Day 4, Bill Ruesch recession recovery diary

Dear Reader,

The name for a watch without hands--broken.

I remember when the Rocky and Bullwinkle cartoons were first aired. I remember when pagers were the hottest thing. Why, someone could reach you even if not standing near the telephone. Yup, telephone answering machines, faxes, cell phones, digital watches,and personal computers have all be introduced during my lifetime. I tell you this to remind us all that this world is very different from the past–even the recent past.

The very first American web page went up in December, 1991. 1991, that’s only twenty years ago! Twenty years–I have sweat shirts older than that. Before that, everything was routed on a very limited basis through Switzerland.

How long has it been since you’ve seen a door-to-door encyclopedia salesman? What about a vacuum cleaner salesman? The world changed and selling has changed. Old fashioned selling methods don’t work as well as they used to–if at all. The trick is to keep the things that do work and toss those that don’t.

What still works? Human contact works. Through all the levels of wires, glass, and ceramics, the effective salesperson has to find a way to connect eye-to-eye with the customer. For repeat business there is nothing that can replace the personal touch. Without it, the customer is buffeted by every other company willing to buy their business with discounts and premiums.

In an Internet world how can you create a sincere personal touch? I’m going to have to mull this over. Do you Dear Reader have any thoughts on this?

Seeking Glimpses of the Future

I have my crystal ball out. It is sitting right in front of me on my desk. I’ve been searching its depths for some clue about the future of printing, publishing, and related industries. You know what I get? Nothing.

The only thing I know for sure is that things will change. This little prophesy doesn’t mean much, except to say that time is a river and we can either find a way to float with the current, or test our strength against it. (Pretty poetic wouldn’t you say?)

I’ve spent a lifetime, so far, learning all about offset printing. I now know quite a lot, but what is that worth? What is it worth really? When I think back, I can remember people who were expert typesetters and others who were great with scanning drums for four color separations. Their hard won knowledge became irrelevant almost instantly with the changes in technology.

I used to laughingly pontificate that someday Bill Ruesch Print Broker, would consist only of an equipment filled Winnebago. Customers would provide me with art files. I would drive over to the paper merchant’s warehouse, load-in the stock, and by the time I arrived at the customer’s dock the job would be completely printed, folded, and bound.

Book in a Box

That used to be my weird vision of the future. It made me and my customers chuckle at the absurdity. It isn’t so funny anymore now that the Espresso Book Machine exists. In one machine a whole book is created; from file to finished product in less than seven minutes.  Seven minutes–printed, bound, and ready to read. That is if you have hot pads. I understand that the books come out pretty warm and need to cool down a bit.

My vision of the future has come true. What do I see in the future now? I haven’t a clue. I think my predictor must be on the blink. I’d be willing to go out on a limb by stating, “It doesn’t matter what crazy, ridiculous, impossible notion we conceive, someone is probably already a step or two ahead of us, and are right this moment building something to make it happen.”

I’m prepared to be amazed. How about you?

Where's YOUR money going? To China, my friend. To China.

If you thought my recent China post was more of a rant than an article, you are right. Offshore printing is an issue that gets me boiling.  I hope that I wasn’t misunderstood. I am not anti-China, nor am I anti-Chinese. What I am is anti-slave-like labor, anti-poor-working-conditions, and anti-business-profiteers using low prices to destroy the competition. In 1890 The Sherman Antitrust Act recognized the illegality of using low prices as a means to force out competition. If Sherman could be used against companies like AT&T, Microsoft, American Steel, etc. why can’t it be used against Chinese printers to prevent their unfair competition?

