable width strokes can be combined with different brushes; rIllustrator’s Mercury Graphics Engine renders incredibly dense and complex illustrations, with hundreds of layers and special effects in an instant; tThe new Image Trace function offers both simplified presets and advanced tracing controls in one convenient panel; yBuild fully editable patterns quickly with the re-designed Pattern Options panel.

JULY 2012 • PRINTACTION • 15

USED EQUIPMENT

Bolan Continued from page 15

leased the following year, Illustrator 88 defined a file format that is still used in some corners of today’s programming world. So do not let the single-digit designation in CS6 fool you, the latest incarnation of Illustrator has reached a venerable version 16!

With each successive Creative Suite release, Illustrator has received the lion’s share of brash new features, often drawing attention away from its sibling applications. This time, much of Illustrator’s improvement lies under the hood. As with Photoshop, Illustrator CS6 (AI CS6) has been completely rewritten to take advantage of the Mercury Graphics Engine and, for the first time, enjoys full 64-bit memory support in both Windows and Mac versions. This means that AI CS6 can finally access all of the memory your PC can hold, while maximizing performance gains previously laying dormant in your computer’s graphics card. In a word, this translates to speed and the latest version of Illustrator is blazingly fast, regardless of the task undertaken.

this seems to be a trivial enhancement, artists and designers like working in highly customizable spaces. Adobe clearly recognizes this predilection and carries the customization theme through to all the tools in AI CS6. Tool sub-sets can be torn off the Tools panel, arranged horizontally or vertically and placed anywhere within your workspace either as free-floating strips or panels beside Tools.

You can even drag the entire Tools panel wherever you like! As I’m not an artist, I quickly made a mess of the Tools while exploring this feature – thankfully there’s a reset. Many other panels have been reorganized or simplified to streamline both creative and production workflows.

In addition to all of the behind-thescreen action, AI CS6 also boasts a few new “wow features” on the human side of the glass. A few years back, I spent some time working on proprietary high-end vector editors where gradients on strokes were considered the Holy Grail of security design and not possible even on these expensive systems. AI CS6 makes variable

Image Trace replaces Live Trace in Illustrator CS6, providing much better results such as sharper lines and more intelligent shapes.

Now I realize why speed is subjective, so in order to quantify “fast” I opened a file I found in the AI CS6 Cool Extras folder, entitled Mischievous Venus. This image – created by artist Huan Tran to commemoration Illustrator’s 25th anniversary – consists of hundreds of layers and sub-layers containing tiny vectors in addition to a surfeit of processor crunching effects. It took only seconds to open and fully render onscreen, even on my little, old 13-inch MacBook Air. Even with repeated zooming, the redraw was remarkably fast, amazingly so considering the 2010 vintage of the MacBook Air doing the rendering.

As with Photoshop, AI CS6 also enjoys a significant GUI overhaul with the same Dark interface appearing as default. Users have the option of choosing from four preset shades in the preferences panel, where the lightest setting is closest to previous versions of Illustrator if you’re feeling nostalgic. You can also drag a slider to drift between light and dark or type in a numerical percentage if you feel strongly about 47 percent grey. To reiterate, while

line width creation feel like child’s play with a simple pull-down menu – the effect can even be combined with different brushes! This smacks of sorcery.

When Live Trace was introduced in AI CS2, it was a slick way to get your raster images into vector land. In AI CS6, the Image Trace panel takes over the job promising similar functionality with markedly better results. Image Trace features a completely rewritten tracing engine producing sharper lines, intelligently rendered shapes and improved colour mapping. By selecting the Tracing workspace in AI CS6, the user is provided with all the Image Trace tools in a single, uncluttered panel offering a number of usable presets capable of creating anything from photo-realistic full-colour and grayscale vector images down to simple two-colour posterizations. While all this is possible within the basic panel, advanced controls can be revealed for the tweakers in the room. Choosing to trace a very detailed and high-resolution raster image to a photo-realistic vector image will really show what your workstation is Continued on page 18

16 • PRINTACTION • JULY 2012

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made of, as the Mercury Graphics Engine really relies on the help of a good graphics card to pull it off.

