"Please Consider the Environment Before Printing This Message"

How many times do you see the statement at the bottom of someone's email "Please consider the environment before printing this message?" I am baffled by this. I don't know anyone that doesn't want to work in a way that reduces their impact on the environment, but how does sending an email cautioning the recipient on printing out their email equate to reducing your environmental impact?

I'm tired of paper getting a bad rap (ok, so maybe I'm a little biased) but I think there's a lot of misinformation going around. For starters, paper is renewable, recyclable and biodegradable. Yes, paper is made from trees - but that's not necessarily bad. For decades paper manufacturers in North America have replaced trees they've harvested - according to the USDA Forest Service, 4 million trees are planted daily in the US.

In addition, paper is one of the most recycled products in this country, in 2008 57% of all paper consumed in the US was recovered for recycling. That's a good thing, because in addition to preserving trees, a sheet that is made with 30%PCW for example requires 10% less energy to manufacture and uses 25% less water and emits 6% less greenhouse gases than virgin paper.

Here are some facts to help put into perspective paper's impact on the environment vs. alternative methods of communication, compliments of the latest edition of Ed by NewPage, which you can request from our online sample studio.

Communication Lifecycles:
E-Mail - 5 seconds
Shopping List - 2 hours
Periodicals - 6 months
Cell phone - 18 months
Computer - 5 years
Web Site - 5 years
PDFs - 16 years
Book in the NYC Library - 23 years
Love Letter - 64 years
Guttenberg Bible - 555 years (and counting)

Thinking About Annual Reports?

It’s that time of year when thoughts of annual reports start to show up on the radar of a paper merchant. After receiving my recent annual report kit samples for 2009, I got to thinking about what my customers might find useful when it comes to working on their next AR project.

As a paper rep, I get the chance to work early on in the process with the creative and production teams, and the one thing I hear over and over is that companies cannot “appear” to look like they are spending a lot of money on their annual reports. There is the common misconception that coated paper, particularly glossy coated paper, appears “expensive.” In actuality, the opposite is true. Coated paper tends to be less expensive than uncoated paper and definitely less expensive than a premium text and cover sheet. However you can have the best of both worlds – a cover stock that is a heavy text and cover stock marries well with a coated sheet for the narrative which can help keep costs in check while giving the feel of being understated. The financials are perfectly acceptable going on more economical grades like offset or opaque.

To get a true sense of what’s available and being produced currently, samples are your best bet. Your first line of defense should be your paper merchant. As someone with first hand knowledge, I can tell you we get a whole host of fantastic samples from our suppliers – some are one of kinds featuring a certain print technique or unique paper. Others are part of a “mill buy-in” where the mill gets involved via the merchant rep on a project that is going to be on one of their papers. The process involves sending the mill a pdf of the artwork to see if the direction fits well with their marketing of the grade, and if so they may opt in to buy x number of copies of an annual to use as promotion. I am a big fan of this – it’s a great way to see what companies are doing on real life budgets.

Samples are great for getting a feel for what’s trending in annual reports. For example, Corporate Social Responsibility reports are being done by 16 out of Fortune’s top 20 most profitable companies (according to Neenah Paper and Addison) - clearly stating that CSR is no longer a nice to do. As for the format being used most by companies these days, you guessed it – the 10-K wrap. Companies are also starting to rethink how they are communicating their information with both printed and online versions, and video is gaining wide acceptance within the online AR. And if you need further proof, cheaper isn’t always less expensive, check out Neenah’s "Annual Report’s Are Hot" poster and the cost analysis done on “Notice and Access” – you can request your copy of Neenah’s "Annual Report’s Are Hot" poster through our online sample studio.

Engraving Tips

Developed around the 16th century, engraving or intaglio printing, is a method of printing an image from lines cut below the surface of a metal plate. The feel of an engraved piece happens when the paper is pressed into a metal plate. Here are a few things to keep in mind the next time your working on a project using engraving.

• Engraving will give the sharpest image, the die is cut by hand, chemically etched from mechanicals or laser burned from electronic files.

• Photographs and continuous tone illustrations are etched into a plate, image reproduction is as clear as lithography.

• Engraving can be costly, this can limit its application on many jobs. Plate size limits the area to 5” x 7”. Not all printers offer engraving due to its specialized technique.

