fabrication formulation

Red and White—A Thrilling Combination!

2011-03-09T09:13:00.000-08:00

Recently, I attended the Printing Industries of America Trade Show in San Diego. Each year, businesses in our industry gather to tout their wares and each year, I look forward to attending to see what's new.

I visited the Neenah booth, where our rep, Jill Dunleavy was present. We chatted for awhile and then, she handed over the pièce de résistance.

Wow. Wow. Wow. Did I say wow?

Having been through a crazy process trying to figure out how to print white ink on a colored stock, the answer to that dilemma came in the form of her new business card.

A RED PEPPER Classic Linen Digital 100#C printed digitally—on the HP Indigo—with WHITE ink. Niiiiice. This photo doesn't do the crispness (or whiteness) of the printed type justice but, it'll give you the idea.

Not only has this feat become obtainable(!), it can be produced economically! Awesome. Simply awesome.

And, shortly after I shared her card with everyone in the studio, one of my co-workers pointed THIS fabulousness out in this months edition of Print. Printed using the Indigo on Neenah Esse Digital 105#C Pearlized Silver Smooth. Way cool.

Ahhhh, the possibilities.

How would you like your graphic design?

2011-02-04T16:19:00.001-08:00

Sorry, I don't know who to credit this to! FUNNY!

Have a production problem? I have a solution!

2011-01-27T10:06:00.001-08:00

Do you have a vision? We can get there. Together.

One of our long-term clients hired us to create a set of printed pocket guides for an exciting new product launch. Besides designing a piece that clearly communicated the camera's features and benefits, there were two specific production requests:

1) The guides needed to be the same size as the cameras.
2) The guides needed to feel like the cameras.

For the design, we decided on a special die-cut cover that replicated the cameras exact size and true-to-life features. We incorporated a special varnish technique (spot gloss UV juxtaposed next to a dull UV) to make the lenses and screens "pop."

The interior showcased a concise layout with beautiful photography—expressing the cameras capabilities clearly.

As for finding a solution to the "feel" part of this request, embossing was out of the question because the impression would affect the design on the other side. I remembered a printed sample we received from EarthColor Houston that featured a double layer of gloss UV varnish. When you apply two layers of varnish, it thickens the coverage and creates a texture without affecting the design on the other side. It was the perfect solution!

Here's how the designer set up the spot gloss UV layer in the file (double-thick spot UV indicated in magenta):

And here is the final product!

Hugs and big smiles speak volumes, and for these projects, I got both. There's nothing like a happy client!

Happy New Year + Print Inspiration

2011-01-11T11:49:00.000-08:00

Hope this blog post finds you well on your way to many successes in year 2011! Thanks for your support along the way and for reaching out, offering suggestions and keeping me in check in 2010. I'm grateful to connect with such a passionate group of people in the printing and design industries.

Since I've been busy getting back on track with my schedule, routine, etc., today, I wanted to share a great video, produced by Visual Inclinatio n, that takes you through a custom job from start to finish. I learned a bit myself, watching it! Enjoy.

Print Craft from Visual Inclination on Vimeo.

The H Pad—Here to stay! Should be called the Hilarity Pad!!

2010-12-06T13:46:00.000-08:00

I found myself laughing out loud as I was viewing this video. SO TRUE! The H Pad, here to stay! This video was retweeted on twitter by the fabulous @SandyHubbard (via @JohnKyp), who, besides calling me from Portland, Oregon to offer suggestions for my blog (I was totally blown away), has, along with fellow print professionals, created a hash tag on twitter titled #HelpPrintThrive as a way to support print in all it's venues.

I'm on board! Along with it's history and culture, I still view print as an important, viable industry and vital part of our lives.

Check out this hilarious video!! I love it!

Pretty darn close to offset quality at a digital price

2010-12-03T10:31:00.000-08:00

Happy December! Hope you had your fill of gratitude and goodness over the Thanksgiving holiday!

The last time we printed business cards for MORRIS, we went through quite the rigamarole (for more on the learning experience, see part 1 of Murphy's Law here and part 2 here). And, every time a new employee graced our doorstep, it cost us a small fortune to print new cards. Knowing this, I took a fresh approach when our agency recently refreshed our brand and business cards.

For a long time, we have been printing our case studies on a digital HP Indigo press. This particular digital press is not only unique in it's hybrid-like technology but in it's print quality as well. I would have to say, quite honestly, there's no comparison when it comes to quality. The Indigo pretty much kicks ass over all other digital presses and is a GREAT option for nearly-offset-quality small runs at a digital price.

Like all digital presses, there are limitations to the Indigo. Finished size is constrained to 11" (h) x 17" (w) and you have to choose from Indigo approved digital papers (which include a broad range of options) but for projects such as business cards, greeting cards and minimal-paged documents at low quantities (that don't exceed the size specifications), it's truly the best bet.

But shop around. Not all vendors have an Indigo. My recommendation, in the San Diego area, is SOS Printing. Beyond their experienced team and a press that is calibrated close to perfection, they produce high-quality products at extremely competitive prices. You can get to know their digital pressman, Kent Wright (aka rocking' guest blogger), here.

Trust me on this one. You won't be disappointed!

Absolutely INKcredible!!

2010-10-03T22:55:00.000-07:00

Thanks to my friend, Kim Tackett, for sharing this video on her amazing design blog: http://redesignblog.wordpress.com/ Who would have thought that blending ink was so complex?! Much respect to these folks!!

Have you hugged your vendor lately?

2010-09-30T15:59:00.000-07:00

I can happily report that we've had several print projects through our doors recently—thanks to our great clients, Northwestern University in Qatar and Sony Electronics.

Some have gone stupendously! Some, not so great.

For the stupendous jobs, we get hugs (!) and accolades. For the not so stupendous jobs, well, those typically involve a lot of conversations. Client to agency, agency to vendor, vendor to agency, agency internally, agency to client—until we reach a resolution.

What clients remember is the last job—which is why quality, excellent service, and a willingness to collaborate when things go south must be non-negotiable.

Having a good relationship with your vendors and clients is the difference between resolution and absolute frustration. The extent of the relationship you develop with them will come into play in situations that are less than desirable.

Try as you may to print the perfect job, the print process is not perfect—in fact, there are a lot of variables. From photo quality to image resolution and saturation to your paper and varnish selections to the quantity you’re printing to the way the press sheet is laid out, each of these elements has an effect on the final product.

Your vendors are, officially, the last guys on the totem pole and, when a job's not done right, unfortunately, it negatively affects a clients opinion, which, depending on the severity of the mistake(s), could ultimately result in loss of a client—not good!

Do your vendors have a proven track record? Do they do good quality work? Do they keep on top of your jobs? Do they work to meet your needs? Do they collaborate and problem-solve issues when they arise? Do you feel comfortable expressing your disappointment when things go awry?

If you answered no to more than 2 of the questions, perhaps it’s time to reevaluate the people you’ve chosen as your partners. Bottom line, if they fail, you fail. You are only as good as the vendors you choose.

Trust is as important in business as it is personally. Put yourself in good hands, you won’t regret it.

Urban Inspiration—Shepard Fairey in South Park

2010-07-27T13:41:00.000-07:00

On Sunday morning, I had a delightful breakfast at Alchemy (in South Park, San Diego) with a good friend of mine. During breakfast, she mentioned that Shepard Fairey (of Andre the Giant OBEY and Obama HOPE poster fame) had recently completed a new mural in the area so, we packed up the munchkins and went for a walk.

Lovely. Absolutely lovely.

Yeah, San Diego has beautiful weather, but above all, the culture and people here are really quite amazing. I regularly run across Urban Inspiration that fills my senses in the most wonderful ways.

No Comic Sans!

2010-07-23T14:53:00.000-07:00

Typography humor. Brought to you by... http://gizmodo.com/5592503/just-dont-use-comic-sans-ok

TOP TEN TIPS FOR PREPPING PERFECT FILES FOR PRINT!

2010-07-20T15:01:00.000-07:00

by Kent Wright from the Digital Prepress Department at SOS Printing.

You know that 1:7 year ratio for dogs (i.e., if your dog is 3, his "actual" age translates to 21 in human years)? Using that analogy, what do you think the ratio might be for changing technology? For every one year that passes, how many years do you suppose we are evolving technologically? Maybe 1:10, or even 1:15?

The technological speed of change will continue to surge forward at a rapid rate, particularly in the area of Digital Printing and file preparation for print. And although the capability of designers is much better than earlier days, there's always room for improvement.

Quick History Lesson
When I began in the Printing business, computers really weren’t a part of the Prepress manufacturing process. Film strippers worked with line art film shot on horizontal cameras. They laid registered separations onto film flats and finally, composed them into 4 color separations (C, M,Y, K).

Next came the desktop revolution and although exciting, it took a while to actually see a Macintosh computer in the Prepress production environment. When they finally did show up, that’s when the fun started.

Before we go too far though, I do want to introduce you to (if you are not already familiar with) an acronym in the Prepress world called RIP or Raster Image Process because this is very important to us prepress folks. If your files will not “RIP”, as we say, then we cannot produce your job effectively.

"RIP—raster image processing [verb] or raster image processor [noun]—is the process and the means of turning vector digital information such as a PostScript file into a high-resolution raster image. The RIP takes the digital information about fonts and graphics that describes the appearance of your file and translates it into an image composed of individual dots that the imaging device (such as your desktop printer or an imagesetter) can output.

Think of the RIP as a translator between you and your printer. You give it instructions in the language of your desktop publishing application (Photoshop, InDesign, Illustrator, Quark, etc.) and the RIP translates your instructions into the language of the printer. If your language is too complicated for the translator or it misunderstands your instructions the file doesn't RIP." Source: http://desktoppub.about.com/cs/rip/a/rip.htm

Due to increased computer processing power and better software, RIP's don't fail as much as they used to, but jobs still do go sour. Understanding how a RIP processes your files can be the key to successful output. It is also the purpose of this list.

Here is my TOP TEN FILE PREP CHECKLIST to help ensure a quality output print job.

1. Image Resolution
Images should be—at a minimum—set at 300 dpi scaled to 100% for quality output. I am still amazed even now in 2010, how many jobs come in with images set at 72 dpi and scaled up to print larger. This will not work for printing because you will only see pixels at that scale factor and that is not a pretty sight.

2. Image Scaling
Please scale your images prior to placing in the page application program. Along with resolution, try and make sure your images are close to the size you want them to print before placing them on the page. If you attempt to scale an image to 25% for example, you are asking the RIP to do the scale for you. I can tell you from experience, Photoshop’s smooth scaling capability is much better than any RIP.

3. Fonts
Always include the fonts you used for the document you want to print. All applications now have the capability to collect or package all the fonts and the links into a single folder for easy submission to the printer. By the way, if your application gives you a message saying "missing images" while collecting… please correct. If not, I will be calling you! Please do NOT stylize fonts within an application. Make sure you supply that particular variation of any font you use.

4. Page Bleed
Please confirm your pages have any bleed dragged to 1/8” on all 4 sides of the page as applicable. Furthermore, while creating bleed make sure that your created windows actually butt to one another as applicable. If they do not, then you will see gaps in between your pictures.

5. Design your file in the correct program.
Don’t design your entire catalog in Photoshop! Instead, use a page application program like InDesign or Quark which are suited for that purpose. Photoshop is for picture or pixel manipulation and Illustrator is for creating vector illustrations.

6. Design with the correct number of colors in mind.
Many times designers start a project with their application color palette full of practice colors or “maybe colors” they used while designing a particular piece. When you are ready to submit that same document to the printer, please delete those unused colors out of your palette before submitting. Furthermore, if your document is only CMYK, then please change all your active colors used to CMYK so they don’t end up as spot at the printer.