While Illustrator has introduced some pretty impressive pattern tools since joining the Creative Suite, the new AI CS6 Pattern Options panel seems inspired by exclusive vector tools found in the textile, wallpaper and ceramic design industries.

Any vector shape (with any fill) can be used as a source image for a pattern and will be shown in whichever grid the user selects or specifies. Interestingly, the source element is still fully editable as though in Isolation Mode with any alterations immediate shown within the entire pattern. Once created the new pattern can be named and appears in your swatches ready for use in other designs… yet another complicated drawing process reduced to a few mouse clicks!

InDesign: Tablet prescription or print placebo?

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SPECIALTY PRINTING

While recent incarnations of Photoshop and Illustrator have had a relatively easy time morphing into the new richmedia paradigm, InDesign seemed to languish in the valley of print. New features were introduced in CS5 to enable the addition of non-static content to layouts for interactive PDF output, but they felt retrofitted rather than road-mapped.

With InDesign CS6 (ID CS6), Adobe introduces viable design tools for tablet publishing and working with rich-media content while maintaining a stable platform for print-based publishing.

For example: The ability to create alternate layouts can be as useful in print design as it can be for tablet arrangements, especially when combined with Liquid Layouts and Linked Content. Designers seeking to build tablet publications need only select Digital Publishing

from the Intent pull-down menu in the New Document dialogue and choose between iPad, Kindle/Nook, iPhone or Android 10-inch, to determine the correct page size. Once a page is designed for portrait tablet display, the designer can utilize Liquid Layout tools to dynamically resize page content. I realize I’ve just said a mouthful so I should be clear and also say that in no way do these tools automate repurposing a design for other page sizes or orientations. Rather Liquid Layout provides the designer with control over the rules that can be applied to a layout as it morphs to suit different viewing intents.

Designers can choose between page scaling, re-centering, or object-based and guide-based Liquid Layout rules to define how different page elements will react as the page dynamically changes orientation or resizes. For example, a logo can be “pinned” to the edge of a layout, ensuring it always remains in the upper left-hand corner of a page regardless if landscape or portrait. Likewise, column widths can either be constrained or made to resize as page orientation changes by using the guide-based rules.

ID CS6 enables users to create alternate layouts quickly by simply choosing the option under the Layout pull-down menu. Once the user defines the alternate page parameters, all the content from the initial layout is duplicated in the second layout. If Liquid Layout rules have been applied to the original layout, the pages will reformat to the new parameters.

While initially intended to enable tabletpage designers to easily create alternate page orientations, this feature could also be useful for those creating multiple ad layouts, for example.

InDesign’s new Content Collector tools are a productivity enhancement aimed at those needing to share several common elements between pages or documents. The Content Collector, Content Placer and Content Conveyor work together to create an intelligent, configContinued on page 20

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STRINGING InDesign CS6: qThe new InDesign features the traditional light grey GUI which can be a little jarring visually after working in AI or PS; wThe redesigned Pages panel lets users access both the original version along with the alternate layout; eCreating an alternate layout is easy with several presets for various tablet devices; rThe Liquid Layout panel gives designers control on how their layout will morph between alternate layouts; tThe small brown line and filled circles show this logo is “pinned” to the top and right sides of the layout. When the page changes to a horizontal format, this logo will remain in the same relative position; yThe open circles indicate this is not “pinned” to any edge.

18 • PRINTACTION • JULY 2012

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JULY 2012 • PRINTACTION • 19

TAGS & LABELS

Bolan Continued from page 18

InDesign CS6 introduces a powerful clipboard function called the Content Conveyor: qOpen the Content Conveyor panel by clicking the Content Collector tool; wAs you click on elements on your page they are added to the Content Conveyor with links intact; eThe Content Placer loads the cursor with the next image in the Conveyor; r Click the spot on your page you wish to place the element; tThe Content Placer automatically loads the next image in the Conveyor.