• Engravers use special inks for copper and steel dies; steel is often used for the longest print runs and higest quality. Limited quantities can be done with copper dies, up to about 5,000.

• Talk to your printer about paper stocks, coated papers tend to crack – so make sure you test the paper you’re using. Caution should also be taken if using laid paper, it can cause the ink to feather. The engraver can compensate for this by adjusting the ink flow or pressure on the die.

• The quality of the paper is critical, because of the craftsmanship and sharpness, engraving requires fine papers - cotton or wove stocks offer the most beautiful results.

• Always use match colors for engraving, four color process in not suitable with this technique – it uses different inks than litho inks.

• The technique lends well to using lighter inks on darker papers due to the high opacity of the engravers inks.

• Be careful is using gloss inks, they can take on a metallic appearance.

• Avoid trying to reproduce large areas of color – they can appear mottled or uneven. Instead, think about an outline of the image with a screen tint.

• To eliminate the debossed impression engraving leaves on the back of envelopes, convert the envelopes after they’ve been engraved. Be sure the engraver prints the envelopes with the flaps open to avoid debossing.

Digital vs. Offset – Combining the Best of Both Worlds

As digital printing has evolved, a new relationship with offset printing is emerging as well. Individually, each offers different benefits - together they are even more powerful. Offset preprinting brings the benefit of customization to large print runs, like one to one marketing materials or promotional direct mail.

Offset preprinting allows you to minimize costs through the printing of shells (static info) on offset presses, followed by printing variable data on digital equipment. Offset preprinting combines the best of both worlds, providing customized marketing campaigns, reduced costs, and increased response rates for print. Here are a few things to keep in mind to achieve best results when combining both technologies.

Paper Selection

• Basis Weight – make sure you know what the recommended paper specs are in terms of weight for equipment you’re using. It is suggested that using a minimum weight of 24/60# paper will optimize your production.
• Coated vs. Uncoated – be mindful if preprinting on coated. The heat from a laser fuser can blister coating which may cause damage to the digital device.
• Finish – textured and embossed finishes may pose a challenge, although some paper manufacturers are now making grades expressly for digital with embossed finishes like linen. A sheet with a smooth, level surface will allow for the even transfer of toner, preventing voids or broken letters.
• Samples – make sure you test the sheet to ensure compatibility on the digital equipment.

Design

• In general, try to format the product so that it can run through the equipment grain long. When ordering folio product – be sure the final form can be cut to this grain direction. This will help in feeding the paper through laser equipment.
• Be wary of large solids or gradients which can cause banding or mottling. Try to use noise or texture to filter out these effects.
• Be mindful of raised surfaces such as letterheads or embossing, they can cause feeding issues and lower print quality.

Printing (offset)

• Communication is key, talk to your printer to determine compatible inks, techniques and papers for the project and the equipment.
• Specify laser compatible inks that can with stand temps of 350 – 400o - inks should be oil based and heat or thermal resistant. Avoid metallic, fluorescent or cold set inks, which are generally not compatible with laser fusers.
• Keep the ink coverage light. Toner does not adhere to heavily printed offset inks. Also, avoid overlapping laser printed images with offset images. If you have to over print offset ink, use a half tone screen.
• Avoid anti-setoff powders, they can interfere with toner transfer and fusing.
• Make sure the final cut of your form is square and clean – any poorly trimmed paper can cause feeding issues.

Packing & Storing

• Make sure all pre printed materially has ample drying time before its placed in a moisture barrier wrap. In general three days is a pretty safe rule of thumb.
• Maintain 50% humidity to acclimate the paper and minimize moisture fluctuations.
• Use chipboard above and below the paper stack to minimize damage to the edges and corners. Avid packing the material too tightly, it can result in curl.

Laser Imaging

• Preprinted material should be allowed to acclimate for 24 hrs. at minimum while still inside the moisture barrier wrap. This should be done in the area where the material will be imaged.

It's All About Balance

Creating sustainable communications means looking at every step of the process, from the raw materials involved (and how they are processed) to what happens after the project reaches its audience. And the deeper you dig, the more complex the choices are. Like anything in life, there are always tradeoffs. Even e-communications have a significant environmental impact, with the energy required to power the internet, manufacture computer equipment and the issues around disposal of obsolete technology. It can be challenging trying to figure out "the right thing to do."

