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Printing Industry Exchange (printindustry.com) is pleased to have Steven Waxman writing and managing the Printing Industry Blog. As a printing consultant, Steven teaches corporations how to save money buying printing, brokers printing services, and teaches prepress techniques. Steven has been in the printing industry for thirty-three years working as a writer, editor, print buyer, photographer, graphic designer, art director, and production manager.

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Archive for June, 2011

Custom Screen Printing and Traditional Offset From Online Printing Services Give You Options for Printing on Corrugated Board

Wednesday, June 22nd, 2011

At some point in your graphic design or print buying career, you may need to print on corrugated board. It will be easier for you to choose an online printing service to print such a job if you understand your options and the custom printing technologies involved.

First of all, what is corrugated board? It is a “sandwich” made of an outer flat sheet of stiff paper, a backing sheet of stiff paper, and “fluting” in between. If you look closely at cardboard cartons (large ones, not shoe boxes), you will see the fluting. The paper seems to snake back and forth like an “S” between the inner and outer flat sheet.

Corrugated board is light and strong due to the fluting. Unfortunately, it can be easily crushed, which can create problems in offset printing due to the heavy pressure of the press rollers in your printing companies’ presses.

So how do you find online printing companies that can print on an easily crushable material? There are at least four options:

Flexographic Printing Directly on Corrugated Board

“Flexo” is a relief printing technique (similar to letterpress in that the image areas are raised) that involves flexible rubber plates and ink. You will see samples in grocery stores. Most freezer boxes and milk cartons are printed this way. It’s also a good technology for printing flat areas of color and simple graphics on cardboard boxes. A flexographic business printing press produces less pressure on the paper substrate than an offset press, so you can print directly on the corrugated board and then convert the flat sheet into a box. To identify flexographic printing on cardboard, look for flat matte inks and large areas of ink (one or two colors), and note that the ink has been printed directly on the cardboard.

Screen Printing Directly on Corrugated Board

Also known as silk screening, this process involves squeezing ink through a metal or synthetic wire mesh by using a rubber squeegie (by hand or on a screen press). Non-image portions of the wire mesh screen are blocked off, or masked, so ink cannot be forced through these areas. By using different screens for different colors and keeping the screens in register (or aligned), a skilled screen printing company can create complex graphics on most surfaces. These include cardboard or corrugated board. Using this technique, custom screen printing vendors can print directly on the corrugated board without crushing the fluting. Then the converter can turn the flat sheets into corrugated boxes.

Offset Printing on Litho Paper, Which Will Be Laminated to Corrugated Board

When you look closely at “point-of-purchase” displays or movie theater “standees,” you will see intricate printed graphic panels that have been glued to the corrugated board. They are noticeable insofar as they have been printed on gloss coated stock, in contrast to the cardboard, which is rough and uncoated. Sometimes you will even see the color bars or registration marks from the offset press.

In this technique, the digital printing company uses an offset press to print four or more colors of ink on the gloss stock, which he then laminates (or glues) to the corrugated board. At that point he can score and fold the board as needed. The quality is substantially higher than flexographic printing companies can provide.

Offset Printing on Flat Board That Is Then Glued to Fluting and a Backing Sheet to Create Corrugated Board

This option avoids the problem of printing directly on corrugated board by having the custom printing service first print the job on a substrate and then add the fluting and backing sheet to actually create corrugated board. Printing companies would only do this for a huge press run. In any other case, the set-up costs would make it cost-prohibitive. This process goes under many names including “preprint.”

So discuss your goals for printing on corrugated board with several traditional online printing services, screen printing printers, and large format printing companies to arrive at the best custom printing option for your job.

Online Printing Vendors Spice Up Perfect-bound Books with French Flaps

Friday, June 17th, 2011

Online printing services can leverage their specialized knowledge of bookbinding to give your next perfect-bound job added flair. A specialized binding treatment called “French folds” can improve the appearance of an on demand book printing job, a traditional offset book printing job, a magazine, or a catalog printing job. Here’s some information you might find interesting.

