Making Digital Work For You Part VI

 Posted by at 11:53 AM
Jul 302011
 

Variable Data: The Gorilla in the Room

Say what you will about digital printing, there’s no getting around the one thing it does hands-down better than traditional ink on paper. And that’s variable data. If information is the engine of today’s business, then data is the fuel that drives that engine. And it’s the fuel that makes variable data technology work as well,

When we were typesetters, so long ago, our motto was, “He who keeps the most copies, wins.” In the course of any particular typesetting project, edits were made and crossed out, phone edits (this was before email) painstakingly recorded, and countless copies of interim print-outs produced and held on to. When there was (heaven forbid) a typo, it wasn’t hard to track its source down. A two-edged sword to be sure, but knowledge was power. And it still is.

For today’s information-driven world, it’s “he who keeps the most data, wins.” And one of the places you need the data to win is in variable data printing. As someone who learned to set up a California Job Case in high school (the “California Job Case” is a wooden frame that has compartments for the hot metal type pieces used in letterpress; the particular configuration by that name was supposed to reduce a typesetters hand movement by half a mile a day), I have seen some interesting technological developments in the print industry in my time. None has been more under-utilized than variable data printing. The reason is simple: we just don’t keep enough of the right kind of data.

Do you know what each of your customer’s favorite color is? Their favorite sport? Vacation destination? Food? Birthday month?

Extraneous information? Maybe. But in the hands of a skilled variable data designer, you can produce a promotional piece that might just have the extra edge it needs to really stand out from the crowd. Variable data technology allows you to leverage the information you have acquired to make print presentations more attractive on a very personal level. Variable data allows you to use different type or graphics on each piece of a print run. Seeing your name on the side of a train or movie marquee in a direct mail piece is a powerful motivator to read on. A catalog with a skier on the front is more attractive to someone who enjoys that sport than a catalog with a surfboarder on the cover. But you don’t have to pick one or the other. If you know what your customer is interested in, you can deliver that image through the magic of variable data technology.

Variable data technology has been around for a while. We “beta tested” the first version of “Darwin,” a surprisingly robust plug-in for Quark and were immediately struck by the potential power of the software, in the right hands. Unfortunately, except for some very large firms, the right hands seem hard to come by. It always seems strange that a company with thousands of accounts (or more) knew more about their customers than small firms with just hundreds of accounts. (Then again, maybe we’re just not meeting the right people.)

So we’ve ambled along, using this great technology for essentially mail-merge applications, although it has also proven useful for consecutive numbering applications, certificates, fund drive letters, and dealer-loader promotions. Will it ever live up to its promise? I hope so. Once you have the data, the additional cost to use it is almost negligible. And variable data printing is no more expensive per piece (at least here at Digital Imaging) than non variable data printing. Some additional set-up costs are involved, but they are usually quite minimal if the document is set up properly.

The value is definitely there. The effectiveness has been documented. All we need is the data. There’s an old proverb which goes something like this: “The best time to plant a tree is twenty years ago; the second best time is now.” The best time to start collecting data on your customers was ten years ago, the second best time is now. Begin building your data base. Put it on a simple Excel or other “flat” spread sheet. Every entry is a deposit that can draw interest on as it helps you build more effective print marketing. This is a technology you can use right now.

Making Digital work for You Part V

 Posted by at 3:56 PM
Jul 092011
 

Go to the grocery store and at the check out line the question is “paper or plastic?” There are some quick print and “big box” printers that have pretty much the same limited choices. Text or cover? Gloss or matte?

There are countless choices in paper. Weights from a very light weight 16 pound text to a very heavy 110 pound cover are all available for our digital printer. And finishes vary from uncoated to dull coated to high gloss, and cover weights coated on one side or both sides are also available. The possible permutations seem truly overwhelming. Which should you use? There’s no one right answer; the choice depends on many factors. We like to ask about how and where you are going to use our product before you make that choice. Some people think we’re a bit nosy. And maybe we are, but in a good way.

All paper is roughly divided into text and cover. Text weights refer to the kind of paper that would make up the inside pages of a paperback book. Cover weights are what the cover of that paperback book might be made of. Within these categories, paper can be uncoated, dull coated  (also called semi-gloss) and gloss coated (also called “calendered”).