7. Run a spell check before you release your file.
You would be amazed how many times we find a word in a medical document that should be right, maybe right, but who knows? Because it’s not a word we use every day. Please double check beforehand so we can be at peace.

8. Image Density
Here is a scientific fact you should know: It is IMPOSSIBLE to print on any press at 100% of all 4 process colors simultaneously. Why? Because it is difficult to get ink to stick to itself. Knowing that, remember to check your incoming images in the shadow areas what the max density is beforehand. The file should be no more than 320% total max density for optimum print results.

9. Please create document to actual/single page size…NOT spread size.
If your finished size is 8.5" x 11" make sure your page is created to that size. Do not make your page size the actual spread size of both pages. Your printer will take care of where the pages need to go to make them paginate properly.

10. Die Cutting
If your project has a die cut as a part of the finishing process, remember to place the die cut as a layer within the page layout program you are working. Label the layer die cut and change its color to one NOT used in the document.

Thanks and gratitude to Kent Wright from the Digital Prepress Department at SOS Printing. I requested war stories and I received a guest blogger!

For more information on SOS Printing and their digital and offset printing capabilities, you can find them online at http://sosprint.com/ or:

SOS Printing
8135 Ronson Road,
San Diego, CA 92111
P: 858.292.1800
F: 858.279.0687
F: 858.292.8009
E: sosprinting@sosprint.com

IGTR!!

2010-06-17T11:31:00.000-07:00

Tomorrow, MORRIS is having our first ever FedEx day. Inspired by Daniel Pink’s book Drive, FedEx Day can be described as a day of creation, where you start with an idea that intrinsically motivates you, and you make that idea a reality by the end of the day. Thus the FedEx reference—deliver in a day.

I’m particularly excited about the opportunity, because not only do I relate to and LOVE Daniel Pink’s philosophies, I’m stoked to have the opportunity to create something. And I’m stoked for two reasons.

First, I’ve always considered myself a good left/right brain combination. Lately, my work has been skewed towards the left and it’s been FOREVA since I drew something. I find that process to be cathartic and my idea, well, I think it’s kinda cool and ultimately, it could become a product for MORRIS, which I’m all about too. Anything innovative sparks passion in me.

Second, how lucky am I to work for an agency where our head honcho is willing to shut down for a day and allow us to do something we’re passionate about? I know it’s cliché, but I truly do count my blessings when it comes to my employment. Not only because the leadership at MORRIS was resourceful enough to keep us afloat during tough economic times, but also because I can’t remember a time or a job where I have learned so much, both personally and professionally. It’s because of the environment and the LACK of direction my boss, Steve Morris, has provided, that has enabled me to be self-directed and grow so much.

So, while I’m not at liberty to discuss my project—yet—let’s just say IGTR!

Font Issue

2010-06-17T11:28:00.001-07:00

The Pièce de Résistance... a Handwritten Thank You Note

2010-06-01T11:05:00.000-07:00

Upon completion of a project, take the time to think about all of the people who participated in the job—from your client(s) to your vendor(s) to the folks in between.

Keep the big picture in mind and remember, without those people, either your job wouldn't exist, or you'd have a tough time getting it done alone.

It's our practice at MORRIS to send handwritten thank you cards to our client(s), vendor(s) and all those who have helped us along the way.

Showing your appreciation for the people who choose to work with you and the people who make you look good, is an integral step in building future relationships. I can't tell you how many times we've received a thank you for our thank yous. It's a rarity in this day and age—to recognize people in this manner.

Here are a couple of the comments we've received from people re: their thank yous.

"We got your cards. THANK YOU! Your whole crew is great. ...and no one ever remembers to thank pressmen. It makes their day, and I think means more to them hearing it from you instead of me."

"THANK EVERYONE for the lovely card. You all are too nice."

"By the way ,I saw the card you sent to our pressman. You people are the most considerate group of folks I think I've ever worked with."

"WOW! I received your Thank You card in the mail today and was blown away at the thoughtfulness that you all took the time to send it in the first place. It's not often where someone takes the time just to tell you thank you let alone send such a beautiful card. I just wanted everyone over at Morris to know that it was really a pleasant surprise. It's also not only my pleasure to do work with you all, but it is also very appreciated, and I'll always do my best to give you outstanding service. Thanks again and have a wonderful day (weekend)."

"Thank you for the sweet sweet thank you card! Tarik and I both received them today and it totally made me smile on this dreary day! You guys are so awesome to work with, always so incredibly thoughtful. Not a lot of companies (or people for that matter) take the time out to say thank you these days. I haven't even met some of the people who sign these cards, either! You all are so sweet! :-) Smiles to you and the MORRIS team today (everyday, really)!"

So get out your pencil and paper... and let someone know just how important they are!!! You just might make their day!

Swagger Wagon

2010-05-18T11:11:00.000-07:00

Humor is a great way to get your brand noticed!

Track This! Final Considerations = Happy Clients

2010-05-06T12:42:00.000-07:00

The final step in any printed project is shipping and delivery. It seems obvious but it may be surprising to to learn what goes into coordinating shipping. It's a HUGE consideration, since project delivery dates are often tied to extremely important dates for your client. How and where you ship your final job have a direct effect on costs and the production schedule. The sooner you tackle shipping and delivery, the more prepared you can be in the end.

I have worked with a variety of clients with various delivery needs. Here's a list of questions to ask your client:

1) HOW would they like it shipped? Having costs and timelines handy will help them decide which shipping method will work best for their budget and delivery date.

2) WHERE is the item being shipped? Ask them for a zip code or mailing address! Your vendor will need that info to estimate shipping costs.

Does your client use a mailing house?
Do they have a distribution list?
Do they want samples shipped directly to their business?
Are they shipping to a trade show?
Are they shipping to a residential location?
Are there any special delivery considerations (i.e. gated communities with codes, will someone be there to receive the package, what time of day is convenient)?

3) WHO are they shipping it to? Ask your client for particular details regarding the recipients—specifically, names!

Are they shipping it to a specific individual?
Are they shipping to multiple people?
Are they shipping to a business?

4) HOW MANY are they shipping?

How many pieces are going to each delivery address?
How many samples would they like?
How many samples would you like?

5) WHEN do they need to be delivered by? Ask your client for their drop dead delivery date and do everything in your power to get it there on that day.

Remember that best practice is transparency when it comes to printing and shipping costs. They should be guesstimated early in the quoting process and should always be taken into consideration when planning the print production schedule.

Last but not least... ASK FOR TRACKING INFORMATION from your vendor. Forward the information to your client and FOLLOW UP on tracking to ensure the items were delivered on time and in good condition. If damage occurs during shipment, follow up with your vendor and demand (nicely) that they follow up with you with a resolution.

Your vendor is an extension of you and your reputation. If your vendor doesn't deliver on time, it reflects negatively on you. It is the designer or agency's responsibility to ensure the final product is delivered when expected. CHOOSE YOUR VENDOR WISELY!

New work from MORRIS for NUQatar

2010-05-03T14:59:00.000-07:00

Recently, we had the pleasure of working on an Admissions Brochure and Career Book for our clients in Qatar—Northwestern University. We established the look and feel during our first go around with the Admissions Brochure. A couple months later, they hired us to layout the same design in Arabic! This was my first experience working with an Arabic printed piece. The Arabic language is read left to right so we worked with a great translation company here in San Diego, Local Concept. Their team reversed the layout and made edits while we finessed the details. And the pièce de résistance—binding on the right. Here are some pics of the pieces, printed 4/4 + 2PMS (gold and purple) + satin AQ on McCoy silk, 100#C and 100#T. Printed at Rush Press.

Design Humor...

2010-05-03T14:28:00.000-07:00

Design humor... compliments of fellow blogger... http://printingrocks.tumblr.com/

Quality is job one!

2010-04-20T15:41:00.000-07:00

I spent a little time blogging about the topic of quality assurance (aka QA or QC—quality control) previously in my post: QA—A Little Help for Everyone. In it, I discuss the value of QA and provide my readers with a link to proofreaders marks, an important tool for editing documents. And, since it’s an apropos follow up to my last post, I thought I’d delve a little deeper this time around.

Diving deeper was a direct result of a situation that arose with some mistakes on a magazine we designed. After it was printed, our client informed us that there were at least two misspellings that were our fault. This forced us to find ways to incorporate checks and balances into our QA process. We moved forward with a solution for ensuring that items such as these were not missed in the future.

In addition to requesting lists of names, photo credits, photo captions, etc.—which we were already doing—we created a QA checklist. Since then, it’s been an imperative tool for proofing, for both our clients and us.

It seems like a no-brainer, but you’d be surprised how many details go into a document. A simple mistake can cost thousands. The rules differ for each job we produce, so, we created a template that can be customized to fit any project.

Here are some of the basic categories (we ask our clients to ensure the following items appear correctly on the piece):

______ Mandatory elements are included (per client request)
______ Proper nouns - such as companies, names, titles, locations, cities, etc.
______ Contact information
_____ emails _____ addresses _____ phone numbers _____ fax numbers
_____ URL’s _____ websites
______ Facts and figures (Annual Reports, specifications, etc.)
______ Dates
______ Photo captions
______ Photo credits
______ Make sure photos match corresponding headlines and captions
______ Define grammatical style and rules
______ Define special rules (rules specific to the document)
______ Table of contents (especially if pagination has changed a lot or last minute)
______ Pagination
______ Fonts

Then, if applicable :
______ Product imagery
______ Legal marks
______ Design rules (if style guide is supplied)
______ Other : Please describe here [special rules that were established during design (i.e. paragraph capitalization and indentation, etc.) or special rules established by the client].

We note all applicable rules on our QA checklist, and we send this to our client prior to final proofing. In the first version, we typically send the following statement:

Upon review of the items listed above, please submit any additional edits to the designer or project manager.

The final QA checklist (signed, dated, and faxed back to us prior to going to print) states the following:

Once edits are completed and approved, please sign below.

I have carefully reviewed and approve all artwork, design and verbiage on this project. By signing below, I release MORRIS from liability due to photographic or typographic errors. I authorize MORRIS to begin print production.

This list can also be further expanded on for web jobs.

At MORRIS, quality is non-negotiable. Having an effective system of checks and balances in place helps ensure that our clients receive what is expected.

Estimate Guesstimate, Get it Right!

2010-04-08T13:41:00.000-07:00

It never ceases to amaze me how much there is to learn in the field of print production. Papers are constantly being updated, technology is regularly improved upon, we have to keep abreast of USPS standards, and each job presents it’s own unique challenges.

The quantity and page count typically determines whether it will be printed digitally, offset, or on a web press. The budget determines the quality of paper, number of inks, and finishing techniques. The end use determines whether or not the piece will be mailed, and—if it’s mailed—whether or not it will be wafer sealed and ink jetted or collated into envelopes and labeled and the list goes on and on.

While each project is unique in it’s own right, there are a few basic guidelines to follow in the preliminary stages of estimating print projects. Below is a list of important information to obtain at the start of a project.

Obtain as much information as you possibly can from your client.

Start with general questions such as:

• Who is the end user (are they trying to impress someone with the piece, is it going to a sales force, is it going to a high-end consumer)?

• What are their expectations re: the final product (are they expecting a piece with bells and whistles or something bare bones)?

• What kind of budget do they have for print production?  

Then, break it down into the nitty-gritty. For every project, I create a Request for Quote (or RFQ for short), which outlines the specifications of the project. The answers to the questions listed below will be your guide for determining design direction and the price of the printed portion of your clients project.

The RFQ includes the following elements:

1) Date
From the beginning to the end of a project, specifications typically change. It is common to request several estimates or updated estimates from your vendor. Keeping track of the date on your RFQ’s will ensure you and your vendor have the most up-to-date specifications.

