Dadah

Winter 2000

Design trends: Is recycled paper “out”? Recycled paper has moved out of the limelight among buyers and designers. While buyers still support the use of recycled papers, it appears that fewer are insisting on these papers for their jobs. Here are some of the driving forces and explanations behind the shift in preferences. • As of January 1, 1999, a Presidential Executive Order defined recycled printing and writing papers by a new standard: paper that contains 30 percent postconsumer fiber. While the government “upped the ante” for recycled content, more allowance for price consideration was given. • More emphasis is being placed on budget considerations than recycled content for print projects. • Virgin-fiber (non-recycled) paper can be produced at a lower cost in high volume than recycled paper. • Lower-priced imported paper is competing with recycled paper. • The fact that paper is recycled may be taken for granted; people assume that most papers contain recycled fiber. • Since most people recycle their home and office waste, they believe they are properly

disposing of this material and assume that the waste ends up in recycled products. •Landfill issues are seldom in the news. Quality: a non-issue Today’s recycled papers can match virgin papers in print quality and ease of handling on press. It’s a non-issue for printers, buyers and designers. Price vs. conscience While a healthy demand for recycled paper remains in force, an increasing number of end users are placing a higher value on price. This will cause more buyers to select virgin papers and lower-cost imported papers. Ultimately, these forces may result in the development of more virgin-content papers. The bottom line on recycled paper is that its continued use is a matter of awareness and priority by the end user. When it comes to recovered fiber, the paper industry is being environmentally responsible. When it comes to recommending and specifying paper, are designers and buyers environmentally aware? Source: “Recycled Paper Update” by Richard Clapp, Ph.D., appearing in Instant & Small Commercial Printer, February 1999. Excerpted with permission.

The changing face of proofs The explosion of digital technologies in printing and prepress has forever changed the landscape of proofs. Like the pioneers of early America, printers across the U.S. are trailblazing new territory each day with digital proofs, and stumbling across many hazards along the way. The core of the problem: controlling color across different media. The hard reality is that what you see on a digital proof may not be what you’ll get on a printed sheet of paper. Addressing the color gap So, what’s being done about this disparity between proof and printed sheet? Plenty. The

printing industry calls it “color management”. Hardware and software manufacturers are working on a variety of color management solutions. The key is in “profiling” and “calibrating” each monitor, scanner, proofer, and printing device from beginning to end so that the input and output on each device remains consistent. The beginning includes the designer’s workstation and proofing device. The end includes the printing press. The process of measuring and calibrating each device is not easy. It’s technical, expensive, requires daily (sometimes hourly) tweaking, and accurate results are still fleeting. But the industry is moving in the right direction. continued next page

Keep your newsletter or publication easy to read Whether your text is ragged right or justified, avoid setting any text wider than 3 1/2 to 4 inches (2123 picas). That’s about as far as a reader’s eye can travel without getting lost when it tries to begin the next line. Wider lines require more space between lines of type (leading) to give the reader’s eye a wider avenue of white space on which to travel back to the start of a new line. Source: Dynamic Graphics, September/October 1999.

The Changing Face of Proofs—continued What kind of proof can you trust today? Traditionally, most printers have relied on a Matchprint™ or other laminate proofs. Laminate proofs are made from film negatives, just before making plates. A Matchprint or laminate proof has always been—and remains—the industry choice for reliable filmbased proofs, especially when the job is printed on a glossy white paper similar to the proof. You can trust a Matchprint. However, traditional Matchprints are disappearing because film is no longer created in printing plants with CTP (Computer-To-Plate) workflows or DI (Direct Imaging) presses. For example, the Heidleberg Quickmaster DI at Morgan Press images plates directly on the press, eliminating film negatives altogether. Printers cannot make a traditional Matchprint proof unless film is created The debate over which digital proof is the most trustworthy is far from over. Some digital proof names you may have seen or heard include the Polaproof, Approval, Rainbow, Waterproof, Iris, Matchprint Laser Proof, and the Epson 5000. New digital proofing devices are being introduced every few months and existing models are being improved. The sobering truth is that very few of these digital proofs exactly match the actual printing press inks on the actual paper being used. We regularly talk with other printers across the country who use high-end digital proofers. When we ask how close their device comes to matching the press sheet, we typically hear,“Well, it’s getting closer....” Who chooses the type of proof? With the changing landscape of proofs, printers and clients are deciding together. Today, there are more choices. Printers and prepress houses are spending more time educating clients about proofing options and the pros and cons of each.