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20 • PRINTACTION • JULY 2012

urable clipboard function. Any file format that can reside within InDesign can be collected, moved and placed across multiple layouts or documents. Perhaps even more useful is the ability to link content between layouts and documents – when a logo is changed in one instance, it automatically updates all linked copies.

The ability to create PDF forms is a feature that has been on more than a few wish lists over the years, and finally ID CS6 delivers. Anyone who has struggled to add fields or radio buttons to a form in Acrobat will appreciate the level of layout control ID CS6 brings to the process.

For many in the forms business, this will be the go-to feature of the new InDesign version. While we’re on the topic of PDF files, ID CS6 also offers easy grayscale file export with preview, as well as the ability to export interactive PDF files as either single pages or spreads – a big improvement over CS5.5.

And as with every CS release, Adobe has piled on a myriad of small enhancements that add up to some serious productivity gains. For example, users can zoom straight into a linked object from the links panel or use an extensions manager to create and activate custom extension sets. ID CS6 has seen significant text- handling improvements that benefit the analogue print designer such as better font access, with recently used fonts showing up at the top of the list. I was wondering when Adobe would lift that little nugget from MS Word.

Frames can be set to dynamically expand or contract with the text they contain. Additionally, users can now map text styles between parent and child text elements ensuring that headlines and body copy maintain their visual relationship even when a print layout is resized for tablet publishing.

Several other enhancements have been added for those in the eBook world whether they produce EPUB, .folio (Adobe Digital Publishing System format) or HTML. EPUB producers now have a selection of custom bullets, numbers and better formatting control of tables. Those producing richer formats can now embed HTML content, such as

Google Maps or animations, in their eBook files.

But the question remains: Does ID CS6 have the new Dark GUI? Sadly, NO! Just as I’ve become used to the fully customizable workspaces of Photoshop and Illustrator, I am suddenly juddered back into InDesign’s retro GUI! While you might consider this to be a superficial complaint, it really can be quite visually jarring to bounce between a Dark interface and the blindingly bright ID CS6 GUI. Let’s hope this disparity is rectified in a future update.

Life after Flash

Many thought Steve Jobs was misguided in barring Adobe’s Flash from the iPhone when it launched in 2007 and was jousting at windmills when he opined on the future of mobile browsing in his essay entitled “Thoughts on Flash”. As it turned out, Steve was right, again, at least with respect to the role of Flash on a smartphone or tablet. Under increasing pressure from open Web standards like HTML5, H.264 and Javascript, Adobe announced the demise of Flash for mobile devices last November. So how does this one-time Web video and animation wunderkind reinvent itself in the mobile age you ask? By targeting game developers and the burgeoning App market!

I am not a Flash guy, so I won’t even pretend to review Flash Professional CS6.

What I can tell you is that Adobe has its sights set on the desktop through its broad platform and device support within Adobe AIR 3.2 runtime. This allows Flash-built Apps to run on Android, iOS and on Internet-enabled televisions – a market that has yet to materialize in any meaningful way.

It came from the Creative Cloud

Adobe simultaneously launched its Creative Cloud (CC) with CS6 as a new business model for its users (PrintAction, April 2012, Cloudy with a Chance of Datum). In addition to online storage, collaboration and access to the full Adobe Creative Suite Master Collection, CC introduces a software-as-a-service-like (SaaS) subscription model that Adobe

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As low as has been promoting since CS5.5. Unlike a true SaaS workflow, where applications run in a browser or virtual client, CC allows users to download and install full versions of CS6 applications that are capable of running when the user is offline.

CC subscribers, however, will have to make a point of being online at least once a month so their applications can “check in” with Adobe to assure the subscription is up to date.