2) Sent by, phone number and extension (if applicable)
In the event your sales rep is unavailable and someone else needs to contact you, provide your name and contact information.

3) Project Number and Name
At MORRIS, we have naming conventions for all of our projects that include a three-letter client code (i.e. Chargers = CHA), a job number, and the year. We number them as the jobs are approved and enter them into a time-tracking system called FunctionFox.

4) Quantity
How many pieces does your client want printed? Ask for a quantity or—if they’re not sure—request a quantity range—i.e. 5,000, 10,000 and 15,000 quantity. Not only will you need this information to obtain an estimate, the quantity of printed pieces (along with the size and pages of the piece) will also determine how the project should be printed. Price breaks on digital jobs usually take place around the 1,000-quantity mark. Sheet-fed, offset presses typically provide the most value and quality for quantities between 1,000-100,000. When you get into the 100,000+-quantity range, you can start looking at web presses as a more economical option.

5) Size
A very important element of the project and the estimate—size plays a huge factor in determining cost and type of printing necessary. Most digital presses are limited to printing items 12” (h) x 18” (w) and smaller. Knowing quantity and size ahead of time can prepare you and help guide your design. For example, a landscape brochure cannot be printed on most digital presses.

When specifying size, it is important to note (h) = height and (w) = width. I also typically, note the finished size and the flat size. For example: If the finished size is = 8.5” (w) x 11” (h), the flat size (the size of the piece when it is open/laid out flat) = 17” (w) x 11” (h).

For pieces with folds, note the flat size and specify what type of fold you are using. You can look these up online or, click here for a great production resource.

For complicated projects, it is a good practice to provide an illustration, photo, or mock-up example of what you want to accomplish and speak with your sales rep to clarify your specifications.

6) Pages
How many pages is your printed item? Pages are calculated back-to-back so, 1 sheet of paper = 2 pages. If you are using different weight papers for the cover and the interior of your piece, you would note this as follows: (i.e.) 20 pages + 4 page cover. Otherwise, if you plan to use the same paper throughout the piece, just note the page count (24 pages). As a general rule, brochures, books, etc. should be designed in even page increments. Binding selection has a major effect on design and pagination (see binding and finishing below).

7) Paper
Paper selection is usually based on a variety of factors. For more information on how to select an appropriate paper, see my previous post: Bridget in Paperland.

8) Ink
Check with your print vendor to find out what types of presses and how many ink/varnish towers they have. Dependent on your specs, your printer can make recommendations. Ask them if their presses have any limitations such as capacity to print various weight papers. I discuss an example of this in my post on Murphy’s Law.

For digital printing, you are limited to CMYK printing only and, dependent on the press, you may be limited in your paper selection. Plus, most digital presses do not have the ability to apply varnishes or aqueous coatings.

For an offset job, your options expand tremendously. Please note: the more inks, finishes, and specialized coatings you use, the more it will cost your client. In the case of inks and finishes, it’s a good practice to look at options.

Most printed pieces are built using CMYK as their baseline. The C, M, Y, and K in CMYK represent different colors (cyan, magenta, yellow and black). They are noted as 4CP (4 color process) on an RFQ. Pages printed back to back using this process are noted as follows on an RFQ: 4/4CP.

If you have a client that has a PMS color that is associated with their brand and it is used throughout the document, you can also call out PMS colors on your RFQ [i.e. 4/4CP + 1PMS (i.e. PMS 354C)]. For every color you add, you are adding additional cost. The value of this cost depends on what is important to your client.

For more info on the differences between CMYK and PMS colors, see: CMYK vs. PMS colors.

For pieces printed on coated paper, it is common to use aqueous or varnish. Specify your coating in the ink section of your RFQ, noting that you are covering the piece throughout (if applicable), or specify exactly where you want to coat. There are a lot of interesting options when it comes to finishes. My favorite technique is the strikethrough method. My favorite coating is called soft-touch aqueous.

Ask your vendor for printed samples that are similar to what you’re specifying and request suggestions on different coating options and effects.

9) Binding
Keep in mind the overall feel of the piece when choosing binding. The number of pages in the piece also typically influences binding selection.

The most economical method of binding is called saddle stitching (binding the item with staples on the spine). It is a great option for items with small page counts. An imperative consideration when designing a saddle-stitched document is to note, your pagination must be divisible by four.

A more sophisticated binding method is called perfect binding. Same as a book, a perfect bound document has a spine. The pages are glued into the piece rather than stapled. For this reason, a perfect bound book must have a minimum number of pages (check with your vendor, this number will be based on the weight of the paper you have selected) and it is not necessary to design in 4-page increments.

There are a variety of less traditional binding methods available as well, many of which add a lot of character to the printed piece. For more binding options, check online or ask your vendor. Regardless of which binding method you choose, always take binding into consideration when designing your document and leave room in the gutter to make up for the paper that will be utilized to bind.

10) Finishing
How does your client want their printed product delivered? Common finishing requests would include trimming, shrink-wrapping, collating multiple items, stuffing into envelopes, wafer sealing, ink-jet labeling, prepping for mailing, etc. Finishing always depends on the end use of the product and where and how the product will be stored or distributed. You can request that your vendor list finishing as line items if there are various options for the project (for example, stuffing envelopes and adhering labels vs. wafer sealing and ink-jetting).

11) Proofs
Do not go to press without looking at a full-set of color proofs!! This is where the process of quality assurance REALLY kicks in. SCOUR those proofs for edits and look at them for color correctness. Check photos for resolution and note where color adjustments need to be made. Your print vendor’s in-house design production team should be able to make any necessary corrections, however, this increases the overall cost to your client. As an option, if you are capable of making changes to the links yourself, you can provide new link files to your vendor (keep the same naming conventions on updated files).

Your vendor will lay out your files in print-ready positioning on the proofs so, at this stage in the game, if there are copy edits, typically those are performed by your vendor. Ask your vendor for their hourly rate to make edits, and include it as a line item in the estimate you create for your client. Give them a range (i.e. minor copy edits 1-2 hours @ $XXX/hour) and explain that they will incur additional costs if edits to the files are requested after delivery to the vendor.

Proofing Tip
For documents that are photo heavy, include the cost to do a set of “loose” or “random” proofs in your initial estimate. This process requires a bit of legwork and coordination on your end, but if you are responsible for photo retouching, it saves a lot of time and money in the end. Essentially, once photos are approved, provide them to your vendor. They will create a set of proofs that include the images only. This gives you the opportunity to check them and make adjustments as necessary BEFORE delivering your final files for press (thanks to John Rubey at SquarePeg Packaging for that tip!)!

12) Special Instructions
If the items need to be shipped to several locations, if there is more than one piece that needs to be collated, if I have an attachment or example, I note that here. Include information about kiss or die-cutting or any additional special instructions for your piece here. Essentially this section should include all info above and beyond the original RFQ categories.

13) Samples
Make sure to request samples of your printed design fabulousness from your vendor ahead of time! A good number (depending on the price per piece and complexity of the project) is in the 20ish range.

14) Shipping and Delivery
Often overlooked, this is a huge element of every printed project.

Many times, our clients request that we include shipping guesstimates within their initial print estimate. Provide your client with options (Priority overnight, standard, economy, ground, etc.) with timelines. Priority/overnight and international shipping costs can be outrageous sometimes, particularly since printed items tend to weigh quite a bit.

Put the costs and turnaround times on the table from the start. It is important to include that timing in your production schedule since your printing timeline is typically guided by a deadline. Include shipping samples to yourselves in this cost.

If necessary, you can split your shipment into partial quantity (rushed) and the remainder can arrive at a slower pace. This is a great way to save time and money on the tail end of a production schedule.

Ask your client:

1) HOW would they like it shipped? Having costs and timelines handy will help them decide which shipping method will work best for their budget and delivery date.

2) WHERE is the item being shipped? Ask them for a zip code or mailing address! Your vendor will need that info to estimate shipping cost.

Does your client use a mailing house? Do they have a distribution list? Do they want samples shipped directly to their business? Are they shipping to a trade show? Are they shipping to a residential location? Are there any special delivery considerations (i.e. gated communities with codes, will someone be there to receive the package, what time of day is convenient)?

3) WHO are they shipping it to? Are they shipping it to a specific individual? Are they shipping to multiple people? Ask your client to provide the names of those individuals.

4) HOW MANY are they shipping? How many pieces are going to each delivery address? How many samples would they like? How many samples would you like?

5) WHEN do they need to be delivered by?

When sending your first estimate, it’s a good practice to let your clients know that your initial cost presentation serves as a ballpark number. Provide your client with an updated estimate as you near the end of the project, once specifications have been finalized. Open communications regarding changes in costs are an imperative part of any client/designer (or agency) relationship. Believe me, it will save you from difficult conversations down the line.

More to come… best practices for quality assurance and follow up once the job is printed!

Crit Translations from Print Magazine

2010-03-25T15:15:00.001-07:00

Here's a funny take on criticism from Print. It was published in their current issue—April 2010.

What They Say/What They Mean

"It's a bit horsey."
TRANSLATION: Unrefined. Try a more elegant solution.

"You need to take a step back from it."
TRANSLATION: You're trying too hard.

"This feels familiar."
TRANSLATION: I think you ripped this off. Be more original.

"Just have fun with it."
TRANSLATION: It looks lifeless.

"It's very designer-y."
TRANSLATION: Too trendy. It plays off too many motifs currently in vogue.

"Something's missing."
TRANSLATION: It doesn't look good, but I don't know what to suggest to make it better.

What are some of your translations?

When to Coat an Uncoated Sheet

2010-03-01T12:28:00.000-08:00

I was inspired to re-post an article from one of my favorite websites, Felt + Wire.

Pam McGuire, from Mohawk Paper, talks about what types of coatings are appropriate on uncoated sheets and why. See article here: http://www.feltandwire.com/?p=6918.

Make sure to check out the other resources—The Naked Truth About Uncoated Paper and Specifying Press Coatings—from Mohawk as well!

We had the privilege of working on a set of view books for the Medill School of Journalism at Northwestern University. The Undergraduate, Graduate and Integrated Marketing Communications (IMC) view books were sent to prospective students to teach them about the programs at Medill, and give them a glimpse of the curriculum. Because Medill is a prestigious program, and because they are associated as leaders in their genre, we felt the view books should have a sophisticated feel. We chose to print the piece on Mohawk Navaho Brilliant White and because we knew the books would be handled a lot, we specified a satin AQ coating, to protect them. The end result was a beautiful, clearly-printed piece, which has assisted Medill in their recruiting efforts over the past couple years.

Here's a pic of the final products:

Digital and Print—A Peaceful Coexistence

2010-02-11T14:54:00.000-08:00

I have been extremely fortunate to have a job that survived through the tumultuous economic storm. 2009 had its ups and downs. While I had the pleasure of working on a couple of extremely unique, high-quality, beautiful pieces for Sony this year (see http://tinyurl.com/yemkr8t), I also noticed a definite decrease in the number of print projects that crossed our doorstep at MORRIS.

Lately, it feels like I’m riding a wave that is repeatedly cresting and dipping. Since many of our Clients typically hire us to create cross-media campaigns, in my position as the Print Production Manager at MORRIS, its feast or famine, as we design multiple pieces—from postcards to posters to brochures and collateral to e-blasts, websites, microsites, and various other interactive items—most of them due within a short period of the other. I’m lucky to work for an agency that views branding from a holistic perspective, and understands the importance of consistency across various media touch points. Print, which is both agency and Client driven, is an integral part of those messages. Those pieces act in unison to deliver our Clients marketing messages to their consumers.