©2000 Mor g a n Pre s s , In c . 60 Buckle y Circle Manchester, NH 03109 (603) 62 4-8660 tol l f re e ( 8 8 8 ) 62 4 - 8 6 6 0 fax (603) or (888) 62 4-27 70 e-mail [email protected] we b site www.morganpress.com

The type of proof chosen for any particular project is primarily influenced by: 1. The printer’s workflow. All-digital workflows, such as computer-to-plate and direct imaging-to-press operations, require the use of digital proofs; traditional film-based proofs like bluelines and Matchprints may not be an option. Conversely, high-end digital proofs may not be available from a printer with a traditional film-based workflow. 2. Turnaround requirements. Buyers on a tight schedule typically choose from what’s

Today’s Mos

Digital Proofs: Output directly from a digital artw Monitor (a.k.a. “soft proof”)

Advantages: Fast and inexpensive. ing content and layout. PDF files w to create soft proofs for approval o isn’t critical. Proofs can be e-mailed

Disadvantages: Monitors are inacc dously. What you see (displayed wi ly different when the ink hits the p proof type on a screen.

Desktop color laser or ink-jet printer

Advantages: Inexpensive and fast, e create the proof at your own office images, layouts, text, and colors in

Disadvantages: Color is not accura Caution advised: laser toners and i brighter (more saturated) than wh traditional four-color process inks. printing company to match the ou proofs!

High-end digital color proofers (a.k.a. “contract proo

Advantages: Color accuracy and fle “close” to the final printed piece, cl contract proof. Most high-end pro to control the accuracy of the color evaluating the color in your photos changes based on what you see in t

Disadvantages: Expensive and slow from $20 to $100 per page. Imagin minutes to an hour for one proof. R skill and ongoing calibration to ach match a press sheet. Many high-en the actual dot pattern that will be p

available at their printer. Independent prepress companies often have a wider variety of proofing options to choose from, but their proofing devices may not be calibrated to match the output from a particular printer’s press. 3. The nature of the printed piece. If a buyer simply wants his or her piece to be “colorful”, and no critical color matching is needed, a laser proof is often sufficient. 4. The confidence of the buyer in the proof... and the printer’s ability to match it. For more information on proofs, e-mail or call your Morgan Press service rep anytime.

t Common Proofs: Digital and Traditional

work file.

Traditional Proofs: First, film is output from a digital file; then proofs are made using the film negatives.

Taz Tally returns April 3 & 4

Blueline

Great option for checkwill soon be used widely n projects where color d this way.

curate and vary tremenith light) may look vastaper. And it’s hard to

especially when you . The best way to proof the design phase.

ate for proofing. nk-jet dyes are often hat can be achieved with . Don’t expect your utput from desktop

of”)

exibility. The output is lose enough to call it a ofers can be calibrated r. A good proof for s, and then making the proof.

Advantages: Reliable and inexpensive. The best way to proof positioning of all text, layout, images, folds, and to check for imaging “mishaps” with artwork files. Unlike laminate proofs, bluelines can be folded. If you see it in the blueline, you’ll likely see it in print. Disadvantages: Can’t proof color, since everything appears as shades of blue on light blue paper. It’s tempting to make type changes at this phase since the proof itself is inexpensive; however, making even a minor change at this point will cost from $30 to $100 or more because new film must be created.

Mark your calendars for a new series of half-day seminars led by ever-popular Taz Tally Monday, April 3rd and Tuesday, April 4th. Topics this year are:

Laminate (a.k.a. Matchprint) Advantages: Accuracy. The color in laminate proofs is considered the most reliable predictor of what you’ll see on the printed sheet. Disadvantages: Expensive and time-intensive. Even for a small color flyer, it may take up to two hours to prepare a Matchprint proof, as film must be imaged first. The process is partially manual. May not be available for jobs using computer-to-plate and direct imaging presses.

