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!