Recently, I’ve started thinking about the focus on digital, its effects on our behaviors, and the hypothesis that eventually, print will become obsolete. While at times it feels like our society is heading that direction, I can’t REALLY imagine a life without printed materials and thankfully, I’m pretty sure there’s a good majority of the population who agree.

No doubt, our technological world has created new efficiencies, expanded our horizons, and made it easier than ever to connect with our business associates, friends and loved ones. I’m grateful to live in this day and age, where there are so many amazing opportunities online. There are pros to this digital age, and without engaging in it, and interacting with it, there are many businesses that are missing out on the conversation, as social media creates more of a mom and pop atmosphere in cyberspace. It has brought brands closer to their consumers, reunited childhood friends, and made communication convenient, no doubt.

But, what about people who RELY on it solely? What about those people whom, instead of calling, use texts as their primary mode of communication? What about the generations to come? How has this digital age effected communication in general? How will our communication skills diminish over time as a result of this convenience? How has it changed our behaviors? It scares me to think about the skills and cultural experiences future generations will be missing out on.

For example, when is the last time you received a handwritten letter or card in the mail? Were you as excited as I, when you received one?

Back in the day—all the way through college—before computers were commonplace in people’s homes, I took incredible pride in the letters I wrote. The more pages the better. The envelopes themselves were works of art. And usually, if I wrote one, it meant I’d get one back. What fabulous anticipation! The truth is, I don’t even keep an address book anymore. And these days, I hate to admit it, but I spend so much time typing my thoughts, instead of writing them, that it’s a Brobdingnangian effort to put pen to paper and just CREATE.

I’m curious. Are there fewer fine artists these days? Has the improvement of design software created purely digital vision? Rarely do I see sketches anymore.

I would argue that our new model has created a diminished effect on “old school” mastery of handwriting and letter writing, possibly even art (which reminds me, I REALLY need to work on those things with my son, who is 5 and completely adept at motoring around a computer, but whose writing and drawing, well… see exhibit A below).

Aka: BReakFasT BaRs, PoT sTickERs RicE Mik and a couple extra letters I can't quite decipher (at least he included a happy little picture of the two of us shopping!)

CAN YOU IMAGINE (??), the world without books? (Where do you suppose I got the word Brobdingnangian from!?!?!)

The familiar feel of uncoated paper is comforting. Curling up with a book and escaping into another world just isn’t the same when you’re reading it off an electronic device. My eyes are bugging out enough after a day in the office. The last thing I want to do is look at a miniature version of my computer screen. One of my favorite things in the world is cuddling up and sharing a story with my son. We interact with each other AND the book. Seeing his reactions to the illustrations and how they relate to what I’m reading makes my day (and sometimes seeing those alligator teeth popping out of the book is necessary to get a point across!).

I think the key here is in finding balance. Like my son, I can hardly imagine a world without computers. And, as individuals, its up to each one of us to determine what is important and what we want to surround ourselves with. For his benefit (and mine too!), I need to work harder on keeping written and artistic traditions alive and on teaching him the value of face-to-face communication. This includes minimizing his time playing video games, showing pride when he handwrites a birthday card to his aunt, and encouraging him when he creates a scribbly, incomprehensible piece of art because all of those things are explicably tied to print, it’s power, its beauty, its place in history, and its presence in our futures.

January Whirlwind

2010-01-29T12:56:00.000-08:00

January 2010 at MORRIS has been a whirlwind. It's hard to believe that February is upon us. Change is in the air, transition has taken hold and I am excited to see what the rest of this year has in store for us.

Amazing Ad

2010-01-29T12:43:00.001-08:00

This looks like the month of reposting good videos. A simple yet effective ad....

Find more videos like this on AdGabber

STUPID... the new definition.

2010-01-19T11:52:00.000-08:00

Wow.

2010-01-13T12:16:00.000-08:00

The Fun Theory from Volkswagen. LOVE IT!

2010-01-06T10:46:00.000-08:00

Happy Holidays—Bringing Back a Classic

2009-12-23T13:36:00.000-08:00

Bringing back a classic .... Gingi!!! in Recipe for Love... from your friends at MORRIS!

For the full video, outtakes and behind the scenes footage: http://www.thinkmorris.com/recipeforlove/

Happy Holidays From the Crazy Crew at MORRIS

2009-12-22T13:31:00.000-08:00

One Nutty Family—MORRIS.

For our holiday card this year we decided to take pics of our team in the classic, but not so flattering "Olan Mills" style with some character twists—figuratively and literally. We find this annual holiday card a great opportunity to share the personality of our team. If it's not obvious, we're... having lots of fun too. And while we take our work seriously, we don't take ourselves seriously. The photos here are all taken by our staff photographer "Flash" and carefully chosen for your viewing pleasure.

Best wishes from all of us here at MORRIS for a happy holiday and a healthy, peaceful and prosperous new year!

Package Design and Flexography—Printing Limitations

2009-12-18T10:09:00.001-08:00

To my knowledge—at least since I've been the Print Production Manager at MORRIS—we haven't used flexo printing.

Recently we were asked to design a ticket that would be printed using this method. The difference between offset printing and flexography is that the image is transferred directly from the plate to the substrate (no blanket), in this case paper. It's used most often for packaging. A flexo press can print on a variety of materials, including plastics, labels, cardboard, etc.

Here are some tips and limitations to consider when designing packaging. This info came from packageprinting.com.

Although many of the recent improvements in flexo printing have broadened its capabilities, specific factors need to be understood when designing graphics for this process. According to Terri McConnell, director of brand strategy for Gravity, a subsidiary of Phototype, flexo has a several important limitations that must be considered. These include:

• Dot gain is a problem, especially when creating drop shadows and soft gradients, blends, and vignettes;

• Minimum line weights and type sizes are more difficult and traps are often heavier, making small type areas and more elegant, fine-line aesthetics challenging;

• Registration limitations dictate the use of outlines around reverse copy and graphics on backgrounds made from more than one color;

• Having to run separate plates for tone/screen and solids of the same color can significantly impact the number of ink stations available for design, notes McConnell.

“There’s no question that designing for flexo requires special consideration and forethought,” observes Rick Murphy, creative director for Gravity. “Just as an artist has to understand the unique characteristics of watercolors versus oils, package designers must understand the differences between the flexo and offset or gravure mediums in order to conceptualize a winning package that won’t disappoint when it comes off the press onto the shelf.”

Press Jargon 101—So exciting.

2009-12-08T10:30:00.001-08:00

After reviewing my goals, I realize I've been really slacking on my responsibility here! It's probably best I post something that you can learn from—I know it's been awhile!

This particular installment is for folks JUST getting into print production. A little lesson on print jargon, most of it straight from the folks at Mohawk, Wikipedia, and About.com.

In 2007, Mohawk put out a little flip book called Vital Information. I have used that item as a resource since (especially when I'm proofing and the age-old em and en dashes vs. hyphens issue comes up!). As I perused the book, I ran across some press lingo that's widely used. Knowing the vernacular will give beginners a leg-up when dealing with print vendors.

Plate: Printing processes such as offset lithography (see definition below) use printing plates to transfer an image to paper or other substrates. The plates may be made of metal, plastic, rubber, paper, or other materials. The image is put on the printing plates using photomechanical, photochemical, or laser engraving processes. See image below for an example of a typical plate, printed on metal (or aluminum).

Typically, printing plates are attached to a cylinder in the press. Ink is applied to the plate's image area and transferred directly to the paper or to an intermediary cylinder and then to the paper. The printing plates used depends on the type of press, the printing method, and quantity of the print run. A plate is prepared for each color used, or four plates in the case of 4-color (CMYK) process printing.

Offset: Short for "offset lithography." A commonly used printing technique where the inked image is transferred (offset) from a plate to a rubber "blanket" (essentially, a rubber plate) to the printing surface (paper, etc.). It is the most common form of printing used for quantities between 1,000 and 100,000. See image below.

Sheet-fed: Method of printing on sheets of paper. See image below.

Parent Sized Sheet: Most mills offer their paper in "parent-sized" sheets. A typical parent sized sheet is approximately 35" x 23" or 35" x 40." These are the sheets the offset presses typically use. Your print vendor's pre-press team will figure out how to layout your design on the parent sheets of the paper you specify.

Gripper Edge: The leading edge of the paper as it passes through a printing press.

Sheetwise: To print one side of paper with one set of plates, then turn the sheet over and print the other side with another set of plates, using the same gripper and side guide.

Web: A method of printing on rolls of paper (vs. parent sized sheets). This method is typically used on items that require you to print large quantities (100K+). See image below for an example of a web press.

Hope this basic lesson in press jargon was helpful. Now, print with confidence!
b

Urban Trees 6 - WOW.

2009-11-20T11:43:00.001-08:00

Nothing production related today... just a little inspiration, from some talented artists in my area.

The Port of San Diego just recently updated the 6th installation of Urban Trees. The sculptures are updated annually. My son and I have spent a lot of time with the sculptures–their whimsical names and shapes have sparked our imagination, and I am excited to share them with you.

This video showcases the making of one of the sculptures titled "Elysium," by artists Gretchen Mars & Brian Salmon.

"This sculpture’s design stems from Bonsai trees and lotus flowers and represents the contrasting coexistence of organic versus man-made materials. The twisted metal roots beautifully sprout into laser-cut wood leaves. The process and materials used to create the tree play upon the idea of the evolution between man and technology. "Elysium" is a place or state of perfect happiness."

Enjoy.

Here are some pics my son and I took of the last batch, as well as a few from the Harbor/downtown in general (my own urban inspiration):
http://www.facebook.com/album.php?aid=9379&id=1295581594&l=e675251397

For more on the newest sculptures, go here.
http://www.portofsandiego.org/public-art/urban-trees-6/1710-urban-trees-6-gallery.html

No More Crusty Edges—The Solution

2009-11-03T15:42:00.000-08:00

Well, for Clients who have "sky's the limit" budgets, here's a GREAT solution to the problem I refer to in my "To Blue or Not to Blue" post. Thanks to @Circa71 (http://twitter.com/circa71)—one of my Print Production Manager twitter buddies from http://www.realartusa.com/ in Ohio—for the suggestion! These guys : http://www.beastpieces.com/2009/04/electric-green-edges/ and http://www.rohnerletterpress.com have the capabilities to do this.

Pretty cool, eh?

You can follow me on twitter here: http://twitter.com/FabrcationMastr

Top Ten Websites - Oh Yeah.

2009-10-30T10:54:00.001-07:00

MORRIS was honored by HOW as one of the top ten design websites.
Check out the link... and our website!
http://www.howdesign.com/top10sitesfordesigners/
http://www.thinkmorris.com/

To Blue or Not to Blue? That is the Question!

2009-10-22T09:20:00.001-07:00

Through adversity we become stronger… is that how it goes? I’m thinking perhaps that should be changed to “we become crazier,” because sometimes, I am completely blown away by Murphy’s Law. Just when you’ve moved over the threshold—BAM!—next!

At least it’s fodder for my blog. Here’s the story of our latest challenge.

We’re working on a business card for a relatively new client. It’s just a business card, right? Should be easy enough.

He’s looking for a very professional presentation, knowing that the business card is the first impression of his new brand (that we recently renamed and created a logo for). The typography on the card and his logo are white and yellow and the symbol has a little gradient in it that radiates out from the center.

Our designer came up with a great solution that looks beautiful, but producing this card, that’s another story, and as you’ll see, it’s complicated.

It’s not often that we are able to recommend printing on a specialty paper but for this project, it was certainly appropriate. Our paper selection was an uncoated linen 100# cover stock in navy blue. It’s a great sheet of paper, the perfect thickness, very high-end—blue on both sides.

I sent the request for an estimate to three separate vendors. Two of the three vendors replied with alternative solutions because printing white and yellow ink on blue paper, is a difficult—if not impossible—task that usually results in a negative outcome.