• Working with graphics, file formats, scanners, and photos (Level 1) • Refining and preparing for print and Web viewing (All Levels) • Tackling complex Photoshop challenges (Level 2) • Managing color from design to scan, proof, print, and Web (Level 3)

w to print. Proofs range ng times range from 15 Requires a high level of hieve colors that will nd proofs don’t simulate printed on press.

Christmas Card Winner We are pleased to announce that Randy Duford is the winner of our annual Customer Christmas Card drawing. Randy won $250.00 to help with holiday shopping, and designated the American Heart Association as his charity of choice for a $250.00 donation from Morgan Press. Puzzle cards are sent to all customers who’ve done business with Morgan Press over the last year. Randy’s name was drawn among the 100 or so responses.

Nikki Scheurich joins Customer Service We are pleased to introduce Nikki Scheurich, who joined Morgan Press as a Printing Service Specialist. Nikki has an Associates Degree in Graphic Arts, and six years of experience in film assembly, print production, and printing customer service. She has served design firms, print brokers, and businesses throughout NH. Nikki’s clients rave about her attention to detail and personal service. We think you’ll enjoy the attention and careful guidance you receive from Nikki.

The cost is free to Morgan Press clients, as seminar fees may be deducted from any print order placed after the seminar. Each half-day session is priced at $99. Brochures have been mailed; if you did not receive one, just give us a call at 624-8660, e-mail [email protected], or visit www.tazseminars.com

©2000 Mor g a n Pre s s , In c . 60 Buckle y Circle Manchester, NH 03109 (603) 62 4-8660 tol l f re e ( 8 8 8 ) 62 4 - 8 6 6 0 fax (603) or (888) 62 4-27 70 e-mail [email protected] we b site www.morganpress.com

Inside the Resource Library Book Review by Roger C. Parker

The Business Guide to Advertising with Direct Mail United States Postal Service, ©1998 Sometimes the best presents come in the smallest packages, as The Business Guide to Advertising with Direct Mail proves. In less than one hundred pages, this concisely written, information-packed volume covers the essentials needed to maximize your first, or your next, investment in direct mail.

About Roger C. Parker More than one million designers and desktop users have read books written by Roger C. Parker. Visit his Web site at www.rcparker.com.

All aspects of writing, layout, printing and addressing your mailed message are covered. A helpful glossary and index help you quickly locate needed information. Numerous references to further resources are included. Perhaps the most useful information concerns postal regulations, especially minimum and maximum sizes, recipient and return address panel information, and mailing options, i.e., the differences between First Class Mail, Standard Mail and Bulk Mail, and how these options affect undeliverables and address changes. Several worksheets will help you establish a realistic budget for your mailing as well as calculate break-even points (i.e., the point where profits from your mailing equal production, printing and mailing costs).

Morgan Press, Inc. 60 Buckley Circle Manchester, NH 03109-5233 (603) 624-8660 toll free (888) 624-8660 fax (603) or (888) 624-2770 e-mail [email protected] web site www.morganpress.com

ADDRESS SERVICE REQUESTED

Flightseeing over Denali National Park, Alaska. Photo by Marcia Morgan. Painting effect on cover created through Photoshop 5.5.

The Business Guide to Advertising with Direct Mail is valuable to business owners and managers on two levels. First, on the pragmatic level, it will help ensure that your mailing complies with United States Postal regulations. Second, on a higher level, The Business Guide to Advertising with Direct Mail provides an introduction to the science of direct marketing, which involves carefully tracking the results of your mailing by testing variables such as price, headline and benefits emphasized in the copy. Although you may not be a direct-marketer (such as L.L. Bean or Williams–Sonoma), there’s no reason you can’t adopt some of the techniques that the large mail order firms use to maximize their investment in printing and postage. This book is well worth the time you spend with it…and the price (free) is certainly right!

Resource Library Info For a complete listing of books in the Resource Library, go to the Morgan Press Web site at www.morganpress.com and click on Education. Need some guidance with your book selection? Contact Marcia Morgan or your service rep. To borrow a book from the Morgan Press Resource Library call the front office staff at (603) 624-8660 or e-mail [email protected] and we’ll send it to you. You’re welcome to stop in anytime and browse, too. We just ask that you return the book to us in two weeks. Books may be renewed by phone or e-mail.

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