Someone wrote that I am just upset because China is doing to us what America did to Europe. It is not the same. America became a strong manufacturing and trading country because of innovation. We invented the assembly line, the steamboat, and the cotton gin. These innovations made products cheaper because they could be manufactured faster and get to market quicker. Other than in Taiwan, what has China invented in the last century to change the world? And I’m not too sure of Taiwan.  Oh sure, they may have come up with a product improvement here or there, but I’m racking my brains to think of anything new. So, they compete solely on being cheaper, and they accomplish that by underpaying workers, disregarding environmental impacts of their products, and keeping workers working in sweatshop conditions. Maybe that is China’s contribution, the sweatshop. Way to go China, you get to take credit for the sweatshop. Now there’s something to be proud about.

I have a business associate who is familiar with the situation of workers in Chinese print shops. He tells me that they stay in dorms during the working week because they put in 14 to 16 hours a day on the job. They also stay in dorms because it takes a half-day to travel to their homes. So a typical work week is 84 to 96 hours with one day off, and that day is spent largely in travel.

Those living high-on-the-hog business people in China, and anywhere really, who get away with being able to offer ridiculously low prices by taking advantage of poverty conditions in their countries should be brought to task. By engaging in this behavior they hurt their workers, and lead the world economy in a downward spiral. If the only way to compete is to duplicate their working conditions and wages, we can look forward to a very bleak existence. If you want to know what the future holds for America in 50 years, just look at where China is now. Do you like what you see?

It is true that American business people were once allowed to be as ruthless as the Chinese are now. It took many bloody union wars to force better working conditions and wages. There was a time when they were desperately needed and were run by dedicated men who truly were on the side of the workers. Will the unions be able to prevent the coming collapse of the middle class? It’s doubtful. Unions steadily lost ground through corruption and vilification by the ruling class. The upper 2% has almost total control over Washington, the Unions, and apparently the Supreme Court based on their recent rulings giving corporations and foreign entities unlimited rights to promote their political agendas. Look out China, your unfair competitive edge will dissipate when American’s standard of living drops to your level. Trading will then be equal, but sad, very sad indeed.

Printers who let their hostility get the best of them are fools,

because printers who are likely to survive this recession and move successfully forward must find ways to reinvent their relationships with Print Brokers. Brokers hold the key to doubling or tripling your business without creating additional expense. The problem is that most printers don’t know what to do with print brokers. They aren’t part of the sales team and they aren’t customers either. What are they? Any attempt to pigeon hole them into either role will end in failure and frustration.

The first thing to do is embrace brokers and stop kicking them in the teeth.  I know this may not make sense to you. Some of you are going to accuse me of overreacting, after all your company doesn’t mistreat brokers — right? Some will say I’m whining, and some won’t consider the issue of print brokers at all. There are a lot of misguided printers who staunchly refuse to work with brokers. That might have been okay in the past, but it won’t serve you well in the future. You can’t afford to turn your back on sources of instant new business.

Haven’t you noticed how tough times are? Printing, particularly offset printing, has been besieged on all sides. I’m sure I don’t have to tell you how the pigheaded, self-serving banking industry has hurt all of us. Have you tried to get a loan lately? Nor do I have to explain about the impact of digital printing, foreign competition, and the Internet. You already know about these things. You are experiencing unprecedented cash flow problems and shrinking markets. Even your best customers have cut back with no real promise that they will ever be at former levels again.

I hear moaning from the Industry that good sales representatives are hard to find and that your sales people keep pressing for ever lower prices to make them competitive. You get upset and believe that they aren’t really trying. A really good sales rep can sell even under the most adverse circumstances — right? If you truly believe that why don’t you put on your salesman’s hat and find out for yourself? Maybe you did. Maybe you took a day, or a week, and went into the field. Maybe you proved to yourself that it isn’t so bad, but let me tell you, selling in this economy is like fighting an uphill battle day-after-day-after-day. It can wear down even the heartiest rep. Your sales team, is running on fumes, and another sales meeting, another motivational talk, and another seminar isn’t going to dramatically change anything.

What can you do? I would like you to take a moment, if you will, and consider re-vitalizing your sales efforts with the help of Print Brokers. Why Print Brokers, because they are FREE! Printers don’t have to house them, pay salaries, benefits, or reimbursements. That should be incentive enough. FREE, FREE, FREE — what’s better than that?