The bottom line is that we can take more responsibility for ensuring that our projects are as sustainable as possible.

In the latest issue of Ed, an educational series from NewPage, you get a big-picture view of sustainability in communications. Ed looks at the footprints of both print and electronic communications—their environmental costs and advantages—and ways to make the best use of both. All so you can make a bigger impact on your audience while reducing your impact on the environment. Request your copy of Ed #13: Balance at our online sample studio.

French Paper & Charles Anderson Design - A 20 Year Retrospective

This designer/client relationship is one of the most unique and long-standing in graphic design history. Charles S. Anderson Design Company est.1989, and French Paper Company est. 1871, have worked together to create one of the best-known paper brands in the country. French has distilled over 20 years of remarkable promotions into a 3 1/2 minute movie.

The posters shown above are from their recent promotion created by Anderson Design and introduced at recent 2009 HOW Design Conference. They will appear in the November Design Issue of Communication Arts magazine as part of their 50th Annual Design Competition. You can request the bound compilation of the set from our online sample studio.

Tips for Printing on Uncoated Papers

It’s pretty important to keep in mind the physical make up of uncoated papers when planning your print project. By nature, uncoated papers are absorbent, so inks or anything that acts like an ink- varnishes and coatings – will react differently on an uncoated sheet than they would on a coated paper. Pressroom technology has become highly sophisticated and as such allows designers and production managers the ability to use more premium uncoated papers in new ways.

Well planned separations are critical for a successful uncoated printing job. Remember on an uncoated sheet, inks will soak into the paper more, halftone dots can spread and deform – this called dot gain. By opening up the separation, the dot size is decreased and the space surrounding the dot increases. This allows the press operator to run normal ink densities resulting in truer color fidelity, image brightness and detail. Opening the separations allows the use of finer line screens 175-200+.

Factors to consider when opening up separations:
• Paper surface
• Type of press – conventional or UV
• Blankets and plates
• Screen types – conventional or stochastic
• Original image – lots of shadows, bright colors
• Expectations – does the client want a sharp, crisp look or a softer feel

Make sure to consider the paper shade when reviewing color proofs. For warmer stocks like a natural white or cream, you may want to reduce yellow – especially in skin tones. On a sheet that is more blue white, you might want to reduce the cyan. Scanning is the best place to do these types of changes. If possible, ask the printer to proof on the actual paper stock so you know the exact effect the shade will have on the printed image.

Printing on an uncoated sheet should not pose any more challenges than a coated paper if the separations are properly prepared. These adjustments allow the press to carry more ink and increase color saturation, clarity, and contrast.
After a wet press sheet is approved, all inks should increase by 5-10 points based on densitometer readings – this will compensate for dryback.

When it comes to inks recommended for uncoated sheets, process inks or quick setting inks are recommended. Uncoated paper usually requires a bit more drying time than coated, so keep the stacks small – around 500-700 sheets – this will help prevent offsetting.

Depending on the image, you may want to add more fluorescent ink to the magenta and yellow process colors. They tend to increase the perceived reflected light on the surface, increasing brightness and clarity.

Hopefully these tips will help you the next time you have a print project that you’d like to use an uncoated paper for. They really do impact the overall feel of the piece, for more information or to see samples on uncoated papers, please contact our sample department.

The Living Principles for Design

Created by the AIGA Center for Sustainable Design, the Living Principles for Design were born out of the design profession's need for an aspirational and actionable framework that provides designers and their clients with a common understanding of the core facets of sustainability and enables them to take action. Its ongoing development is dependent on the contributions of the design community at large. Conceived and developed over the summer of 2009, the Living Principles were officially unveiled at the Make/Think AIGA Design Conference in Memphis on October 9, 2009.

The principles extract the collective wisdom found in decades of sustainability theories and bringing them to life in the first quadruple bottom-line framework:

• Environmental Protection
• Social Equity
• Economic Health
• Cultural Vitality
  

The AIGA Center for Sustainable Design (CFSD) and AIGA will submit The Living Principles for global adoption at the Icograda General Assembly 23 during Xin: Icograda World Design Congress in Beijing later this month.