I recently acquired a new print brokering client, a couple who publish fiction and poetry for a select number of friends and associates who are writers. Their products are “old school,” as they say, but in the best ways. The text stock has a rough finish and deckled edge (a rough rather than smooth “face trim”). The covers feature evocative paintings and drawings related to the subject matter of the poems and stories. And the books have French flaps. These are books made for people who love to read and who want their reading experience to be tactile. They want the feel and smell of the book. They don’t want to read the books on a computer.

For those of you producing perfect-bound books who want to add a European flair, consider adding these extra flaps. In this way you can give paperbound books a bit of the feel of a hardback book with a dust jacket. The flaps also provide extra space for an author photo and bio or a description of the book.

French flaps, which probably go by other names as well, extend approximately 3” beyond the trim of a book and are folded inward into the book. When you open the book, they look just like dust jacket flaps, but they are part of the cover.

French flaps can either be approximately 1/16” short of the cover trim or they can extend approximately 1/16” beyond the trim. The latter is far more attractive. It is, however, also far more expensive. Here’s why.

On a perfect-bound book with flaps that do not extend past the text block, the printer attaches the cover and then trims the cover and text in one pass. If the folded French flaps were to be flush with the cover face trim, the knives of the printing company’s guillotine cutter would chop through the fold of the French flaps on their way through the cover and the text pages. Then the flaps would fall away. Therefore, the flaps must be 1/16” shorter than the width of the book.

A more costly, and far more attractive, option is to have your custom printing vendor extend the covers beyond the text block. This resembles an actual case binding of a hardback book insofar as it also extends beyond the text block. To achieve this look, your book printing vendor first trims the text blocks, then attaches the book covers, then trims the books a second time.

To put the cost in perspective, on a 2,000-copy press run of a printing job I brokered, the extra cost of the flaps trimmed just short of the text block edge was $600.00, while the extra cost for the flaps requiring a double trimming by the book printer to extend the cover beyond the book pages (with flaps folded in) was $1,300.00.

As you make the decision of whether to pay an online printing service the premium for the flaps extending beyond the text, look for samples of each. Most perfect-bound books of literary or technical quality (content, in this case, rather than production quality) will have the more expensive flaps. In contrast, directories, catalogs, and the magazines you see in the grocery store, which actually are perfect-bound books themselves, will have the covers cut short. Check the magazine rack. You’ll be surprised.

Why would you not see and remember this apparent flaw in the magazines? Because publishers have done a little work to make it less obvious. In many cases, magazine publishers have either left the first page of the magazine white or made it the same color as the cover. In either case, the goal would be to have the front cover and page 1 match, so the gap between the fold of the French flap and the edge of the text is not as obvious.

Consider adding French folds to your next perfect-bound project to elevate the look of an on demand book printing job, a traditional offset book printing job, or a catalog printing job.

Online Printing Companies Can Meet Your Goals When You Spec Paper with Current Swatch Books and Printed Samples

Thursday, June 16th, 2011

Whether you’re buying catalog printing, brochure printing, or book printing services from your digital printing company, the more specific you can be about your paper needs, the more easily your supplier can meet your expectations. Whether consciously or unconsciously, paper choices strongly affect your reader. Here’s a case study that illustrates some issues in communicating paper choices.

A print brokering client asked me recently to suggest a paper stock that would resemble a grocery bag. It was for a prospectus cover. She wanted to print process color inks on the stock to give the edgy impression of having actually printed on a grocery bag.

The first thing I did was note that there was no accurate way to proof the process color, other than to purchase a rather costly “press proof” that would involve a separate press run for one proof. I told my client that this would be true for two reasons:

  1. Process color inks are transparent, and are therefore altered by the color of the paper on which they are printed, and
  2. The proof the business printing vendor would provide would be produced on white paper, not brown kraft paper. He could not guarantee the final appearance. That said, we didn’t talk about trying a sample of the colored stock in the proofing device, which may or may not have been an option. Regardless, digital printing companies do not consider such an inkjet print to be a contract proof and therefore will not guarantee the result.