The first vendor recommended we go with a white paper, print blue and yellow on white, knocking out (aka reversing) the white type while printing. The second vendor recommended foil.

I went back to our designer with the first vendor’s recommendation. Nope. The original goal was to produce a card that would not get “white crusty edges.” The concern was that, once trimmed, the card would lose its verve, so to speak, and look less professional.

Alright, back to the drawing board. Vendor #3 offered to do some draw-downs of the yellow and white ink on the blue paper (samples of how the ink looks on the paper) so we could see what they looked like. When we got them back, we realized the Vendor #1 had a valid point. The yellow, ew!, it looked green! And the white didn’t really stand out.

Back to the drawing board. I got on the phone with Vendor #1. There were a couple additional concerns.

Another paper we specified was a linen blue and white duplex sheet—two 65# cover sheets essentially heat-glued together—with a 130# cover weight.

This brought up CONCERN #1) The limits of the press. For smaller runs with fewer colors, our print vendors typically use their smaller presses. It’s less expensive and opens space on their larger presses for bigger jobs. The issue with this is that many of those smaller presses can only handle papers up to 100# cover weight. Thus, the duplex sheet wouldn’t work on the more economical machine.

The benefit of the blue and white sheet was that if we chose to use it, we could easily print the inks on the white side and we could consider options for the blue side. Playing on the recommendation of Vendor #2, it was time to discuss foil.

Foil was a good option but, since the papers we chose were uncoated and **maybe** not thick enough, and because foiling requires you to essentially heat-set and press the design into the paper, this brought up CONCERN #2) USING FOIL ON AN UNCOATED SHEET WITH GRAPHIC ELEMENTS ON BOTH SIDES. It was likely that wherever the info was foiled, it would show through as a depression on the other side. Seriously? And, if we had chosen a coated stock, we’d have better luck because the coated stock is more compressed than an uncoated sheet and it would take the impression better. But the uncoated sheet speaks this brand! Alright, mental note, good to know.

Then, CONCERN #3) PRINTING A LIGHT GRADIENT ON A DARK SHEET OF PAPER. There is pretty much no way to print a white and yellow gradient on a blue piece of paper, unless you foil underneath it and then we’re back to problem #2.

I just want to see with my own eyes, what happens to this paper! Can I get a foil draw-down please? Oy. OK. The see-through is pretty apparent. Back to the drawing board.

What other options do we have if we want to avoid the tattered edges?

I looked into gilding the edges (coating the edges with gold/silver), even taking a sharpie to them (not really) but alas, ultimately, this project could not be completed as specified—at least not successfully, and we didn’t want to take that risk.

So, we’re back to the original recommendation—printing these on white paper, with reversed out type, 2-color job (blue and yellow). Looks like flaking edges are unavoidable but it’s a small price to pay for the peace of mind that the printed graphics will look great.

Note to self: Do not specify light colored inks on dark colored papers, especially if you have a two-sided design, it’s impossible to pull off from a production standpoint.

Sweet Projects and Effects—Our most recent accomplishments!

2009-09-23T14:40:00.000-07:00

I have been absolutely SWAMPED! It would be ridiculous to complain in these economic times but I must apologize because my blog has definitely taken a hit! Thanks for hanging in there with me!!

I truly feel honored to collaborate with our clients and design team on such amazing projects. Most recently, we turned out:

An AMAZING flip book for the updated line of Sony Cyber-shot cameras
Various trade show items and a folder with a strand of spot gloss varnish DNA for Pathway Genomics
Updates to two 2010 versions of Medill @ Northwestern Graduate and Integrated Marketing Communication View Books (and spent a day and a half at the printer press checking them).
Finessed new specs and a new relationship with a vendor in Chicago to produce Medill’s alumni magazine.
And, we worked on a super-secret project for a high-profile client, which I cannot divulge just yet!

It is always so rewarding when these projects come to fruition and our samples arrive. I am so amazed by printing technology and everything our vendors can accomplish in such a short period of time. Here’s a shout out to our vendors—Rush Press, EarthColor, Skyline San Diego, and Schneider Graphics, for doing such a tremendous job on all of these projects!

Take a gander:

One of the printing methods we often use is called strikethrough. You can see on both the Sony flip book and the Pathway folder, how the method is used to create a result. You can use either gloss UV’s or gloss varnishes to create these effects. The gloss varnish is more economical and is typically the quicker route but the gloss UV really makes the images or typography pop off the page, especially when you are using dull UV varnishes in conjunction.

Essentially, your printer will lay down the ink and then, a full layer of gloss. The key to making the gloss “pop” is the juxtaposition of the shiny gloss and the dull varnish working side by side. Your vendor will create a separate plate for the dull varnish, which, based on the way the file is designed, omits certain areas. Our designers create clipping paths (or masks) of the items they want to highlight and save them on a separate layer (or separate file) indicating the gloss UV/varnish area. The areas highlighted in white (or, often times, in magenta) are the areas that will pop when printed. For the Sony flip book, in addition to hitting the product shots, we highlighted this technique by setting up a “blind” varnish (i.e. a varnish effect with no actual printed imagery or typography below it). This method is most effective on dark backgrounds, however, as seen in the Pathway folder example, it can also be used subtly, to create interest.

Here’s an example of how the file is set up:

The first image is the final, print-ready file. The second image is the varnish file.

And... here's the final outcome:

Pretty groovy, eh?

Check with your print vendor regarding their methodology. Each facility has a unique procedure for attaining this result. For example, the same outcome can be achieved by printing a full layer of dull varnish first, then imprinting a spot gloss varnish on top (as in the Pathway folder example). In this case, if you are working with photographic images or large areas of solid color, please keep in mind that the dull varnish tends to tone down their overall impact, so make sure you understand your printer’s process, when choosing to incorporate this effect.

Utilizing specialized printing techniques can really give your projects and your Client’s products/brand the POP! they need to make them stand out. This technique is one of many. MORRIS—making cameras and DNA sexy. ;~)

Is Social Media Just a Fad?

2009-08-26T12:56:00.001-07:00

Great video! Well designed and effectively communicates the pros of social media.

Is it a HORROR FLICK with a TWIST of ROMANCE??? Nope, it's just design & printing terminology.

2009-08-11T14:22:00.001-07:00

• BLEED • DIE • SCORE • KISS CUT • SPREAD • TRIM • TIP IN • LIVE AREA •

Visions of a slasher movie with a romantic twist come to mind... but alas, it's just design and printing terminology.

In every industry, there exists terminology specific to that business. In design and production, there’s no exception. I thought it would be helpful to share some of the basic definitions here, for designers who are just getting started. Not a terribly exciting topic but relevant nonetheless. Bookmark this page for reference, and refer to it as these familiar terms cross your plate in the future.

SPECS—LIVE AREA—BLEED—TRIM
Typically, creative directors, publishers, and sometimes printers (depending on the project), provide designers with specifications for their projects. These SPECS (for short) typically include what are referred to as the LIVE AREA and the BLEED. The LIVE AREA refers to the space the design must be contained in. The BLEED is the intentional continuance of the design beyond the live area (usually about .125” on all sides). Bleed is an important element of designs that go all the way to the edge of the paper. It is incorporated because the printer TRIMS (aka cuts) the design to the desired size (live area) once the item is reproduced, removing the extra .125" of bleed for a clean and gorgeous end product.

SPREAD
A SPREAD consists of two pages that face each other and are designed as one visual or production unit.

The following items refer primarily to finishing techniques or items you might specify when estimating a print job.

4 COLOR PROCESS or PROCESS COLORS vs. PANTONE or SPOT COLORS
See my blog entry from May 18, 2009 for the differences between specifying 4CP/CMYK vs. Spot Color/PMS. http://concoctionconspirator.blogspot.com/2009/05/cmyk-vs-pms.html

AQUEOUS vs. VARNISH COATINGS
I couldn’t have said it better myself. For more information on these items, please refer to this link, with an article on the pros and cons/differences. http://www.printindustry.com/newsletter_18.htm

SCORE/SCORING
Scoring simply refers to paper or card stock that has been compressed along a straight line (either by a machine or by hand) so it folds easily and accurately.

DIE/DIE CUTTING
Think of custom packaging, jigsaw puzzles, and stickers—anything with a customized shape. A DIE cuts, scores, stamps, embosses and debosses printed items. DIE CUTTING occurs when the die is utilized to cut or impress irregular shapes in paper, stickers, labels, or paperboard.

KISS CUTTING
KISS CUTTING is when you die cut through a peel n' stick sheet, applying just enough pressure so the die slices through the adhesive, but not through the back of the sheet. This enables the user to pull stickers off one at a time from the larger intact sheet.

TIP IN
A TIP IN is an extra page or design feature that is added to a printed piece beyond the normal process. It can be applied as a novel design adaptation and may be created using the same or different paper than the original printed design. In one of the pieces we’re currently working on, we are tipping in actual photographs to show the range of a particular product.

SADDLE STITCH
SADDLE STITCHING is a binding technique for multi-page printed pieces. Essentially, it means that the item is bound using staples (typically 3). For smaller creations, this is a cost-effective means of binding. Designs must be created in 4-page increments (8, 12, 16, 20, 24, etc…) up to a certain maximum size—dependent upon your paper choice.

PERFECT BOUND
PERFECT BINDING is also a binding technique for multi-page printed pieces. When requesting perfect binding, please note that your design must be a minimum number of pages (approximately 24+, depending on the weight of the paper). One of the benefits of perfect binding is that you do not have to create your document in 4-page increments. The pages are glued on the edge and can accommodate odd numbered pieces. Books are typically perfect bound.

For today, I’ll stop here. The world of print production is filled with nomenclature that, I admit, can become overwhelming at times. This basic list will have you sounding like a pro in no time flat. ;~)

Color Inspired Typography

2009-08-04T11:24:00.000-07:00

One of my co-workers sent me the link to this amazing website where you can search typography by color. It's pretty cool—anyone can upload a photo if you have an online link to it. The site reminded him of our Urban Inspiration project. I was inspired to submit my "PLEASE LET DOWN EASY" shot. Here are some screen grabs to inspire you too!

http://welovetypography.com

URBAN INSPIRATION GRIDS

2009-07-24T14:24:00.000-07:00

Here are a few of the images that were created by our multi-talented employees!

MORRIS Rebrand Launch—Yay! Check it out.

2009-07-21T13:17:00.000-07:00

It's official! Today we launch our new brand!

I can finally post those pictures of the stationery I promised to post back in April. See Murphy's Law—Part 1 and 2 for the process it took to get here.

Check out our sleek new website: http://www.thinkmorris.com/
and the stationery system and CD/DVD's to match :).

Urban Inspiration 1—COLOR

2009-07-16T17:23:00.000-07:00

Today, I coordinated a little field trip out of the office.

A couple months ago, my boss presented us with this year’s BHAG—aka Big Hairy Audacious Goal (a BHAG encourages companies to define visionary goals that are more strategic. The concept was originally proposed by James Collins and Jerry Porras in their 1996 article titled, Building Your Company's Vision).

Our BHAG contained one goal in particular that really sparked my curiosity, “Cultivate a mindset of innovation…”

While I don’t officially consider myself an inventor, I do consider myself an idea person—particularly lately—since I have entered (and done well with) a few of my submissions on the www.edisonnation.com website. It’s impossible to sum up the EN website and the company behind it (Eventys) without going into a long explanation. Suffice to say, it’s revolutionary and it is providing opportunity to a lot of everyday folks.

At the same time the BHAG was introduced, we unfolded a new “goals” process. We were asked to relate our professional goals to the BHAG in general—to work towards our ultimate goal of truly living the document.