The problem is that most printers I’ve talked to either barely tolerate brokers, or despise them. Why? I think there are five main reasons for this:

1. Print Brokers own their own customer list. The printer doesn’t. Suppose a house sales rep brings in an account, since they were working on the company dime the customer technically belongs to the company. This isn’t true with brokers. In fact if you go after the broker’s customer it can lead to a nasty fight.
2. Print Brokers are legally a middle man. Printers fume if the broker can’t pay them because the customer didn’t pay the bill. On the other hand, how can you hold the broker responsible when they don’t receive the product? You don’t punish your in-house sales team like this. You must find a compromise. How difficult can it be to secure your interests in transactions without leaning on the party who is least likely to have the means to pay you? Think about it.
3. Print Brokers can take the print jobs to someone else if they want. Usually they move things around to save money, time, or be more convenient, but they don’t even have to have a reason, they can just do it.
4. Print Brokers are employed by their customers — not the printer. In the event of a disagreement the printer has little leverage over the broker. The broker knows which side his bread is buttered on  and is most likely to defend the customer’s point of view over the printer’s.
5. Print Brokers are not constrained by territories. Printers often feel threatened by brokers because they see their own customers as potentially vulnerable to the broker. Sales reps especially are very protective and guard, as they should, from any possible threat.

In my next post I will give printers some ideas that will allow them to work around the conflicts and make better broker relationships which will benefit both printer and print broker.

I envy the printers for one thing in particular, they are updated regularly by paper merchant reps who call on them with the latest developments, updates, and changes. I get my information either second hand or by attending seminars and showings hosted by the merchants. In the last two weeks I attended a seminar on preparing art files for printing, direct mail, and the danger of the opt-out initiative, and digital printing advancements. I never know what a customer is going to ask of me and I have to be prepared.

Yesterday, Sappi paper sent Daniel Dejan, their North American ETC Print/Creative Manager to town to speak about graphic design and file prep. I thanked Daniel for his presentation, but didn’t thank him enough. You see the printers depend on the artists and graphic designers to keep the presses rolling. The graphic designers need the printers to produce their products. But to hear them talk about each other, you’d think there is a war going on. The printers say that graphic designers don’t even try to prepare their files correctly, that they think because something looks right on the screen it will print right. Designers on the other hand, think that the printers are screwing up their files, and if they just knew what they were doing the jobs would all run smoothly.

Stop the bickering. Mr. Dejan framed the problem as having its roots primarily in the graphic programs and in the designers failure to take the finishing steps necessary to make sure their files are correct.

I can tell you from my personal experience that computer design has completely overhauled the printing industry. When the first design programs were introduced, they created more problems than they solved. Over the years we have seen definite improvements. The programs are much better but still far from perfect. Could they get even better? Yes. Are they striving to implement technology that would fix the disconnect between printer and graphic artist? Not really. Daniel says that he has recommended changes that are possible, but are shrugged off as being too expensive, or time consuming, and aren’t worth doing. Millions of dollars every year are wasted in printer and designer time because the needed tweaks aren’t happening. Printers and designers need to get together and insist that the software is improved. Maybe working on changes that would throw up red flags when art is incomplete or wrong isn’t sexy, but it would go along way to reducing wasted hours and angry phone calls.

“The single most important thing a designer can do to communicate the job to the printer,” according to Daniel, “is to provide a hard-copy dummy. Herein lies the rub, most files are now emailed to the printer or go by way of ftp. It used to be that the print rep picked up the art and delivered it to the printer. Hard-copy dummies were more common then. We have gotten away from them today, but they are still critical to successful communication. I hate to say it, but it seems to me that we need to take a step backward and have the print reps pick up the disk and hard-copy dummy to take back to the shop. We’ve lost an important communication opportunity along the way.