My client was ok with this. She didn’t care about the color fidelity. The photos were artistic images, more for mood than anything else.

Had she felt otherwise, I would have suggested the following:

  1. She could run a sample of the kraft paper stock through her own inkjet printer just to get an idea of the final appearance.
  2. Her custom printing vendor could print opaque white on the brown kraft sheet and then print the four-color images on the white “base.” The opaque white would ensure that the brown of the kraft paper did not alter the hues of the process colors.

Learn From My Mistake

I checked through my paper swatch books for a few options for kraft paper. Different paper mills stock different color variants that might match a grocery bag, and I found one by Fox River. I requested this stock when I distributed specifications to the printing companies that were bidding on the job, and I learned to my dismay that the paper in question had been discontinued.

Here are two things you can learn from my mistake:

  1. Ask your paper merchant or business printing customer service representative for a selection of paper swatch books from various mills. A good selection will include text and writing papers as well as uncoated and coated cover and text stocks. There should even be some swatch books that include colored papers such as the kraft stock my client wanted. To give you an extensive sampling, your paper merchant or custom printing vendor should provide about 40 or more paper swatch books.
  2. Make sure the paper books are absolutely current, and replace your collection every few years, at most. This is where I made my mistake. My books were not that old, but specialty papers like the kraft stock come and go. Mills make them for a while and then stop, and then other mills make them.

I fixed the problem in the following way. I found some printed promotional paper books in my sample collection that were more recent. The paper swatch books I mentioned above are all unprinted. They are very useful for gauging paper thickness, surface texture, whiteness, brightness, etc. But they don’t show you what ink looks like on the paper. The printed promotional paper books that paper mills use to showcase their capabilities do exactly this. It’s important to request both.

I chose two paper stocks resembling a grocery bag from these printed sample books and included their specifications in the spec sheet I sent the printing companies bidding on the job. Then I requested updated bids for my client. Problem solved.

Don’t make my mistake. Check the back of your paper swatch books and your printed paper sample books. In one of the corners on the back cover, in small type, you will see a date. Make sure it is current. A paper supply representative at any paper merchant can help you, as can any of the printing companies you work with. Whether you’re buying catalog printing, brochure printing, or book printing services, these sample books can help you better communicate your expectations to your custom printing vendors.

Digital Printing Companies Eye New Digital Inkjet Web Presses with Interest

Monday, June 13th, 2011

The field of digital custom printing is changing once again in an intriguing way. Offset printing has been declining in some areas, such as newspaper and newsletter printing, as well as some catalog printing. Nevertheless, I still see in my mailbox every day at least as many marketing postcards, printed and converted custom envelopes, and any number of other new and exotic promotional materials as ever before.

Digital printing (xerography and inkjet printing, rather than Internet publishing and ebooks) has been growing over the past several years, but many of the digital printing jobs I have sold as a broker are smaller runs than the norm for an offset printed piece. Maybe one client needs 350 high-end, 4-color invitations produced on an Indigo press. Maybe another wants a single13-foot by 17-foot vinyl banner to suspend from an exterior wall of a building. Granted, the market for variable data digital printing (printing different materials for each recipient) has been expanding, along with the market for digital on demand book printing services.

Within this context, a new kind of digital press is being developed that combines the potential length of an offset print run with the data variability of a digital printing press. Marketers and business printing vendors are paying close attention.

HP (Hewlett Packard) has invented a 42-inch high-speed digital press, the T400, that can print 600 feet per minute of completely variable data. That’s approximately 5,200 pages of full color streaming through the press. And on a 42-inch wide roll of paper (almost twice the width of many web press rolls), you can gang up two jobs and print them simultaneously.