Integrating QR Codes into Print

Are you using QR codes? If not, you probably will - and sooner than you think. A QR Code is a matrix code (or two-dimensional bar code) created by Japanese corporation Denso-Wave in 1994. The "QR" is derived from "Quick Response", as the creator intended the code to allow its contents to be decoded at high speed. The use of the QR codes is an effective way to integrate all forms of print marketing with online promotions as well as a way to differentiate specific products among audiences. Check out what Harper Collins did with L.A. Candy.

QR Codes storing addresses and URLs may appear in magazines, on signs, buses, business cards or just about any object that users might need information about. Users with a camera phone equipped with the correct reader software can scan the image of the QR Code causing the phone's browser to launch and redirect to the programmed URL. This act of linking from physical world objects is known as a hardlink or physical world hyperlinks. Users can also generate and print their own QR Code for others to scan and use by visiting one of several free QR Code generating sites.

The design of QR makes it possible to incorporate eye-catching images of logos, characters, or photos into QR code, without losing any information of the code.

Use As Artwork

British popgroup Pet Shop Boys used QR-code for the artwork of their download-only single Integral in 2007. The videoclip for the song also features QR-code. When the codes are scanned correctly, users are directed to the Pet Shop Boys website.

In 2009, QR-code was used for the marketing campaign of the Movie 9 at the San Diego Comic Con. Cards with QR-codes integrated into the artwork were handed out to patrons. These limited edition cards could be read with QR-capable cellphone or presented to the Focus Features both for prizes and access to exclusive stories about each character in the movie.

So, if you have already used QR codes effectively in a marketing campaign let us know in the comment section, we'd love to hear your story.

Best Performing Print Ads of Summer '09

MRI Starch Communications has developed an "engagement score" to help identify the best-performing print ads out there. For this look at the Best Print Ads of Summer 2009, MRI Starch considered 5,307 one-page and two-page ads. It then selected the top ads in each of 10 major product categories.

AdAge's article The Best Performing Print Advertising of the Summer, features a slideshow of the top 10. At the bottom of each slide is an overview of the qualities that made that particular print ad a top performer.

A Look at Metallic Inks

Metallic Inks are inks containing a mixture of ink (usually unpigmented) and metal dust or flakes, resulting in a shiny appearance. Most people love the look a metallic ink gives to a printed piece, especially when the image lends itself to the technique (think automotive or industrial). Whatever the subject may be, if you are planning on using a metallic ink on your next print project here a couple things to keep in mind.

• Metallic inks must be mixed as close to press time as possible. Printing with them takes longer because a metallic generally requires two passes on press – even paper stock with good ink holdout might need to coats of metallic ink to give you the results you’re looking for in large solids areas.

• There are two types of metallic inks: leafing and on-leafing. Leafing inks require tiny particles to float to the surface of the resin creating the metallic effect – so make sure to allow for ample drying time. Non-leafing metallics contain metal flakes that sink down into the resin and require varnishing.

• Most metallics tend to tarnish, fingerprint and scuff so a non-glare varnish or aqueous is a good idea. Take special care when varnishing a metallic, especially with UV or water based coatings. The typical approach is a dull varnish applied in-line as an additional color. Beware, varnishing a metallic does not make it shinier – actually it can lose some of its luster.

• Metallics can cause problems if you’re printing digitally, flakes from the metallic ink can build up on the fuser rollers. Also take care if printing metallics in-line with other colors, this can be problematic due to their chemistry and opacity. It’s a good idea to print them in separate pass if they trap to other colors.

• As with any special technique, it’s a good idea to talk to your printer first. Plan to adjust your schedule and budget accordingly. If the cost of printing a metallic + varnish or underlay of opaque ink is cost prohibitive, you might consider foil stamping or selecting a match color that approximates a metallic.

• Metallic inks look best when printed on a coated sheet –make sure you keep this in mind when specifying the paper for your job. They can be used on uncoated but will not give the same effect – with leafing metallics, the uncoated paper will absorb the resin and the flecks will rise to the surface giving it a mottled effect, almost like mercury glass. Finch put out a great piece last year, Think Ink, which perfectly illustrated this.

• Use coarser screen for halftones to prevent plugging, metallics lose luster with a low screen values. Avoid designs that require trapping a metallic against a process ink and don’t overprint a process ink over a metallic (it will look grayish).

• When proofing pay close attention to registration, and view the piece in different lighting conditions as well as the viewing area.