The second most important task for the designer is to pre-flight their own files. A good pre-flight program provides information about problem spots like low-res photos, but also tosses all the false starts and junk that accumulate as the design is developing. It’s like delivering a finished statue without cleaning it up or sweeping the debris around it. It’s not just ugly; it confuses the rip and leads to wrong fonts being selected, and other problems.

Every printer in the world would love for Daniel Dejan of Sappi to personally instruct the graphic designers, but that isn’t possible. What is possible is that the word gets out about dummies, and pre-flights and most of the problems would be resolved early.

As for Adobe and the others, come on, give us a break. Listen to Daniel, take his advice, and endow your programs with the tweaks needed to help stop the war.

Sappi’s website is www.sappi.com. If you would like to discuss other design-print problems with Daniel, his company email is daniel.dejan@sappi.com.

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Printing is never boring

A typical offset printing plant is like a 3 ring circus. I say that not because Barnum and Bailey was just in town, but because there are three basic workstations a job goes through before it becomes a finished product, and if you’ve ever visited a print shop you’ve seen people hurrying here and there, heard lots of odd sounds, and smelled unusual smells. Printing is not really a circus, but anyone in the graphic arts can see the similarities.

Ring No.1: Prepress

No job enters onto the press room floor without going through prepress first. Your electronic files may be perfect and prepared exactly in the manner that the printer has requested, but will still need prepress. For example, does your job have multiple pages like a booklet, or a book? Then the prepress department will have to paginate your pages. Is that confusing? After all your file was in order, probably in reader spreads, why then should it need to be paginated?

If I was sitting across your desk from you I would demonstrate what I mean by taking an 8 1/2″X11″ standard size sheet of paper and folding it in half to 8 1/2″X5 1/2″ inches. Then I would fold it in half again so it becomes 4 1/4″X5 1/2″ inches. This folded sheet of paper would represent an 8 page press signature. You can verify this by writing consecutive numbers 1 though 8 on the bottom right corners including the back. Don’t unfold it to do this, just lift each corner. It is easiest if you have the last fold on the right and the other folds at the top, this leaves the bottoms open for numbering. Now open your mock press sheet. On one side you should find the numbers 1, 4, 5, and 8. On the other side will be the numbers 2, 3, 6, and 7. You will probably also see that the numbers you wrote on the bottom right hand corners are no longer in the same place. The direction the number is in is the direction of the page. For example, page 1 and page 4 face one another, and so do 5 and 8. This seemingly unorganized alignment of pages and numbers is precisely what is needed to print the job so that it will bind as a booklet.

At this point you may think that it would be helpful to pre-paginate the files yourself. Don’t even go there. There are other complexities that come into play like the size of the press sheet, the size of your page, and the size of the press it is printing on. Trust me it is best to leave pagination to the printer.

Center Ring: The Press Room

Ah, the press room. The printing press is what it is all about. This is the place where ink hits paper.

Other than the name and the fact that they have machinery, no two press rooms are alike. Printing presses come in all sizes from small enough to almost fit in the trunk of your car to towering three story tall monstrosities, and everything in between. It is not true that if you’ve seen one press, you’ve seen them all. But, and here’s the good news–it doesn’t matter much. A cursory knowledge is all you need to be a reasonably competent buyer of printing. You don’t have to specify that the project be run on a 40″ eight unit press with a perfector and in-line aqueous coater. What you have to know is basically the dimensions of the job, the numbers of inks, the paper, what coatings if any, and bindery processes, i.e. does it fold, staple, or bind some other fashion? Then you need to shop around until you discover the printers who are best at that niche. Or even easier, contact a print broker like myself to get you to the right place.

You need to understand that I have no objection to a sales rep from a printing company serving as your source of information as long as you keep in mind that they are obligated to their employer to direct the work there. A broker on the other hand is independent and free to place your job where it fits the best. That’s why I became a broker. I hated working square pegs into round holes just because my paycheck depended on it.