One of the chief advantages of CS6 subscriptions through CC is that Adobe will push new features down to users as soon as they are available rather than waiting for major upgrades. Likewise, subscribers will have immediate access to everything Adobe has to offer, including its full video editing suite (Premiere, After Effects, Prelude, Speedgrade, Encore, Media Encoder), as well as Dreamweaver, Flash Pro and other applications. In addition to software, several Adobe services are bundled with the Creatuve Cloud, including TypeKit (library of Web-fonts), Business Catalyst (a tool for building business Websites, including eCommerce and CRM functionality) and Story Plus (a collaborative writing tool).

Prices for the Creative Cloud start at US$49.99 per month based on an annual commitment and range upwards. Adobe also offers current boxed product customers an introductory price of US$29.99 per month for the first year of Creative Cloud. Users can also opt for CC on a month-to-month basis at a higher price point, with the advantage of being able to shut down their subscription periodically, when business is slow.

While a subscription model might work for designers, it is not uncommon in print production to have older versions of the Creative Suite installed concurrently to deal with customer legacy files. It is not clear whether Creative Cloud subscribers would be able to continue using CS6 and earlier versions after the inevitable arrival of CS7 or CS8.

Many current Creative Suite prepress users have significant investment in Adobe’s boxed products and are accustomed to having a tangible asset on the balance sheet. While these legacy users will still be able to upgrade their boxed products to CS6, as they have in the past, they are effectively locked out of the Creative Cloud due to Adobe’s all or nothing subscription pricing. There really needs to be a Creative Cloud add-on for those choosing to own their software – it seems ludicrous for Adobe to lock out a portion of its dedicated user base.

New kids on the block

plan and build Websites without any prior knowledge of HTML. Muse features master pages, style sheets and access to hundreds of Web fonts, as well as tools for interactive content all within a familiar CS6 interface. Now a full release, Muse has been in public beta since August 2011, already gaining an enthusiastic following. This is an application for those who do not want to work with Dreamweaver; and that is a good thing because sites built in Muse are incompatible with Adobe’s principal Web development tool.

Edge is Adobe’s response to the decline of Flash in the browser world. You didn’t really think Adobe was going to take this Flash thing lying down, did you? Edge enables users to build animations and rich interactive content based on open Web standards like HTML5, Javascript and CSS3. This ensures content created in Edge will run reliably in every HTML5-compatible browser. Edge is currently in public beta and is slated for release sometime later this year. Currently both Muse and Edge are only available through the Creative Cloud, or in the case of Muse as an individual subscription for US$14.99 per month.

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In case you did not notice, new ways of creating content in the online universe are evolving at an incredible pace. Open source content management systems like Drupal, Joomla and Wordpress are taking over the Internet. Recognizing this trend, Adobe introduced two new products with CS6 aimed at designers who want to get their ideas online without coding.

Adobe Muse is a WYSIWYG tool targeting print designers wanting to design, Zac Bolan’s blog: blog.softcircus.com

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Based on the overall performance boost provided by Adobe’s Mercury Graphics Engine and a rich pastiche of new features across the big-three applications, Creative Suite 6 should be a compelling upgrade – especially to users still working in CS4 and earlier. Driven by customer demand, many print designers now have to consider tablet and interactive publishing in addition to print. CS6 provides both tools and a migration path into this future. Realistically, prepress and production users will follow the design community and adopt CS6. Likewise, they will appreciate the speed bump, as well the aforementioned productivity enhancements.

For me, the problem is how to upgrade, as part of me really wants to get behind the subscription model. After all, access to the entire Master Collection, cloud storage, collaboration, TypeKit and Business Catalyst in addition to both Muse and Edge for fifty bucks a month screams value. I am conflicted, however, because I’ve always been a boxed-software owner and, to this day, have at least two older versions of Creative Suite on my workstation. I am not sure if I could live in a software-for-rent world.

Until Adobe recognizes the disparity it is creating by dividing a loyal customer base into buyers and renters, the upgrade dilemma will persist for many, and Creative Cloud adoption may suffer. Only when the entire Adobe user community has the opportunity to access this potentially game-changing resource will the Creative Cloud truly take flight. In the meantime, however acquired, Creative Suite 6 stands as a solid upgrade to a mature collection of mission-critical applications for designers, production artists and prepress users around the world.