To request more information on metallic inks or to see print samples featuring metallics, contact our sample department.

Designing for Digital Printing

Digital printing allows printers and designers unequaled flexibility, even so some designs may need to be changed to meet the file set up required for digital presses. Digital printers have pretty specific paper requirements, and considering the investment made by the press shop I can understand why. You should check with your printer to choose the right paper for your job. Some things they’ll think about are grain direction, ink type, and print technique. Here are some helpful hints to keep in mind that will make designing for digital printing a bit easier.

Talk about the file set up first. Special considerations should be made for folding, binding, scoring, and die-cutting.

Use a standard size whenever possible. Digital sheets are precision cut for optimal performance preventing problems with registration, alignment, and ink transfer. As a converter of digital papers for many paper manufacturers (our Deltacraft division offers this service) a precision sheeter (vs. guillotine) insures against slitter dust – which can wreck havoc on a digital press, not to mention your project!

Prevent toner flaking by keeping your coverage to 280%. More than that may increase drying times and cause offsetting.

Beware of solids – large areas of solid color or gradients tend to show mottle or banding. If you must use solids, consult with your printer to see about the filtering techniques you can use.

Since make ready is virtually non-existent in digital printing, you can have your proofs done on the actual paper spec’d, allowing for adjustments before the run.

A sample is your best friend. With all the inline finishing available, getting your printer a mock up will insure correct file set up and find any hidden design issue before you go to press.

One of the best pieces I’ve seen come out recently is from Domtar, it’s entitled “The Domtar Digital Family – Digital Field Guide.” It gives you a snapshot of the equipment that’s out there, as well as the Domtar papers that are approved for each type of equipment – plus it shows off a really cool print technique utilizing dimensional ink. Get your copy while they last in our sample department.

Making the Right Paper Choice

With so many printing papers available, specifiers can easily get overwhelmed. Many end up relying on a few favorites, usually opting for a white, gloss coated stock. Looking at it in further detail, you’ll see a bunch of paper qualities that can make all difference between a dream job and a nightmare. Once you understand what to look for, making the right paper choice is a cinch. Here’s a quick guide to help with the paper specs.

Formation
This refers to the uniformity and distribution of fibers in a sheet of paper. In a well formed sheet, ink is absorbed evenly giving you smooth solids and clear reproduction. A poorly formed sheet will show more dot gain and a mottles look when printed (think orange peel). How can you tell if a sheet has good formation? Hold it up to the light, if it looks clumpy the formation is not as uniform – obviously the higher the grade of paper the better the formation. Look at a sheet of copy paper versus a premium writing sheet (Classic Crest or Strathmore).

Opacity
This term refers to the amount of light showing through a sheet, ranging from 1-100. (1 is the most transparent and 100 is the most opaque). A paper with a high opacity level will have little show through of printing on the reverse side or sheet below. This is really important if the design includes solids, bold type, and heavy coverage. Basis weight, brightness, pulp, fillers, coatings and formation all influence opacity. How can you tell? Lay a blank sheet of paper on top of a printed sheet and see how much printing shows through.

Brightness
This is measured as the percentage of light reflected back off the surface of the paper. It’s not so much about color or whiteness as it is reflectivity. A blue-white sheet and balanced white sheet can have the same brightness but look very different. A paper that is 98 bright will reflect back almost all of the light. Four color tends to pop off the sheet of bright papers as they illuminate the inks. If a project is copy laden, a natural or balanced white sheet may preferable – it’s easier on the eyes. You can tell a sheets brightness by referring to the swatchbook – if you can find that ask your favorite paper rep.

Finish
Finish refers to how smooth a sheet is. For coated papers gloss finishes offer the smoothest sheet while a matte coated is the “toothiest.” There many more finishes available in the uncoated offerings, even among “smooth” finishes. So how do you know if a “super smooth” sheet is really smoother than a “smooth” sheet? Ask about the Sheffield value, the lower the number the smooth the sheet. Coated papers are around 10-30 while a premium uncoated “super smooth” sheet will be around 45-60 and vellum uncoated sheet (not translucent) will be around 200-250 in Sheffield value.

Side to Side Consistency
You may have heard of felt and wire in the paper making process. A sheet has two sides to it, the wire side comes into contact with the wires on the paper machines and the felt side does not. If your not sure of how a sheet will print from side to side, ask your printer to drawdowns.