Ring No.3: The Bindery

Again, binderies are as varied as much as there are printers. Commonly they will all have cutters and delivery stations. Other than that they could have folders, saddle-stitchers, perfect binders, collators, etc.

The bindery is where the paginated printed sheet turns into a booklet. The first stop is the cutter. A press sheet will often have color bars, targets, and tic marks for bleeds. You don’t want any of these things to appear on your product, so they are trimmed in the cutter.

The trimmed press sheet goes to the folder where it folds exactly the way you did in Ring No.1 except not usually by hand. The folded product looks very similar to the one you made, but one side will be a little longer.

The next step if you want a stapled booklet is to take it to the saddle-stitcher. The press signatures are stacked precisely to allow the machine to grab the longer edge. The sheet opens as it is pulled and drops onto the chain (it isn’t really a chain, but that is what it is called). If there are additional pages in your booklet there will be multiple stations filled with signatures. Each one stacking on top of the other. Once gathered they go through the stitcher. The stitcher doesn’t look like any stapler you’ve ever seen because first of all there aren’t any staples. You’ll see spools of wire like fishing line that feed into the equipment. You’ll hear a chunk sound as the wire becomes what you know as staples. The final stage is the trimmer, usually called the three knife trimmer. Until this stage your booklet still has the folds at the top, and the bindery overhang or lip on the face. Those things have got to go, so into the trimmer they roll, the blades come down and cut off the top, face, and bottom just to make it even.

Finale

The finished product is boxed, shrink wrapped, or skid packed and sent out for delivery. Is printing a career for just anyone? No. No more than just anyone joins the circus. Printing is a demanding, insane, deadline driven business. The three rings: prepress, press room, and bindery are the stages where the action takes place, but the real action, just like in a circus, happens with the people. It requires the attention of a juggler, the precision of a tight rope walker, and the humor of a clown to make it through the working day. Tomorrow it all starts over, but the show must go on!

Talk about trying to catch the train after it has left the station, the big publishing houses are just now looking into Internet and network marketing.  The Internet hit the publishing industry like a runaway freight and it wasn’t truly respected until upstarts like Amazon, and Google were seen riding off into the sunset lifting their glasses of champagne high into the air.

Even now Amazon is leading the book selling revolution with electronic books. What are the traditional guys doing? Mostly moaning about how book sales are down (is that true Amazon?), and gnashing their teeth about how foot traffic into bookstores has decreased.

This is why I say if you go the traditional route your chances of success are very slim.  I’ve read that a new title will get a whole 30 days of shelf exposure before being flung into the discount bin. Or even worse, having their covers ripped off for return credit and the book destroyed. You have to make a big splash early and fast to survive.

Chew on this thought–what if you published your own book and you could take the time it needs to build its audience? What if you controlled the presentation, marketing, and distribution? AND, instead of getting a 10% royalty earned fifteen times as much? This is the essence of self-publishing.

I’m not saying that everyone is ready, willing and able to do what it takes to be a self-publisher, but what most don’t know is that it is easier than you might imagine. You can build yourself up and become an industry thought leader in six months without even leaving home. Blogging makes it possible. The Internet makes almost anything possible. I know–I’m doing it. I started a blog last January (it’s July now) and I’ve had nearly 11,000 hits so far, and my monthly totals are going up, up, and up.

Why am I doing this? Exposure. Name recognition. I haven’t even published my books yet, but before I do I’m laying the groundwork. I’m networking and making world-wide connections daily. That’s so cool I can hardly stand it. If you scroll down the right side of my blog you will come to a yellow map of the world. Click on it and see how far and wide my words have gone.  I even have a language translator so that they can read what I’ve written in their own tongue. Technology–don’t ya’ love it?

Social Networking (web2.0) is flipping the whole book marketing system upside down. It used to be that you would sell books and then people would come to know you. Now people can get to know you and then you sell books. Which method would you rather use?