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Through Project Phoenix, Maggio and Johnson & Johnson have assisted a once socially marginalized group of catadores to pany’s number-one priority, his places it assume an increasingly important role in fourth.” The credo places doctors, nurses, collecting, processing, and supplying recymothers and fathers (all customers) first, clable waste materials to several companies. followed by employees, while the com- Maggio’s next goal is to get another of the pany’s third commitment is to the commu- five other recycling co-operatives he works nities where it operates and the larger with in Brazil to become SA8000 certified. world community.

“By saying that if first we do everything Forests of common wealth right, then we will gain a fair return for Ecologically, according to Canopy (a Vanstockholders, Our Credo puts the company couver-based not-for-profit organization far ahead from the perspective of social dedicated to protecting the world’s forests, sustainability,” explains Maggio. species and climate), Brazil has one huge thing in common with Canada: They are Futura of Brazil two of only three countries that contain Maggio conceived of the plan to help the most of the earth’s remaining large tracts Futura Co-operative achieve SA8000 certi- of primary or relatively untouched ancient fication while talking over dinner with forests. (Russia is the third country.) In Brazilian-born Renato Wakimoto, who is Brazil’s case, these primary forests include now also based in New Jersey, where he 60 percent of the Amazon Rainforest, the runs Johnson & Johnson’s Latin American largest rainforest on earth, extending over engineering group. They called their new some 40 percent of the South American initiative Project Phoenix. continent. Such tropical rainforests play a “We engaged the co-operative heavily fundamental role in the basic functioning and worked with them at night and on of the planet by helping to maintain the cliweekends. We would tack a couple of extra mate and providing incredibly rich ecosysdays onto every business trip with the com- tems that house up to 50 percent of the pany’s support to help complete the proj- world’s species. ect. Antea, a local consulting company, On Mongabay.com (a California-based were also pivotal in that they took a lot of Website that tracks the emerging effects of care to break SA8000 down into bite-sized climate, technology, and economics on chunks and formulate a work plan to fol- wild lands and wildlife), Rhett Butler relow,” Maggio recounts. ports that since 1980 more than 580,000 “The hardest challenge to overcome was square kilometres of Amazon rainforest has that people in general told us it was impos- been destroyed in Brazil. But his May-2012 sible to move the catadores to SA8000, but updates confirm that Brazil has recently through the catadores’ own motivation to succeeded in reversing this trend: “Since benefit the environment and their society 2004 the rate of deforestation in the Braziland improve their own lives, and, through ian Amazon has fallen nearly 80 percent to their own hard work, they got there,” he the lowest levels recorded since annual beams. “Technically, we started Project record keeping began in the late 1980s. ImPhoenix in 2007, but it did not really get portantly, this decline has occurred at the rolling until 2008. They achieved certifica- same time that Brazil's economy has grown tion approximately two years later – in Jan- roughly 40 percent, suggesting a decouuary 2011.” pling of economic growth from deforestaJohnson & Johnson continues to work tion.” Butler cautions, however, that further with the catadores to ensure they maintain proposed changes to the country’s Forest the required standards to pass periodic au- Code, which mandates how much forest a dits. As additional benefits to becoming landowner is required to maintain, could certified, Maggio says the Futura co-oper- reverse progress in reducing deforestation. ative has received good local press, along Neva Murtha, Second Harvest, Printer with more government money, more cor- and Magazine Campaigner at Canopy, says: porate donations, and achieved a greater “To truly understand the environmental appeal for businesses that are interested in benefits of the changes that Johnson & using recycled content and want to form Johnson have made, it would be important partnerships with recyclers. to undertake a full life-cycle analysis and acMaggio’s knowledge of Brazil con- count for things like the transportation costs tributed to his insight into what needed to of sourcing the majority of packaging from be done. To improve his communication one location and also the substantial carbon and understanding, he made a special ef- benefits of not impacting our ancient global fort to learn their national language, Por- forests. But the fact that Johnson & Johnson tuguese, and became fluent after a couple has shown a commitment to and are forof years of flying there six times annually. warding recycled content in their Band-Aid “The global nature of my team at Johnson Brand boxes is a positive step for our global & Johnson taught me the importance of forests, species and climate. being sensitive to cultural differences, plus “Where recycled content is unavailable,” the local senior executives also advised me continues Murtha, “FSC fibre will confirm point blank that it was really important for for Johnson & Johnson customers that the me to get to know Brazil if I wanted to fibre is coming from well-managed forests work there effectively. Since then, many and specifically that the plantations they are people in Brazil have told me I’m the only using are not taking over native wild forests American they know who has bothered to because they must have been established learn Portuguese. Their appreciation has prior to 1994.” This Fall, Canopy will launch been immense. an Ancient Friendly Forest Award to en“But I think for me the biggest part of courage and recognize the latest such initiaPhoenix is the mutual benefit it provides. tives by corporations that are endeavouring It is not a situation where we walked in and to become Ancient Forest Friendly. taught people something better. The reality is that the learning process has been a two- Victoria Gaitskell is keen to exchange ideas way street.” with readers at victoria@printaction.com