You can print sharp text and images, and uniform fills and screens on paper stocks ranging from 27# text to 130# cover. You can print on almost any uncoated or groundwood stock as well as many coated stocks. Associated vendors are even developing workflow, imposition, and finishing solutions, as well as process inks and dryer systems for this digital web press.

Who Will Benefit?

The digital inkjet web press will be a boon to those who produce direct mail and transpromotional materials. (“Transpromotional” refers to the personalized marketing materials you get that are either included with or actually on the same page as your billing statements.)

The digital web press will also benefit online printing companies that preprint such items as custom envelopes and letterhead, and then later imprint these items with variable text. Instead of preprinting and storing any kind of branded material for letters and transactional statements (and paying the costs for storage, inventory, security, and potential obsolescence), these print companies can just print everything for a letter, bank statement, or billing statement right on blank paper as needed.

If your job includes magnetic ink (printed balance transfer or rebate check mailers, for instance), your printing service can produce the whole thing at once, rather than printing the MICR ink, storing the check blanks in a secure facility, and then adding the 4-color images and other variable data at a later date.

This new technology will also benefit those creating cross-media campaigns that include print, web, and email components.

From the Point of View of the Client

From the point of view of the end-user, personalization is the key. You get a huge amount of mail. You want any reason to throw it away. But you may actually read something that reflects your personal interests. When a supplier of any kind shows that he/she has paid attention to who you are and what you need and value (based on whatever demographic information, past buying history, or whatever else they have), you will be more likely to read that supplier’s marketing materials and potentially buy their product.

Variable Data at Full Press Speed

Mass customization used to be an oxymoron. Printing services could provide one or the other but not both. Now an online printing service can merge the high-volume and document quality of offset printing with the personalization features of digital printing: faster turn-around, high quality, small to large press runs, and customization. Printing companies are excited.

Digital Printing Companies Make Your Job a Tactile Experience with Paper Coatings

Saturday, June 11th, 2011

Custom printing is a tactile experience. When you hold a printed piece in your hands, it matters whether the paper is smooth or rough, coated or uncoated. This may not be a conscious response when you page through a print catalog, print newsletter, or brochure printing sample, but the paper texture still affects you. One of the most notable qualities of print publications–the feel or texture of the paper–is completely lacking on the Internet.

So how can you use this knowledge and work with your online printing companies to enhance your editorial and design message?

First of all, printing paper falls into two general categories: coated and uncoated stock. Each of these categories can then be further broken down, to help you choose a paper stock.

These Are Your Options for Coated Stock.

Paper coating is composed of clay, binders, and other substances added to the surface of the paper as part of the papermaking process. This is is not the same as the varnish, UV coating, or aqueous coating applied to a printed press sheet. Rather, the gloss or dull paper coating lies on the surface of the sheet, below the printed ink. Its purpose is to fill in the peaks and valleys of the paper surface and seal the paper. This allows the printing ink to sit up on top of the coating rather than seep into the paper fibers. Known as “hold out,” the ability of a press sheet to hold ink up on its surface yields much crisper type and image reproduction.

Coated stock can be purchased with a “gloss” surface, a “matte” or “dull” surface, or a surface midway between the two, which is often called “silk” or “satin.” Not every paper will come in every finish.

You might choose a coated sheet for a business printing project showcasing photography. A gloss paper makes the images “pop” or appear to jump off the sheet. Unfortunately, a gloss sheet also tires the eyes since it reflects more light, more directly, back to the viewer’s eyes. So for a text-heavy project, you might choose a dull or matte stock.

These Are Your Options for Uncoated Stock.

Uncoated sheets have no surface coating. Hence, they give the printed piece a softer “feel.” Uncoated sheets can be purchased without surface texture or with elaborate textures or patterns such as “felt,” “linen,” and “laid.” Simpler textures include “smooth,” “wove,” “vellum,” and “antique,” (in increasing levels of roughness). The best way to appreciate these variants is to request sample paper boxes from your printing companies. These should include swatch books of all the aforementioned papers.