I’ve been following T.A.P. (The Author Platform) to learn the ropes of blogging and social networking.  Without this guidance I would be lost. TAP very clearly shows the path to follow and gives very valuable tidbits of information along the way. I can heartily endorse it because I use it. Oh, and by-the-way there’s a No Risk 15 day FREE trial too. What could be sweeter? Just click here for more information.

What do I get out of it? I get a little slice of the action, it’s true, but more than that I get the satisfaction of knowing that I’ve helped my fellow self-publishers, which is the same reason I have for creating The Red Hen Association of Self-Publishing Authors (click here for more information). I believe that we all benefit if we strive to raise the bar. We can do that by producing better self-published books, and selling them smarter than the big guys.

A good friend bought my lunch (isn’t that the definition of a good friend one who buys your lunch?) and over pasta he mentioned the book TRIBES  by Seth Godin. It’s a small book with a big message. It addresses the changing social and business constructs and envisions a future already here and now, where power and influence are shifting from traditional hierarchies to groups united by common beliefs. The development of the Internet has facilitated this shift in a big way. Leadership is more defined by passion and faith than by wallet. For example in the last US presidential election Barak Obama raised almost 25% more in campaign contributions than Hillary Clinton, and John McCain combined and it flooded in from the Internet. Who would have thought that a relatively new face in Washington could pull together more financing than those two warhorses, an ex-president’s wife and a revered war hero? Why? Because of passion. Because of belief. The people wanted change and were willing to follow a leader who appeared able to create the change.

I’ve written a lot in my blogs about changes. The changes I’ve addressed mostly concern the printing industry, but change is happening on every front, in every field of endeavor. I’ve been sitting on the sidelines of the publishing business, observing, and occasionally commenting (link). Now, it appears, that I’ve been given the opportunity to lead a tribe of self-publishing authors. That was what the lunch was all about. Self-publishing, in my opinion, is on the verge of eclipsing traditional publishing. And with my background in writing, marketing, and printing I am the logical choice to contribute to this movement. I didn’t choose it, but by my preparation, it chose me. That’s another point that Seth makes is that Tribe leaders generally don’t go looking for leadership, instead they see a need and are compelled to fill it. It’s the leader’s faith and passion that attracts their followers.

Mr. Godin discusses the old factory model. Factory workers were hired by owners, who paid them to do a job. The jobs were generally routine and required bosses to make sure everyone stayed in line and did things exactly the way the boss wanted them done. Much like slaves on a galley ship. In this new world run by tribes, we join, or create tribes, because we are drawn to the ideal. We want to make a difference. We think that the purpose of the tribe is valuable, important, and worth giving of our time and effort. The tribe causes the change to happen. If this occurred on the factory floor it would be chaiotic. The smooth production of products would be interrupted. Participating workers would be disaplined and might be in danger of forfeiting their jobs.

I have another  friend who is fond of quoting Ghandhi, “Be the change you want to see [in the world].” The most monumental changes always begin with one person, one person with a vision.

Again the concept isn’t really new. The founding fathers of the United States of America were drawn together because of a mutual belief in freedom and self rule. The leaders stepped forward and the people followed. What’s new is the Internet. Tribes can be formed at lightening speed. Twitter, for example, provides a platform for a succinct idea of 140 words or less, to potentially reach millions of readers within seconds. Can you imagine what Paul Revere would have thought? Riding through the countryside, by horseback, required a commitment of hours and days. Too bad he didn’t have a laptop computer or even a cell phone.

What? You say that you don’t like this new world? You think that 140 character messages lack depth? Too bad for you. The Tribes rule and will only get stronger. Get on board or be left behind.

It’s not “the economy, stupid” it’s the market. Maybe the phrase should be it’s the market, stupid. Printing companies have been dropping like autumn leaves with no immediate end in sight. According to the NAPL, the future is looking “dim” (my word, not theirs). They expect that a minimum of 4,000 printers to as many as 10,000 will shut down over the next 10 years. Over the last 4 years we saw a decline of 4,800 plants with approximately 150,000 employees. Since 1994 we experienced a loss of over 11,000 plants.