Gaitskell

Continued from page 13

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Bolte Continued from page 12

most with 1,491, while DHL was second with 870, followed by USPS with 758, and FedEx with 113. Over 90 percent of these patents were issued in the last decade.

Cronin concluded that, in fact, this number of patents was not very many in relative terms. He stated there are significant opportunities for innovation and substantial growth in patents. He asked the audience to think about all of the patent potential held by the USPS, with regard to its value chain: postage, collection, outbound sorting, transport long haul, in bound sorting, transport distribution, and delivery.

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Regulatory ideas

Ruth Goldway has been appointed Chairman of the Postal Regulatory Commission (PRC) – in addition to her lead on the Postal Rate Commission – by three U.S. Presidents. She has held this appointment longer than any other Executive Branch appointee at 14 years. During her presentation at PostalVision, Goldway said, “The Postal Service is an enabler for the country to develop its economy and democracy.”

She continued to explain why the USPS is the bedrock of her nation, the communications/transportation network of last resort, and how it contributes to homeland security and civil order. The digital divide still persists, with only two thirds of

service, emergency medical counterthe nation having access to the Internet via measures, mail-in test kits), broadband, making the postal system fundamental as tangible product distribution r Tap the intellectual capital of the Postal Network (national addressing and a back-up system for low-tech housesystem, employees’ institutional holds. Her perspective consistently shines knowledge, patent portfolio, hybrid forth during natural disasters. mail, lessons from other national Goldway presented six complementary postal operators), and supplementary strategies the USPS Provide customers more control over t could and should pursue:

q Allow private sector more access to the network,

w Capitalize on geographic reach of the postal network (digital is fragmented but physical mail can reach every home),

e Leverage the trusted nature of the Postal Service (expand Vote by Mail

the mail (high-value recycling, partnered return package pick-up and drop-off points, partner with mail back repair services, enhanced merchandise return), and

y Partnerships (federal, state, and local government agencies, credentialing services to government customers, prize contests, retail reinvention).

Political positions

Three government officials participated on various PostalVision panels expressing opinions that the media has covered in depth for months now, if not years. Ron Bloom, recently served as Assistant to the President for Manufacturing Policy and previously as Special Assistant to the President of the United Steel Workers. On discussing USPS possibilities, Bloom said, “USPS (postal rates are) cheaper than anywhere else in the world. Austerity is not working in Europe or the U.S. USPS must grow! – while also changing its cost structure.”

Paul Vogel was brought out of retirement five weeks ago to take over as President of the USPS‘ newly created Digital Solutions group. He was Managing Director of the organization’s global business from 2006 to 2009. His USPS career has exceeded four decades. On the Policy Direction Panel, Vogel offered, “All ideas discussed [at the PostalVision Conference] have been analyzed by the USPS ad nausea.