As we like to say here at Digital Imaging, it’s a matter of personal preference. Photos tend to set up and look snappier on a gloss paper, but if you’re planning on looking at the piece in what we call “high key” or bright overhead lighting, you may want to consider a semi-gloss to cut down on glare. Will you need to have someone write on the finished piece (perhaps a form to fill out)? Then gloss is a poor choice. Is the piece going in an envelope? Select a text weight. Is it a stand-alone piece? Perhaps a cover weight is a better choice. Bleed through is always a factor. Selecting a heavy enough stock to prevent the image on one side of the paper from being visible from the back of the sheet depends on the content being printed. Toner-based digital printing also tends to impart a gloss to the printed material. In some cases, if you use a semi-gloss stock, the printing looks as if it were varnished. This may be a good thing or not, depending on what you had in mind. We have a certain amount of control over this gloss. The newer equipment (like our DocuColor) has good control over this gloss effect.

Cost is always a factor. In general, the heavier the weight the more expensive a paper is. Gloss papers tend to cost more than uncoated paper. Semi-gloss (or dull coat) is often more expensive than either uncoated or gloss. Premium papers cost more in all weights. These are the fancy sheets that contain fibers, unique surfaces, or specific colors.

Post-processing also is a factor. Gloss papers tend to “crack” more along a fold than semi-gloss or uncoated stocks. Lightweight papers don’t hold up well to perfing. Some sheets are only available long grain; a score and fold across the grain is more difficult to control than a fold along the grain.

It’s confusing but we’re usually amenable to printing a proof on two or even three different stocks to help you decide. The comforting thing about digital printing is that the difference in price for a short run between or most expensive and least expensive stock is minimal.

Not all stocks can run successfully in digital presses. Some heavily-textured or “laid” papers do not reproduce large solids well. The toner needs a relatively smooth surface to adhere to uniformly. If the surface is uneven, a motley appearance may result. A lot of label stocks have difficulty, especially if they are formulated for ink jet printing.

As technology continues to evolve, we are able to offer an ever-growing inventory of papers. Some of the more interesting recent additions are: Window Decals, Magnetic Sheets, Pre-cut door hangers, CD tray cards and inserts, weatherproof plastic, non-tear sheets, metallic finishes, parchments and non-copyable security papers. Also available are carbonless forms in two or three part configurations, clear acetate (for overhead projections), tab dividers and pocket folders.

The world of digital printing offers the same quality, selection, and versatility of offset without the requisite numbers to make it cost effective. Making digital printing work for you requires some planning ahead and perhaps a few design compromises, but in today’s competitive marketplace the added value of quick turnaround in small quantities makes it a valuable tool for every graphic designer.

Next: Variable data: the “big gun” of digital printing

 

Making Digital Work For You: Part IV

 Posted by at 12:47 PM
Apr 192011
 

About 50% of the time when I ask a customer “What stock would you like this on?” the answer I get is “Whatever you think it will look best (or print best) on.” I always wonder if they imagine a paper storage room with papers that print well on one side and papers that don’t on the other. Sometimes, I think it would be a lot easier if we stocked only one or two kinds of paper. But we don’t.

In the often confusing world of digital printing, paper weights and types have managed to distinguish themselves as a confusing topic for most people. Part of the problem lies in paper’s greatest drawback; it is a tactile product. Talk about it all you want; write long, complicated descriptions that start to sound a little like how a wine taster describes a wine; give it a brightness number. In the end, people want to FEEL the paper. And yet, this is also paper’s greatest asset, the reason it will probably survive the rush to a digital world. Paper has texture. Paper has a glossy or a smooth or a rough surface. It has depth. It has warmth.

In general there are only a few “rules” about what to print on, and these are very pragmatic. Things going through the mail need to be a certain minimum weight. No big surprise here. I have never had anyone try to send a post card that was printed on a text weight. Yet. BRC’s (business reply cards) must be a certain minimum weight. But aside from these few considerations, paper choice is a matter of taste and design. We try to stock a broad enough range of paper to meet most of those considerations.

Many US paper mills are no more. A good deal of our paper is from Canadian mills, some is from overseas. By the time it’s re-cut, re-branded, re-packaged and re-sold, it’s not always clear who actually manufactured it. Paper can be the cause of huge headaches in the digital print business. Humidity, too much or too little, can cause paper to jam unexpectedly, double-sheet feed, or curl out of the press. We keep most of our paper in sealed packs until we’re ready to use it. (We used to keep all of our paper in sealed plastic bins… the technology has gotten better.) We are very reluctant to add a new paper to our inventory until we have performed extensive testing. Sometimes, a rep (or a customer) will bring us in a few sample sheets which seem to run fine. Then when we begin the larger project, we suddenly experience multiple problems as the device heats up, or we try to duplex, or in finishing.