What does all of this mean? It means that the current state of the economy, while rough, isn’t the real reason for the decline in the industry. That’s why I say it’s the market, stupid! Thanks to the Internet,the methods we have used in the past to communicate with one another are withering away. For example:

Newspapers: Major metropolitan newspapers have hit very hard times. Some have already closed shop and many more are about to. It doesn’t take a very clear crystal ball to see that those that continue to exist will be very different from the newspapers of yesteryear. Why? Craig’s List, and other free online classified services eroded the base revenues for the papers. Who would pay for something they can get free, and that has larger reach? Also, every newspaper now publishes their content online. You can do more on a web page than a print page–it’s more flexible. For example you can beef up your story with graphics and movies  on a web page. It’s also timely. Hot news can be displayed on the website within minutes, instead of waiting hours for the next edition to hit the streets. We have no patience.

Magazines: Reuters reports that, “Newsstand and retail sales of U.S. magazines fell 11 percent in the second half of 2008, with celebrity and women’s titles taking a hit as supermarket and drugstore shoppers cut back on spending.” Furthermore, “Fifty percent of all magazines are sold in supermarkets, and obviously those types of places took a major hit.” If the decline in single copy magazine sales is because of the economy, will we see a rebound when the recession ends? And more importantly, when will it end? Again looking through my rather murky crystal ball, I predict many titles disappearing, and those standing will see sharp decreases in readership. Printers relying on magazine printing will be hard hit.

Books: Booksellers report decreases, with the exception of Amazon Media who appears to be up. Amazon is invested deeply in electronics. The Kindle reader entirely eliminates the need for printing. Amazon has also benefited from third party sales (see my For Your Consideration Page on this blog). It is estimated that 1 in 3 books sold at Amazon is actually sold by a third party. Smarter marketing is bringing them more business. Borders reported a loss and announced they are trying to sell their international operations and may sell the whole chain.

Direct Mail Marketing: I was once told by Peter Harrison, a direct marketing expert who is now running Affiliate Crew an internet company, that “Everything that goes in the mail must be printed.” What happens when mail volume goes down? Think about it, banks and other financial organizations have gone paperless. You don’t mail in your bills anymore, you authorize payment on-line. Envelope printers have suffered because of this. Forms printers have also felt the effects. What about other direct mail campaigns? The US Postal Service keeps increasing rates as more and more direct mail companies discover other marketing avenues. The ones left in the game will  bear ever heavier a postage burdens. Once the cost of postage reaches the proverbial camel’s back, the direct mail business will be through. Kaput. What will the post office have to do then, personal letters? Even with my cloudy crystal ball it’s as easy as seeing the housing boom collapse. Really, who didn’t see it coming with overinflated prices, and interest rates at 1%?

Catalogs: I had trouble finding some figures for catalog printing, but I can tell you that the catalogs are pushing web sales more and more. If you think about it they face similar challenges to newspapers. You can just do more on-line to show off your product than you can in print. Why not video the item, particularly clothing, so you can see front, back, and side? Once holographic technology is here the public will insist on 3 dimensional views. It’s just around the corner.

Wedding Invitations & Announcements: I’ll admit that invitations and announcements have never accounted for a big slice of the printing pie, but those printers specializing in them have been hit hard. Why? It’s because people have access to paper options, graphic design programs, and digital printing. They create their own invitations with their own style and creativity.

NAPL also reports that only [are the] larger plants growing in number. Those printers without deep pockets will be swallowed by the others. It’s the law of the jungle. The downside is that more print industry employees will find themselves unemployed. What are their options in the new economy?

Like the dawning of the Industrial Age big changes are happening, but at a much faster pace. What will it be like when clouds in my dirty crystal ball clear? I just don’t know–do you?