I thought back to that goal, “Cultivate a mindset of innovation…”

To work on my own creative mindset, I had already bought “Thinkertoys—A Handbook of Creative-Thinking Techniques” by Michael Michalko. It teaches you how to train yourself to be a creative thinker.

One of the suggested exercises from Michalko’s book asks the reader to direct their attention to one color and spend all day seeking that color. The idea behind this focusing exercise is to help people see the world around them in a new light. By focusing on the details, they have a greater experience with that color, and it forces them to pay attention.

Since design is seriously influenced by color, I thought this would be a fun way to begin the implementation of one of my professional goals—coordinating learning opportunities for our employees to help them develop a more innovative mindset. I called the workshop Urban Inspiration (1).

I gave the exercise a little twist, and asked everyone to bring in their digital cameras and walking shoes. We split up into groups of two—I think everyone had a camera—and then we chose colors (red, green, yellow, blue, brown, and silver/chrome). I gave everyone a list of things to shoot—a person, typography, a logo, 5 close-ups, a photo of something in the distance, something natural, something stereotypically urban—and hoped they would just shoot pictures of anything that color.

It will be exciting to see everyone's completed photo grids. I couldn't wait so I posted mine below.

Here’s a little inspiration from Michalko:
“Creators are joyful and positive. Creators look at ‘what is’ and ‘what can be’ instead of ‘what is not.’ Instead of excluding possibilities, creators include all possibilities, both real and imagined. They choose to interpret their own world and do not rely upon the interpretations of others. And most importantly, creators are creative because they BELIEVE they are creative… No matter how indifferent the universe may be to our choices and decisions, these choices and decisions are ours to make. We decide. We choose. In the end, our own creativity is decided by what we choose to do or what we refuse to do. And as we decide and choose, so are our destinies formed.”

QA—A Little Help for Everyone

2009-07-15T14:45:00.001-07:00

Such a big part of my job at MORRIS is quality assurance. You would be surprised how many hours go into the painstaking process of proofing a document. Recently, I spent 7 hours (!) proofing a training guide for one of our clients—and that was just round 1. Yesterday, we received the printer proofs, which I spent another 5.5 hours on. Today, we're expecting another round, with the edits implemented, which I will likely spend an additional 2 or so hours on.

At MORRIS, we realize that our name is associated with every project that goes out our door. We are extremely proud of the work we do, primarily because our clients can rest assured that we will turn around a QUALITY project for them. Quality is one of those things that's non-negotiable—each of our employees take pride in that fact.

Before I took on the role as the Production Manager, I didn't have a clue about proofreaders marks. This was another design detail my teachers failed to mention while I was in design school. I think about those poor pre-press folks, who receive proofs with copy edits marked up by several different people without access to this information. Oy.

Where process is concerned, there can be overkill, but in this case, it has proven to be an asset to have everyone on the same page.

I scanned this page from the book I recommended earlier, "Forms Folds Sizes—All the Details Graphic Designers Need to Know but Can Never Find," by Poppy Evans. I give it to all our new employees when they come in the door. It's very helpful for both client projects and edits to internal documents such as proposals, estimates, etc.

Hang on to it for future reference. You never know when it might come in handy!

New Tool for Color Geeks!

2009-07-08T14:04:00.000-07:00

Of all the paper companies out there, Neenah Paper is, by far, one of the most innovative I have seen. They are on the cutting edge of the market with ecologically friendly offerings and their marketing efforts are stellar. They seem to be a step ahead of the competition when it comes to originality.

One of things I really enjoy about my job is meeting with our paper reps, and seeing the creativity prevalent in their paper swatch books and promo materials.

A couple years back, Neenah came out with an incredibly RESOURCEFUL paper swatch book, based on the Dewey Color System®. The Dewey Color System® was created by Dewey Sadka, who morphed color philosophy into a personality profiling tool. His system bypasses language, and connects directly to the user through their color choices, with a simple, scientifically validated test. Not only was it fun to find out if the personality test was accurate (which it was!), the book was an amazing resource on color and combinations of colors that work well together.

You can try the test online at: http://www.deweycolorsystem.com/

Just recently, our Neenah rep showed me a new mobile application called Think Ink: Color Unleashed for iPhone /iTouch users. How cool! You can pull a color from a photo and the application will give you various palettes to work with, with descriptors. You can choose your palette based on the emotion you want to convey in your design. It’s based on the swatch book above and it can be downloaded free @ http://tinyurl.com/oujv40

Bummer I don’t have an iPhone! Color geeks enjoy!

Branding in the Age of Social Media

2009-06-29T15:42:00.001-07:00

This video conference is actually a few months old but it is still relevant today. It contains good info about the differences between previous marketing methods and the relevance of establishing good relationships with consumers today.

Brand = Response vs. stimulus; something that happens in the minds and hearts of the people and the conversations that take place as a direct result of those people's experience with the brand.

Scalable Intimacy

View more documents from Michael Troiano.

It's the People, Not the Company

2009-06-25T11:08:00.000-07:00

I used to work in the HR department for a local organic grocery chain. It was really the first job where I was linked to a retail experience—and my first experience with customer service. From day one, it was my responsibility to teach our new employees the value of connecting with our customers. As a result of providing stellar service that went above and beyond, our company thrived with repeat customers and folks who shouted our praises to their friends.

What a valuable lesson! Thereafter, whenever I came across poor service, I always thought back to my experience there and thought twice about revisiting an establishment that didn't measure up.

In my role as Production Manager at MORRIS, one of my greatest responsibilities—and one of the things I enjoy most about my job— is establishing and maintaining relationships with our vendors. YOU CAN BET that the vendors that go above and beyond for our company—who work with us to solve problems, provide samples, work on budgets, and show a GENUINE interest in us—are the ones who are receiving the calls on a regular basis.

Web sites like Facebook, twitter, myspace, tribe, friendster, and LinkedIn have revolutionized the business world, making connecting with our networks and cohorts easy. A wide variety of resources are suddenly, readily available to us and relationships have taken on completely new meaning.

Everywhere you look these days, people are touting the significance of genuinely connecting with others and the importance of developing authentic relationships as a smart business practice. As someone who agrees, this perspective is a breath of fresh air.

Getting back to what matters, the PEOPLE, matters to me.

A Resource I Can't Live Without

2009-06-16T12:06:00.000-07:00

My time is limited this week.

I will be at a conference on Thursday—where I am excited to learn more about the state of social media and interactive marketing.

And Friday, I'm taking the day off to go camping sans my little one. Looking forward to some time off (of work and mommy duty) in the great outdoors!

Since I don't have much time to write, I have a book/resource recommendation for everyone who touches design or production in this industry. It's a resource that, quite literally, I couldn't live without.

It contains the following tidbits:

Measurement Conversion Charts
Copyright and Trademark Standards
Proofreading and Copywriting Symbols
Imaging and Color Info
Typography
Paper Details
Bindings and Folds
Envelopes and Folder Sizes
Packaging Die Lines
Info on Postal Standards
Bar Code Standards
Printing and Finishing Info

I have found if I need to quickly reference something, it typically has the answer I seek. Check it out!

"Forms Folds Sizes—All the Details Graphic Designers Need to Know but Can Never Find" by Poppy Evans

http://www.amazon.com/Forms-Folds-Sizes-Details-Designers/dp/1592530540/ref=sr_1_2?ie=UTF8&s=books&qid=1245178951&sr=8-2

CONSIDER THIS...

2009-06-08T12:36:00.000-07:00

This morning a good friend of mine, who owns a bath and body company, called me for advice regarding an issue with the production of the labels for her products. When she first approached her vendor for an estimate, she provided physical samples of her product (other labels, printed by a different vendor) that were the exact size and material she wanted quoted. Her labels have a rounded corner, which the vendor failed to notice was a different size than the die (shaping tool/machinery) they use. Today, in the midst of proofing her labels, her vendor told her the die size they use for rounded corners (.125”) is the “industry standard“ and if she wants to maintain the size on the rounded corners she submitted, she’ll have to pay an additional $400 to have a new die created. What? Ugh. She already paid a designer to adjust the size of the corners and now, she ‘s stuck in a tough spot. Is it the vendor’s fault for not noticing and not mentioning the difference to her during the estimating process? Is there anything she could have done to prevent this?

CONSIDER THIS… when estimating projects that require die cuts (or rounded corners). An ounce of prevention is worth a pound of cure in these situations. The following suggestions also help to keep the costs down:

Ask your vendor if they handle die cutting and conversion in-house or if they outsource it. If they handle it in-house:
1) Request a full-sized, digital die line file from your vendor.
2) Measure it.
3) Transfer the die line to your design file and use as your guide for design.
4) Print it.
5) Create a mock up.
6) Test it.

If they are outsourcing the die cutting or conversion:
1) Ask them to double check their vendor’s current library of dies and ask them to send you the most recent version of that die line.
2) Then, follow steps 1-6 above.

We ran into a similar issue with our envelopes during the Murphy’s Law project. Our print vendor provided us with the last die he was given by their envelope converter. When we went to print the envelope, the converter had updated their dies. The new file was slightly different than the file we received. Ultimately, we had to adjust the design to fit the new die. A luxury we had but one my friend does not.

Something as simple as the size of a rounded corner, or the angle of an envelope flap, can have a big impact on the final outcome of the image. For every element and every design decision that’s made, pay close attention, ask questions of your vendor, and go into every job filled with as much knowledge as possible. Hopefully, by doing so, you can avoid extra costs and the pitfalls of missed details.

NEW ADDRESS PLACEMENT REQUIREMENTS for flat sized mail pieces

2009-06-01T11:30:00.000-07:00

Another detail in the endless realm of design details...

I'm putting out a miniature fire today.

Recently the post office created new address placement requirements for flat sized mail pieces (i.e magazines and mailers). I don't recommend dealing with these issues when your project is about to be plated but... hey, looks like we're in luck today!

So... to spare you the embarrassment and cost (!) make sure to bookmark this blog or check out the new requirements for flat sized mail pieces -
http://www.usps.com/mailpro/2008/mayjune/page8.htm.

as well as information on design requirements in general -
http://pe.usps.com/mpdesign/mpdfr_intro_all.asp

If you have further, in depth questions about designing items to be mailed, search and find your very own Mailpiece Design Analyst here: http://pe.usps.com/mpdesign/mpdfr_mda_lookup.asp (pretty cool).

For those of you in San Diego...

Paula Bigornia - Mailpiece Design Analyst
United States Postal Service
11251 RANCHO CARMEL DR RM 145
SAN DIEGO CA 92199-9602

Phone Number: 858-674-0392
Fax Number: 858-674-0055
Email Address: paula.m.bigornia@usps.com

Happy designing!

Tweet Tweet.

2009-05-22T14:27:00.000-07:00

It took a while to convince myself but, what the heck.

You can follow me here now too: https://twitter.com/FabrcationMastr

Amazing color tool!

2009-05-20T11:19:00.000-07:00

I received this recommendation from kimtb as a supplement to my post on color. She has a GREAT design blog on wordpress. http://redesignblog.wordpress.com/ - check it out!

And then... check this out.

http://labs.ideeinc.com/multicolr/#.

I think one could get lost on that Web site for hours!

CMYK vs. PMS

2009-05-18T11:34:00.000-07:00

CMYK vs PMS. Such fun. ;~)

I was inspired by fellow blogger, Mark Reyland (Just My Opinion), who took on the subject of PMS and CMYK color and how it relates to packaging and product design choices.

He's right, the majority of projects printed on offset presses use the CMYK method of printing.

CMYK is also referred to as 4-color process or process colors. The ink lays down on the paper one color at a time (C = Cyan, M = Magenta, Y = Yellow and K = Black) in miniature dots. The colored dots combine to create an image. This type of printing is typically used whenever photography or illustration is used in graphic design.