To compensate for the ink absorption of the uncoated paper surface, online printing companies “open” halftone separations for these paper stocks. By reducing the size of the halftone dots, print companies can reduce the inkflow (compared to coated sheets). Since uncoated printing papers absorb ink into the paper fibers, reducing the amount of ink minimizes the plugging up of halftone screens and keeps the images from getting muddy.

You might specify an uncoated press sheet for an annual report focusing on an environmental company (a paper company, for example). The softer, textured feel could subconsciously convey to the reader such values as sensitivity to the environment.

Think about this the next time you pick up a print catalog, print newsletter, or brochure printing sample. Work with your online printing companies to identify the paper stocks best suited to the design and editorial goals you wish to achieve with your business printing items.

Custom Book Printing Case Study: Deciding Which Printing Errors to Fix

Monday, June 6th, 2011

Custom book printing is a process, not a commodity. It involves many people, many skills, and many steps. To some extent, things go wrong in every press run. The challenge is to determine what constitutes an actual printing error and to work with the business printing service to correct it.

Identifying the Printing Problems

Upon reviewing F&G’s for a case-bound book project, a client contacted me and said she had found some printing errors. Based on my client’s descriptions, it appeared that all errors were smudges, ink streaks, scratches, or faint white text images within the black solids. The printing problems affected six pages within four press signatures.

To begin with, here’s a useful definition: F&G’s are the printed, folded, and gathered (but untrimmed and unbound) signatures of a perfect-bound or case-bound book. A book printing error caught at this point is expensive to fix, but it is easier and cheaper to reprint one signature or a few signatures and then bind the entire press run than it is to find the error after the books have been bound. At that point, a complete reprint by the book printing company might be necessary (or at least tearing off the covers, reprinting one or more signatures, and then rebinding and retrimming the books).

What Is Reasonable, and What Is Not?

The first step is to define the problem and determine if it is unacceptable or merely an annoyance. For my client, the scratches and smudges, as well as the light white type in the black solid areas, were unacceptable errors. They didn’t impede readability, but they made the workmanship of the custom book printer look shoddy. The misting (faint trails of ink on a block of text on one page, like fringes on the letterforms) was noticeable and irritating but not as bad.

The next step is to determine the number of pages affected by the problem or problems. For my client, the problems were confined to six pages within a 600-page book.

The final step, with the custom book printer’s help, is to determine the extent of the problem (how many copies of your book have been affected).

In my client’s case, the problems fell into three categories: press blanket issues, misting, and plate scratches. The light type caused by press blanket problems may have affected only some of the books (probably more rather than fewer, since the printer would have needed to see the error in the sample review sheets pulled from the press and then change the press blanket). Nevertheless, these pages were very unattractive, regardless of the number of copies affected, and therefore the book printer was willing to reprint the press signature.

The misting problems were less noticeable and probably did not extend throughout the entire press run. They reflected difficulties with the ink consistency and composition. The book printer probably saw the errors and made adjustments rather quickly.

Finally, the scratched plates probably affected every copy of the book, since plates are usually not changed during the press run. Because the error was so visible, and because it probably occurred in every book, a reprint of the signature was in order. Fortunately the book printer agreed.

It is common industry practice for the custom book printer to pull press sheets periodically throughout the run to check for all manner of errors, make appropriate changes to correct them, and remove problematic press sheets from the stack. Sometimes the printer doesn’t catch every error. That is why you need to look carefully at the F&G’s and work with the book printing vendor to determine the extent of any problems you catch. Fortunately, as mentioned earlier, it is easier and cheaper to do this now than wait until the book has been bound.

Why Is Reaching a Compromise with Printing Companies Often a Wise Move?

This was a true compromise between the custom book printer and my client. The printing vendor reprinted the most egregious errors, and my client forgave one of the less noticeable problems. This compromise has allowed both the book printer and the client to feel comfortable about working together again on future projects.