What do you look for on a proof? That seems like an easy question and it used to be a little easier to answer than it is now. The first thing you need to understand is that your signature on the proof releases the printer, or the broker, from all responsibility for the printed piece. By that I mean, if the product is a close match to the proof, but you don’t like it after all, or you found an error, the problem is yours.  Don’t blame the printers even if they were the ones who introduced the mistake. Proofs are your chance, often your last chance, to make sure everything is right before printing. I often hear customers say they don’t need a proof, or they don’t want a press check. That, in my opinion, is a big mistake. More than once I’ve seen jobs get  all the way to the press before the customer notices a critical error like a wrong phone number, or address.

wrong + wrong = right

Printing, in general, is an imperfect process. I’ve written about this before, but it bears repeating, you start with the premise that oil (ink) and water (fountain solution) don’t mix and proceed to make it work. It’s a case of two wrongs making a right.

Back to the question of checking a proof. What you look for depends on the kind of proof you received. Most printers are now using direct-to-plate technology. Direct-to-plate has revolutionized the plate making process. A print shop of not too many years past used to have large rooms with big light tables throughout. The light tables were used to strip the film. Now the tables are gone and the rooms are empty, leaving lots of space for an arcade, or shuffleboard. I’m kidding, but what do they do with the extra space? Maybe shuffleboard isn’t a bad idea. In the era of the light table and hand stripping proofs they were  either bluelines (for one color printing), or color-keys (for four color printing). You aren’t likely to come across these terms anymore, but you might, so I’m telling you about them. There were other kinds of proofs too like Matchprints, or Chromalins. No matter what kind of proof was presented to the customer there was always one flaw–the color proofs were good for four color process, but if you used a PMS color from the Pantone book, you had to guess at the result. Kind of like looking at a small  paint chip vs. painting a large wall. Most printers will provide a digital hard-copy proof.

What do I look for?

Generally you want to check a hard-copy proof for:

• Color. Does it look like the color you expected to get? Remember though, the color that appears on your computer monitor might not be the actual color. Ripped (separating the colors into dots) color is different. Your monitor’s pixels are RGB (red, green,blue) and ripped color is CYMK (cyan, yellow,magenta, black). If the color is way off, you might have to go back and fix some things or have the printer help you fix it. If the color is close, don’t make yourself crazy, let it pass.
• Size. If your image was supposed to be 8 1/2″X11″ and it comes out as 4″X6″ there is a problem.
• Type. Because computer design is done in layers, it is very easy to cover a portion of your type block with a window. You may not see it on your screen, so you need to watch for it on the proof.
• Reflow. This is becoming less of a problem than it used to be, but you should still watch for it. Reflow usually happens when the font you are using doesn’t match the font in the printer’s system. If you haven’t downloaded your fonts they will default to the printer’s defaults. Small sizing or kerning (the space between letters) can throw your document off. Particularly if you are using a PC and the printer is on Mac.
• Missing or Added elements. I think this one is self-explanatory.
• Bleeds. If you want your piece to bleed (ink goes to the edge of the sheet) did you allow a 1/8″ overhang beyond the trims?
• Back up. Does the front back up correctly with the back? You might need a second low-res proof to see this, but unless back up isn’t important, be sure you get a folded proof.

wait til the press check

What to ignore or save for the press check.

• PMS or Spot color. Ripped proofs are still using four color process dots to create approximate color. It can be way off. If you are concerned about the spot color, do yourself a favor and attend a press check.
• Small dots. The computer picks up very small dots and reproduces them on the digital proof. A 1% to 3% dot may not appear on the plate. If those dots are important to the design be aware that they could disappear. If the dots are fighting your design the same is true. To be sure, go to a press check.
• Paper. The proof you see will be different when ink touches paper, particularly if it is an uncoated sheet. All proofs are approximations. To know for sure you have to see the ink on paper.

Respect the proof. That might sound funny, but if you attempt to glance at the proof and give it a cursory approval, you are bound to have mistakes. Stop, take a deep breath, and concentrate on the proof. You’ll have fewer errors. And maybe, fewer times called on the carpet.