The Pantone Matching System aka PMS is also referred to as spot color. Spot color is used primarily when it is imperative to match (nearly exact) color for a particular brand (i.e. as in the case with pro-sports teams or brands that are renowned for using particular colors). It is a solid color and is used a lot on letterhead, business cards, and jobs where the design doesn't include photography or imagery with a blend of color.

You can save money by using PMS colors if you use less than 4 colors. A nifty trick is that you can use transparencies of a color (i.e. reducing the transparency of a color can provide a wide gamut of tints), and you're literally only using one color on press. As you can see below, one color can yield a variety of "colors." Black transparencies have grey tints, red transparencies tinge pink.

PMS and CMYK printing is not the same.

PMS is broken down into PMS C vs. PMS U (colors appropriate for Coated sheets vs. Uncoated sheets of paper). Selecting the color depends on your paper choice.

And while there is a way to convert color from PMS to CYMK and vice versa, it is difficult to match a PMS color exactly when printing using CMYK. The transition just doesn't translate very well.

Printers can also mix PMS colors to create custom colors. Of course, this is not as cost effective as just choosing one from the PMS book.

One of my absolute favorite books, since I became engaged in this industry, is Leatrice Eiseman's - The Pantone Guide to Communicating with Color. She goes into great depth re: color, symbology, meaning, and emotional connection. She also breaks down PMS color combinations that work well in unison.

Here's some fun with colors and their meanings: (I pulled these off of fellow blogger Dyango Chavez's blog at http://dyangochavez.blogspot.com/2007/03/some-colors-and-meanings.html)

Red: This is the hottest of the colors. It is energetic, full of life, vibrant and active. It is also one of the most visible colors. It is associated with passion, life, masculinity, energy, danger, anger, blood, fire and power.
Blue: This is a cold color. Dark blue has been associated with intelligence, stability, trust, depth and intellect. It is also the most calming and relaxing of the colors.
Green: This is also a cold color. It symbolizes health, nature, freshness, harmony and balance. It has been associated with money, spring and stability.
Orange: This is a warm color and very stimulating. It is associated with joy, vitality, creativity and energy. It is used to symbolize construction and is a great action trigger. It has been said to increases the craving for food.
Purple: This color can be cold or warm, depending on the amount of blue or red used in the mix. It is symbol of spirituality, luxury, royalty and power. In some cultures is also associated with disease.
Yellow: This is a warm color associated with energy, light, happiness, energy, creativity and the sun.
Black: This can be warm or cold, depending on the colors with which it is combined. It symbolizes elegancy, sophistication and mystery. In some cultures it is also a symbol of death.

The whole world, as we experience it visually, comes to us through the mystic realm of color. - Hans Hofmann -

Enjoy.

A Nifty Little Resource

2009-05-13T11:58:00.000-07:00

Ooooh, I found a new toy.

For those of you who are verbivores, you have probably noticed the banner ads for the visual thesaurus on the thesaurus.com Web site.

Lucky me, our Head Honcho offers his employees a generous stipend each year, which we can spend on nifty little resources such as this one. Since I wear many hats at MORRIS, one of which includes writing proposals (and a blog!), this tricky gadget certainly comes in handy.

Check out the tutorial and give the visual thesaurus a whirl!

http://www.visualthesaurus.com/

CONSIDER THIS...

2009-05-07T11:19:00.000-07:00

As I began compiling a list of items to consider when working on print specifications, my mind began to swirl (comparable to the effect of the Neave Strobe) at the length of possibilities inherent in each project.

We have skimmed the surface of paper and have even discussed certain press considerations but to gain a further and more complete understanding of the complexity of this process, I have decided to break it down into smaller categories. I plan to post these considerations intermittently and will title each section "CONSIDER THIS..."

Sooooooooooooooo .... CONSIDER THIS... when printing large format items (such as banners, signs, walls, billboards, car and building wraps, standees, etc.)

1) Find a great vendor who specializes in large format printing. If you can find a vendor who has various capabilities, provides stellar service, a quality product at a decent price, and uses cutting edge materials, even better! Request samples of their products and ask lots of questions!

I had the privilege of working with an amazing, large format vendor recently on an installation MORRIS did for the La Jolla Country Day School. This exhibit required a variety of items including large signage, standees (life size cut outs), banners, large walls, clings, street post signage, and magnetic items.

Our vendor, Avi Klinger, owner of Sign It (www.sign-it.com), fit every description listed above. He worked side by side with us on this project every step of the way. He provided personal attention and material samples, brainstormed ideas with us, kept an open and experimental mindset, and his company had the capability of producing EVERYTHING we requested QUICK. Check out the amazing products they produced below (signs, walls, magnets, doors, and standees).

2) Verify the maximum size of the press. Take bleed (color running off the edge of a page) into consideration.

3) Request specifications from your vendor re: file set up and delivery. Knowing how to set up and save your file ahead of time is a crucial, time-saving step.

What are the accepted file formats (Illustrator, Photoshop, InDesign, pdf, tif, jpeg... etc.)?
What resolution should you build the file?
How should you build the file (CMYK)?
What is the live area?
Should you outline the fonts?
Should you embed the images?
Do they have an ftp site?
Would they like the file delivered on disc?
Would they prefer you upload online through their Web site?

4) Talk to your vendor about what types of materials they offer. Ask them for recommendations.

What material is appropriate for this application?
Do they have recycled materials?
What are the newest materials on the market?
Are they available?
How long will it take to get them?
What is the weight of the material?
Is the weight of the material appropriate for this application?

5) Obtain additional information from your vendor re: the production process, proofing, and samples.

What is the turnaround on the item(s)?
Do they provide proofs?
Is there an additional cost for proofs?
Can you get a sample printed on the material you requested?
Is there an additional cost for a sample?
Can you attend a press check?

Considerations 2-5 (listed above) can and should be applied to all print projects. For #4, refer to previous and future posts on paper selection. The word "materials" can be substituted for paper, if your print vendor is making paper recommendations.

CONSIDER THIS... when printing banners, large signs or walls (such as trade show graphics) or billboards:

1) Determine the purpose of your banner/sign/wall/billboard. The purpose drives the overall design.

Is it a backdrop at a trade show?
Is it intended to draw attention to an event or company as drivers pass by?
Is it used as a sign in an art installation?

2) Determine how you are going to hang your banner/sign/wall/billboard. Each of these considerations effects the file set up and what type of material you will use to produce your banner/sign/wall/billboard.

Are you using a stand?
Are you hanging it on a wall, on a fence?
Will it be hung on existing hardware (such as a billboard or banner stand)?
Will the existing hardware support the weight of the banner/sign/wall/billboard?
Do you want grommets? If so, what color?
Do you want to hang this using a pocket/pole system?
What type of hardware do you need to hang your banner (hooks, zip ties, wires, poles, glue, special services, etc.)?
Where will you hang your banner/sign/wall/billboard? Inside? Outside?
If you are hanging your banner/sign/wall/billboard outside, for how long?

Example :: Outdoor Banners
We created several outdoor banners for the installation mentioned above. The purpose of these banners was to inform the public about the upcoming exhibit. They were hung on chain link fences outside of the school for approximately two weeks. We chose a sturdy, weather resistant, vinyl material and used grommets and zip ties to hang the banners. We also selected large, white type that was set off by beautiful bright colors, to catch the attention of drivers as they sped by.

Example :: Indoor Banners
We also created several indoor banners for the exhibit. The purpose of these banners was to announce each separate part of the installation. They were hung from the ceiling on wire cords inside the show for approximately one week. We chose a recycled, lightweight material and used a pole/pocket system to hang the banners. Because the banner was double sided and hung via poles, we had to account for additional banner length (so they could fold and sew the material to create a pocket for the pole) and we were instructed to mirror our design on the bottom portion of the banner to accommodate for the double sided feature. The designs for each of the six banners were branded consistently. They worked in unison, as a family, that helped successfully represent each department of the exhibition.

I remember a meeting where our client was asking us for advice on producing a banner. After walking her through the questions listed above, I can still hear her laughing as she replied, "Who would have thought, ALL THIS went into a simple banner?" I think she chose silver grommets. ;~)

Murphy's Law - Part Deux

2009-04-30T11:51:00.000-07:00

So, we chose option #2. Our vendor was able to work out a new layout and prep it for a different press but, ultimately, we will end up spending a little bit more for the imprints.

In the meantime, we found out the envelope converter made changes to the square flap die cut. Oy! (Are you kidding me?) In this case, the simplest solution was to adjust our envelope design to fit the new die. Thankfully, our design was flexible enough to do so.

Finally, on to the press check… where, for the most part, everything went well. Our vendor showed a lot of patience with the designer and I as we diligently checked the printed items for overall quality, registration (does the ink line up? Are the lines on the type crisp?), color (does the image look realistic? Is it too yellow? Too red? What can we adjust to make it look right?), and for additional issues such as hickeys and blemishes (often dust or powder on the rubber blanket that transfers the image onto the paper, produces minor specks/spots on the sheet). After shifting the color on the letterhead four times and the color on the business cards once, we were finally happy with the outcome and we approved the run. These are going to look sweet!

While the wove finish creates an authentic and familiar experience, due to it’s rough texture, we experienced a bit of mottling (i.e. splotchy-ness) on the less opaque bands of color. And while we gained a classical, strong, and familiar look and feel for our products by using a premium uncoated paper, because of dot gain (ink seeping into the paper), we traded in crisp clarity for some loss of detail (but they still look awesome!!). I can't show you them just yet... but I'll post pictures when I get the green light.

The moral of this story is… for every job, it is likely you will face adversity and will be required to find solutions for problems that you did not anticipate. For every decision you make along the way, there are pros and cons, and you must give and take. The main mission is to maintain flexibility and always strive for the best. In the end, you’ll have a stellar product, one you can be proud to tout as your own.

Check it out!! They have arrived!

No Drugs Required

2009-04-29T09:56:00.000-07:00

Check this out.

http://www.neave.com/strobe/

Murphy's Law

2009-04-21T17:35:00.000-07:00

If I had ten dollars for every time someone told me, “This is gonna be easy,” well, let’s just say, my bank account would be a lot fatter.

One of the main reasons I really love my job is that no two projects are the same. While I have discovered certain techniques that I can apply to one project to emulate another, typically, I have to start from square one.

Besides the fact that each client is unique, each company is speaking to an exclusive audience, each business has a particular budget, and each designer has a particular aesthetic in mind, the paper and printing industry are constantly evolving. Papers are regularly discontinued, companies merge, new practices are introduced, and there are various ways to get a similar result. It is important to be on top of your game in this field, and have partnerships with vendors who know the business and can keep you up to speed on the latest, greatest, most economical, most cutting edge options.

Take the most recent example of a stationery system…

The designer takes brightness, weight, and finish into consideration and asks me to find a paper that fits the description. I go to the rabbit hole to see if I can find a paper that fits the bill. The designer and I agree, our #1 paper choice is Strathmore Ultimate White Wove – a gorgeous, premium, bright white, uncoated sheet, with a toothy texture that comes in a variety of weights.

On to estimating… should be easy enough, right?

Well, since this IS a stationery system, our preference is to match the paper for the business cards to the paper for the letterhead. Alright, no problem… the paper comes in a 80#C, 100#C and even 110#cb and 130#cb – all in a WOVE finish – finding a match should be a piece of cake! I received instruction that we should go with a lighter weight paper on the letterhead if possible. So, off goes the first of MANY RFQ's (Request For Quotes) to our vendors:

I'll take an order of 70#T (Text) letterhead and a side of 100#C (Cover) business cards.