Custom Printing Success Often Hinges on Wise Paper Choices

Wednesday, June 1st, 2011

If almost all printing companies put ink on paper, knowing how to determine and articulate your paper needs will help you get the results you expect from your printing services. This is true whether you’re working with brochure printers, book printers, sticker printers, or postcard printers. Understanding paper qualities will help you in all these cases.

How Do You Choose a Paper Stock for Your Print Job?

It’s all so confusing: #1 sheets, #4 sheets. Whiteness, brightness. What do paper grades mean?

First of all, “paper grade” refers primarily to a paper’s brightness. Brightness is not the same as whiteness. Brightness measures the amount of light a particular paper reflects, whereas whiteness refers to the color of the light it reflects. That is, a particularly bright sheet, known as a #1 sheet, reflects more light than a #2, or #3 sheet.

Currently, paper companies also include high opacity, good formation, and runnability on press as criteria for determining a paper grade. In addition, the newer #2 sheets are often as bright as some #1 sheets. For exceptionally bright paper, you should worry less about the grade (#1 or #2) and more about the paper brightness measurement. Look for a paper stock with a brightness between 94 and 98. The highest level on this scale is 100.

Slightly different from “brightness” is “whiteness.” A paper stock may be “yellow-white” or “blue-white.” That is, a particular printing stock may have either a yellowish (or warm) cast, or it may have a bluish (or cool) cast. The purest white sheet reflects all colors equally. A blue-white sheet looks brighter than a yellow-white sheet and provides more contrast to the text and images printed on it.

In contrast, a warmer, yellow-white sheet might be a better choice for flesh tones. It would also be easier on the eyes than a blue-white sheet, so you might choose a yellow-white sheet for a job with a lot of text and relatively few images.

As you choose paper for your custom printing job, also remember that most offset inks are somewhat (or totally) transparent, depending on the ink. The paper substrate therefore alters the perceived colors of the inks (like a filter placed over a theater spotlight). This is why flesh tones might look more natural on a warm, yellow-white sheet than on a blue-white paper.

How Would You Choose One Sheet Over Another?

The short answer is to get a printed sample, or ideally a number of printed samples on various grades of paper and in various shades of whiteness. Nothing will show paper differences more dramatically than the same image printed on a blue-white and a yellow-white sheet, or a #1, #2, or #3 grade paper stock.

If you’re looking for some guidelines as a starting point, consider an annual report. The paper may need to be crisp and bright to reflect financial success. Therefore, you might choose a blue-white sheet (for perceived brightness), a #1 sheet (for actual light reflecting power or true brightness), and a coated sheet to make the photography “pop” (by increasing contrast).

To project a more environmentally conscious image, a wildlife foundation might choose an uncoated #2 or #3 sheet with a more subdued yellow-white cast. This would tone down the image of the annual report and make it seem less aggressive.

Catalogs and directories are often printed on #3, #4, or #5 sheets. In this case, particularly given the huge amount of paper involved (and the fact that higher grade sheets cost more than lower grade sheets), you could save a large amount of money by choosing a lower grade (less bright) paper stock.

As you get further down the list of paper grade measurements (#3, #4, and #5 sheets), paper stocks also start to include impurities, such as “lignin.” In contrast to “freesheets” (or lignin-free sheets), lower-grade paper stocks do not last as long (their often acidic nature allows the paper to yellow and become brittle).

Lower-grade papers include “commodity” and “groundwood” stocks (made by physically grinding up wood rather than chemically decomposing it to create the wet mixture from which paper is made). These paper stocks, ideal for magazines and catalogs, are often very thin. Some are “supercalendared” (passed through a series of metal rollers during the paper-making process) to give them a flat, hard surface.

Learning to identify and specify the best paper for your particular business printing job will help ensure that you receive the results you expect from your printing services. Take the time to understand the various qualities of paper and how the paper stocks differ. Learn to distinguish the papers best suited to business printing jobs with brochure printers, book printers, sticker printers, or postcard printers. Understanding paper qualities will help you in all these cases.

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