Most paper has some kind of a grain. In traditional (ink on paper) printing, the grain is usually “long” which means it runs parallel to the direction of the movement through the press (or is parallel to the longest side of the cut sheet). This gives the paper extra strength to navigate the many turns and twists through the press. In general, in digital printing, we like for the grain to be short so the sheet is more flexible. Grain is much more important when you get to finishing.

There are a couple of ways to check the grain. The easiest is to look at the packaging. The direction of the grain is usually the second number you see. 8-1/2″x11″ paper is long grain. 11″x8-1/2″ paper is short grain. (We speak of 12×18 as a stock paper size, but the package says 18×12.) If the paper is loose, fold the sheet you have in half in both directions and feel the folded edge. Folds with the grain will be much smoother than folds against the grain. I know there are other ways; tearing the paper will reveal its grain, but I think this is a bit more difficult to discern.

Grain comes into play more when you are finishing; folding, scoring, etc. Folding across the grain leaves a ragged edge unless you score first. For some paper weights, you need to score anyway, but especially in the lighter weight texts, trying to keep the grain going in the right direction when you are step and repeating a file can be the subject of some serious mental calisthenics. Scores across the grain need to be different than scores with the grain.

Next: paper weights and surfaces.

Making Digital Work For You: Part I

 Posted by at 2:05 PM
Apr 122011
 

Ain’t technology grand? Digital printing has certainly changed things. Few of our customers today know what rubylith is (or was), have ever seen a stat camera, or have come home at the end of the day with a few miscellaneous words stuck to their elbow like oversized flakes of dandruff.

But digital printing is a two-edged sword and it takes some special considerations to get the most out of it. Let’s begin with the most obvious one, color. At a traditional printer (ink on paper), each color you add will probably change the price of your job. At most digital printers (toner-based), there’s one price for color and one for black and white. At a traditional printer you may pay a bit more for a piece printed, say, all in blue. It will probably include the expense of a press wash, but it will still be a one-color project. At a digital printer, you will probably be charged the same price as if you were printing a full color photograph covering that page.

These are considerations that should probably be made at the the design level. Once you’ve designed the piece in one color, you’ve substantially diminished the likelihood of digital printing as an economical choice down the line. On the other hand, if you plan on using digital output, let your creative juices fly and take advantage of the power of color to make your point or sell your product. Don’t forget to add color photos wherever you can. This is an expensive process in traditional printing; you need scanning, 4-color separations, and careful alignment of the plates for it to work. Not so in digital printing; take the electronic file of the image and drop it in the layout. Done. Well, you might want to make sure the image is CMYK and not RGB.

Which brings me to difference between the color models. If you’ve ever gotten your digital prints back and noticed that the color photos looked a bit flat or off color, there’s a chance you may have used RGB files instrad of CMYK. Most digital cameras, by default, shoot in RGB. This is the Red-Green-Blue color model. Almost all the light that is emitted by natural sources (e.g the Sun) is in this color spectrum, as most probably is the monitor you are viewing this page. It is the spectrum of transmitted light. If you think way, way back to High School health class, you may vaguely remember something about “rods” and “cones.” Well, that’s the connection, we see by interpreting the RGB spectrum. If you do the math you find there’s nearly 17,000,000 colors you can make with this combination (there are 256 steps of each color that are possible on your RGB monitor). Turn on the red, green and blue lights full strength on you monitor (or in the Sun) and you have white.

CMYK (Cyan, Magenta, Yellow, and Black) on the other hand, is what we see when most things are printed. It is a product of reflected light. Actually there are only three colors involved: Cyan, Magenta, and Yellow. Black is added because we live in an imperfect world. In theory, if you mix 100% Cyan, 100% Magenta and 100% Yellow, you should get Black. But you actually get a muddy reddish brown. Black is added both to achieve a real black and to replace some of the other colors in a process called Under Color Removal (UCR) or Grey Component Reduction (GCR). Maybe more about that at a later time. The CMYK spectrum only gets us about a million colors (100 steps of each of the three).

How and where an image is converted from RGB to CMYK is critical to how it will look when it’s printed. As you can see, the gamut (or range of colors) in RGB is substantially greater than that of CMYK. And since 100% of all the colors in one model equals white and in the other it equals black, you might guess there is more to converting between the two than meets the eye. The best plan is to convert the color in software designed for that purpose: PhotoShop. While most RIPs will do this conversion on the fly, some handle it much better than others. Making the conversion yourself in PhotoShop will at least let you know which colors, if any, will change.

 

 

 

 

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