(Mind you, I’m estimating this with three different vendors so… I get three phone calls, letting me know…)

The papers you estimated are “mill items” (i.e. we don’t stock that paper in-house and if we order it, we have to order a bucket load). Hmmm, OK. The 100#C is not available in smaller quantities, however there's an 80#T IS.

OK, we can live with 80#T for the letterhead (and the #10 Policy envelope. The #10 Policy needs to be converted - printed first and then folded and glued - so we can save money by running the #10 with the letterhead). Sweet. Two specs down, one to go.

Our designer is adamant - the paper must be:
WOVE
BRIGHT
TOOTHY
AT LEAST 100#C or 130#C.
And… of course, it can’t be a mill item.

OK, well this paper comes in a #110cb and #130cb. That’s the same paper, right?

NOT.

cb stands for cover bristol and even though it’s a wove, the finish is much smoother. I show them to our designer - nope, not gonna work.

Back to the drawing board.

After about 3 trips back and forth with paper samples, none of which fit the bill, eventually, our vendor found a 130#C, that’s not a mill item!
It’s:
AVAILABLE IN SMALL QUANTITIES
BRIGHT WHITE
TOOTHY
It’s even in the same paper family! It’s called Platinum White Wove.

Alright… bring it on!

I gingerly approach our designer and yes! finally! we found the right business card paper!! It’s thick, it matches, it’s going to be great!

We proof all our files, send the files to the printer… and we’re off and running, woooo hooooo!

Today’s the day, we get to see the proofs, we’re rolling, we’re on our way to a … screeeeeeeeeeeeeeeeeeeeeeeeching halt.

See, the quantity on these cards are relatively low, so, to save money, we asked our printer to make masters of the business cards. In addition to printing the initial set of cards with the names on them, our vendor will print additional masters (i.e extra business card "backs" only, the front of the card will be blank). Then, they store them until the cards need to be imprinted again. This way, the initial set-up fees are not included in the price when they need to be reprinted.

Well, part of that “master plan” includes cutting the masters down to a smaller size. However, if they cut them down to a smaller size, it will cause issues with the reprint. Not only does the press they selected to reprint the cards have a size limit, it has a thickness limit as well and… you guessed it (!)… the printing machinery can’t handle the 130#C we selected!!! Ay yi yi.

So now… when it comes time to do the reprints, there will be additional problems to consider. It can be handled one of two ways:
1) Either the reprints are done on a digital press – which is an issue because, due to IT’S limitations, a digital press can’t EXACTLY match the color on the front of the card (which is extremely important in branding land) OR,
2) Our vendor can store large master sheets, which limits the ability to reproduce small quantities of cards and ultimately increases the cost.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHH! What next? The craziest thing is, this is a typical job. It’s a good thing MORRIS is the client!!

This layout is driving me nuts!

2009-04-17T17:52:00.000-07:00

I'm not a designer by trade but I HAVE spent some time in design school. The layout of my posts are driving me nuts!! They look perfect on a Mac but they come out all wonky on the PC (gee what do you know?). Maybe it's my internet browser? Oy.

Figuring out blogger

2009-04-17T10:17:00.000-07:00

For those of you following, I apologize if you are getting multiple messages re: my posts! I just figured out how to add links to my messages and from now on, instead of posting, editing, posting, editing, posting, editing... I will save as draft and post when I'm ready!! Thanks for your support and your comments! b

Bridget in Paperland...

2009-04-16T14:59:00.000-07:00

I was asked to give a studio tour to an aspiring design student. Since I believe that knowledge is power, I made every effort to give her the most thorough tour I possibly could. This included a trip into what could conceivably be viewed as MORRIS’s rabbit hole… the ever so overwhelming paper cabinet, filled with oodles and oodles of inspirational and intricately designed paper sample books (I love those books!). As I explained the different papers, from uncoated to coated to specialty papers, from brightness to finish to weight, her eyes became big as the saucers you would find on the Mad Hatter’s table itself. Finally, she remarked, “Wow, I never would have imagined there were so many papers.” Well, me neither.

I have the amazing privilege of working with top notch designers at a studio that empowers its’ employees to drive big picture decisions for our clients. The most fulfilling jobs are those in which our clients instill their trust in our abilities to work within their budget to design the most aesthetically appealing project we possibly can. This includes selecting the right paper for the job. Paper creates a mood and speaks to its’ audience. It is intrinsically tied to the strategy of design, as it relates to its affect on the demographic the client is trying to reach.

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There are three basic categories of paper: Coated, Uncoated, and Specialty. Within each category, there are several subcategories. For now, I’ll briefly stick with the basics.

Coated papers have a surface sealant. The sealant is made up of various liquids and clay. Coating allows ink to sit up on top of the surface of the paper without seeping into the paper fibers (aka dot gain).

Within the realm of coated stock, there are options: matte, dull, satin, and gloss. All give you varying amounts of surface sheen.

Uncoated papers do not have a surface sealant and are more susceptible to dot gain on press. The natural feel of an uncoated sheet varies from that of a coated sheet. Uncoated papers also come in various finishes from news stock to premium ultra-smooth sheets.

Specialty papers range from exotic finishes, which affect the texture of the paper, to papers printed with intricate design patterns. You can find opalescent papers, papers that emulate pigskin, papers that are made out of hops and barley, see-through, plastic, and synthetic papers, papers made from seeds, colored papers, etc. There are a wide variety of specialty papers that can have a strong impact on design. The French Paper company http://www.mrfrench.com/ench.com is a leader in the specialty paper industry. Here are some examples of their specialty papers:

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Each of these paper types can be further categorized into different weights. There does not seem to be an overriding system of classification when it comes to paper weight. Sometimes you will see paper listed in points and other times you will see it listed in pounds (aka #).

Typically, we work with either TEXT weight or COVER weight stocks.

TEXT weight stocks are commonly used for pages in catalogs, books, as letterhead, etc.

COVER weight stocks are typically used for business cards, as covers on catalogs and books, for greeting cards, postcards, and items that require substantial reinforcement or protection from extensive use.

Simply phrased, COVER weight stocks are thicker/heavier than TEXT weight stocks.

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Paper selection should be considered as early in the design process as possible. There are a variety of things to take into consideration when choosing a paper.

Who is your client? Are you designing for the technological sector or for folks in the educational field? Who is their target audience? Is it a children’s product or a product for seniors? Do you need to catch your audiences’ attention?

This could be the single most important aspect of selecting the right paper for the job.

If your client is an eco-conscious company, you can cater to their values by choosing a paper that is either FSC (http://www.fsc.org/ ) or SFI (http://www.sfiprogram.org/) certified.
If your client wants to market their product to hip tweens, you can enhance your design by choosing a specialty paper that has a unique finish, such as a sheet that glimmers or is soft to the touch.
If your client is a top-notch college, a sophisticated, premium paper choice is appropriate for communicating with their demographic.
If your client sells underground art, a grungier paper such as newsprint or a paper with a grittier texture would help convey their message.
If your client is a children’s book publisher, consider a heavier weight stock, which will endure the routine of repeated use.

Now that you get the picture, here are some additional items to consider when making your paper choice:

How much coverage (aka ink) is there within the design? Are you flooding your pages with dark colors?

If you are using a lot of dark or solid inks in your design, choose a more opaque and/or heavier weight paper. There’s nothing more distracting than trying to decipher a sentence due to the show-through on the opposing page.

Is the item you are creating mostly pictures? Is it meant to be read? Where will people be viewing the document?

The content of your document and the final function is an important consideration when choosing paper.

If the purpose of the piece is to really showcase the imagery, typically, a coated sheet will reproduce images in greater detail, giving it a more photographic quality.
If the end-user is ultimately going to be viewing the document indoors, keep in mind the glare effect that is often associated with glossy papers under fluorescent/unnatural lighting.
If the majority of the design consists of copy, as in magazines, books and stories, an uncoated sheet or a dull/matte coated sheet is much softer on the eyes.

Does your design include folds? Does your design have die cuts?

Certain papers take better to folding or cutting than others.
If you intend to fold your design and it has heavy ink coverage, you could be in trouble. If you select a paper that is too heavy, it is likely you will see a lot of cracking in the creases (aka areas where the ink sloughs off).
For items that require die cutting, if your paper is too thick, when it’s cut it may leave ragged edges.

Regardless of your project, when selecting paper, lean on the professionals and test, test, test your papers!! Find a good paper rep (http://www.unisourcelink.com/index.asp) or print vendor and utilize them as a resource! Contact the paper mills and request printed samples on the stock(s) you are considering AND request plain ole paper samples of the paper in its’ varying applicable weights. Another thing you can do, once you’ve determined or are close to deciding upon the specifications on your project, is to order dummies (samples of the items) made from the paper you are considering. You can order dummies directly through your paper rep and often times, through your printer. Ultimately, seeing and feeling the paper as you intend it to function will help you make the right decision.

A co-worker referred me to this hilarious link from American Psycho (The Card of Cards) on “The Daily Heller” site (brought to you by http://printmag.com/). It really drives the point home. http://www.youtube.com/watch?v=qoIvd3zzu4Y

Until next time, happy paper hunting!

Grammar... To comma-and or not?

2009-04-07T15:55:00.000-07:00

One aspect of my job as the Production Manager at Morris! is QA - Quality Assurance (aka PROOFING); making sure that every item that goes to print gets the once, twice, and sometimes thrice (or more!) over, BEFORE the presses run. While proofing a 100+ page document can prove to be tedious, in the end, it pays off with our clients, who appreciate the extra effort.

One of the items we regularly come up against are grammar issues, PARTICULARLY, the comma-and (, and) relationship when separating elements in a series in a sentence. Some clients use comma-and, and some don't. Our main goal is to obtain consistency throughout the document so, I checked online to see what the actual rule is.

I found this incredible Web site DEVOTED to grammar: http://grammar.ccc.commnet.edu/GRAMMAR/index2.htm

The Guide to Grammar and Writing is sponsored by the Capital Community College Foundation, a nonprofit 501 c-3 organization that supports scholarships, faculty development, and curriculum innovation.

They DO recommend comma-and (, and) to avoid confusion (see below).

Use a comma to separate the elements in a series (three or more things), including the last two. "He hit the ball, dropped the bat, and ran to first base." You may have learned that the comma before the "and" is unnecessary, which is fine if you're in control of things. However, there are situations in which, if you don't use this comma (especially when the list is complex or lengthy), these last two items in the list will try to glom together (like macaroni and cheese). Using a comma between all the items in a series, including the last two, avoids this problem. This last comma—the one between the word "and" and the preceding word—is often called the serial comma or the Oxford comma. In newspaper writing, incidentally, you will seldom find a serial comma, but that is not necessarily a sign that it should be omitted in academic prose.

They also have quizzes on the site, to test your grammatical prowess. I got 100% on this one! See how you do:

http://grammar.ccc.commnet.edu/GRAMMAR/quizzes/nova/nova1.htm

Finally, a free, comprehensive, easy-to-understand Web site on grammar. Now, when are we supposed to use those n dashes?

Color Scheme Designer

2009-04-07T13:44:00.000-07:00

This was a fun little tool that I found on http://www.simplepea.com/. For the designer who loves "The Pantone Guide to Creating with Color" by Leatrice Eisman, this one provides a plethora of combinations to make your designs truly stunning! Choose from mono, complimentary, triad, tetrad, analogic and accented analogic color schemes. Check it out!

http://colorschemedesigner.com/

Welcome to my Production Blog

2009-04-07T13:21:00.000-07:00

As part of my goals for the year 2009, I wanted to create a space where I could share with you. In addition to the cool tidbits about design that I learn around the office, my main goal is to share the info that others have shared with me; providing you with the info I have been privy to re: print production and the process of bringing a high-quality printed piece or pieces to fruition. I hope that this will serve as a resource for anyone who's interested!