Printability
The print quality of a paper is affected by formation, opacity, brightness and smoothness. To insure how a paper prints before you spec it, ask to see printed samples, and if you’re planning to use a special print technique make the sample shows that as well. Again, you paper rep is your best bet for samples.

While there are many reasons you might select one paper over the other, the process is purely subjective. There are beautiful papers available in many categories. The trick is in finding one that meets your budgetary needs, quality standards, and deadline while maintaining the design integrity of piece. For samples demonstrating the different paper characteristics, just click on the link to our sample studio.

Are You Inspired by Paper?

If you’re not, you need to reconnect. Why?

Paper is personal. When was the last time you received a handwritten thank you. If you’re like me, you have a file full of personal notes you’ve kept over the years from family, friends, clients, and employers. There’s something comforting about opening that drawer and reading the thank you I received ten years ago from one of my customers. They took the time to select the paper, crafted their words, sealed the envelope and mail the note – now that’s personal.

Paper is dependable. How many times has your site gone down? With paper, you control the content, type, color, size, and how its delivered. The message you intend is the message your audience receives.

Paper is accessible. I’ve never met anyone that was dumbfounded by a sheet of paper – what you see is what you get.

Paper is portable. One of the things I most look forward to is lounging by the ocean with a good beach read. Sure, I’ve thought about a Kindle, but how does that work when my nephew decides to bury it in his sand fort?

Paper is tactile. You pick it up and you’re hooked. It’s a sensory experience, and since we all experience things differently, the printed image becomes that much more personal. When you can change the weight, texture, and color of a message, you control its perceived value.

Paper makes a good impression. How does a brand feel? What’s the color of a company? That’s how I think when specifying paper. Ever pick up a business card and flick the edge? I do it all the time, and seriously form an impression about that person and their company. For the record, heavier connotes “better.”

Like I said, if you’re not inspired by paper, it’s seriously time you reconnect with it. If you need a little inspiration, contact your favorite paper rep. If you don't have one, it's ok, our sample studio is chock full of inspiring papers.

Paper Finishes

Paper finish describes the surface characteristic of a paper. There are a few coated paper finishes: gloss, dull, silk, and matte and more than a dozen uncoated finishes including wove, vellum, felt, laid, and linen. Here are some things to think about when selecting a paper finish:

Uncoated
If the project is text laden an uncoated sheet produces less glare than a coated one, making it easy on the eyes and better for readability. Dot gain is more likely to occur on uncoated papers due to the fact they are more absorbent and porous than coated, causing the dot to spread. With uncoated papers, the harder the surface (like smooth, super smooth, linen) the less dot gain you will experience. Uncoated papers tend to soften the details, this can work to your advantage if your images are less than perfect.

Coated
If you’re producing four color images, a coated sheet will offer a nice smooth, hard surface with good ink hold out properties. The finish of a coated paper is determined by the amount of calendaring of the sheet (calendars are big metal drums that “buff” the paper surface) – the more a sheet is calendared the glossier it will be. A gloss finish offers you the hardest surface with a matte finish being the least hard surface when it comes to coated papers. Coated paper allows each dot to print accurately and maintain the original dimensions – dot gain usually falls around 10%-18% on a coated sheet compared to the 20%-30% on an uncoated sheet. When printing on a coated paper, you’ll achieve the finest results of any production technique on a number 1 or premium coated sheet.

Some things to be mindful of when selecting a finish:
• Bindery issues

• Felt vs. wire side of the sheet (generally felt will be smoother) – there can be a big difference on some uncoated papers (think Esse). If you’re not sure ask the printer to run both sides of the sheet to see what you can expect.

• Dot Gain – again if you’re not sure, ask your printer to run a drawdown to test the ink on your paper.

• Coated papers reproduce images in greater detail, especially if it’s a crisp, high quality image.

• Uncoated paper finishes and textures can offer design enhancements.

• Midtones – if printing on uncoated, you may want to open them up to compensate for dot gain. (consult your printer, they’re the expert).

I recommend always checking paper samples to be sure of what you’re getting – it seems like each paper mill uses its own lingo to describe a paper’s finish. If you’re not sure what finish offers you the look and feel you want, consult your paper merchant rep (that’s what we’re here for). For more information on paper finishes, contact our sample studio.