“For example, the long life vehicles [comprising the USPS fleet of 200,000] were expected to last 18 years and are now 25 years old. The USPS does not want to pay to modify these vehicles,” continued Vogel, referring to the alternative Federal agencies’ shared use of the fleet, as the USPS does not know how much longer they will last.

Fred Rolando is President of the National Association of Letter Carriers. Participating on the panel discussion focused on values, Rolando said, “A mindset change [at USPS management level] is needed to replace revenue. Legislation does not exist to allow [expansion into new products]. USPS does not have a business plan or a management team capable of replacing revenues.”

If everyone, including legislators, regulators, USPS management, USPS unions, had the same objectives, priorities, and values relative to the postal needs of the United States of America, North America, indeed the globe, the turn around of this business would still be extraordinarily difficult.

Since such shared elements and visions do not exist, taxpayers can expect Federal bailouts to fuel proprietary agendas for years in the United States, if not in the decades to come. In the meantime, entrepreneur suppliers developing work-share product enhancements to help contain USPS costs, while leveraging USPS assets to preserve, if not increase USPS revenue in niche applications, will be appreciated and quite profitable.

Clint Bolte is the Principal of C. Clint Bolte & Associates. He can be reached at 717-263-5768 or cbolte3@comcast.net.

24 • PRINTACTION • JULY 2012

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ARCHIVE

July 1992 Steffi Graf beats Monica Seles at the 99th Women’s Wimbledon, the 25th Olympic Summer Games kick off in Spain, and Joe Shuster, co-creator of Superman passes away at the age of 78.

Ottawa ‘buys American’ to promote Canada – tourism magazine printed in U.S. In an embarrassing case of poor judgement, the Federal Government has endorsed a publication promoting tourism in Canada, yet which was printed in the United States.

The Official Traveller’s Guide to Canada was printed in the U.S. to save costs, according to its publisher Diane Landry. The publication was sponsored jointly by the Tourism Association and Tourism Canada, part of the Federal ministry of small business and tourism.

The 92-page full-colour magazine, which is targeted to American travellers, has the words “Printed in the U.S.A.” appearing below a picture of Tourism Minister Tom Hockin, who recently helped to unveil a new “Printed in Canada” logo in support of the Canadian printing industry.

Apple Unveils Quadra 950 Hot off the heels of its recent release of the powerful Quadra 700 and 900 personal computers, Apple Canada has introduced its top-of-the-line Macintosh Quadra 950, which has a 230MB hard disk drive and provides built-in features such as on-board 24-bit colour, Ethernet networking, sound input and output, microprocessor-based caching and floating point processing. Quadra 900 owners can upgrade to the 950 by having a new logic board installed.

Transcontinental’s New Plant Brampton, Ontario Mayor Peter Robertson (left) and GTC Transcontinental Group Ltd. President Rémi Marcoux cut a ceremonial ribbon to mark the official opening of Transcontinental's new 126,000-square-foot plant in the city.

26 • PRINTACTION • JULY 2012

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Introducing the Mobile Ink Estimator App You wouldn’t dream of asking your clients to print their own job, and here at Hostmann-Steinberg we wouldn’t dream of asking you to mix and quality control your own special colours…You don’t have the time!

We believe that getting inks to press on time and in specification is a given.

Simply calculate accurately what your job requires using the new Hostmann-Steinberg Mobile Ink Estimator, request a quote on line (if required), order only what you need and let us take care of the rest.

Download the Estimator on your mobile device (iPhone/iPad/iPod/ BlackBerry/Android) by clicking on the QR code* and following the simple instructions.

Ink estimating has never been this simple.

Try our App, Try our service, Try our Ink……We think you’ll like it.

For made to measure ink, contact:

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12 Shaftsbury Lane, Brampton, Ontario, L6T 3X7 Telephone: (905) 793-9970 • Fax: (905) 793-5368 www.hostmann-steinberg.net

More than just ink ...

More than just ink ...