In the spirit of the upcoming holiday season, the folks here at Printing Industries of America would like to take the time to thank printers all over the world for all of their hard work. From prepress to binding, printers make the lives of marketing professionals and company executives happy and easy. But the life of a printer isn’t as easy as it looks. Printing a brochure for a conference or a label for the newest product is a lot more intricate than it seems. So, before you start thinking you could “do it better for less,” let’s stop and look at our top 10 reasons to thank a printer. Remember when you emailed a last-minute file at 4:00 p.m. on a Friday evening and asked for it to be delivered on Sunday? Remember when they got it done? Thank a printer. Remember when you hand delivered a high-profile job to the facility just to ensure that “everything goes smoothly?” Remember when they exceeded your expectations? Thank a printer. Remember when you insisted on a two-hour meeting during the holiday season to review machines, methods, colors, paper, coatings, folding, binding, and mailing? Remember when the printers participated and walked you through every step? Thank a printer. Remember when you wanted to change the brightness of your blue and you couldn’t understand why your yellow didn’t pop? Remember when they sat with you in a press check and explained color management? Thank a printer. Remember when your file specified a red from CMYK but you asked for Pantone colors because “all reds are the same?” Remember when your red turned out the way you hoped anyway? Thank a printer. Remember when you wanted your 500-piece table promotion folded in the shape of a swan? Remember when the swans was the prettiest you ever saw? Thank a printer. Remember when you sent your 5,000+ mailing list to the mail house with information from the 70s? Remember when all your direct mail pieces where delivered to the correct addresses? Thank a printer. Remember when you rushed a typo-filled document to the print house because “you didn’t have the time to proofread?” Remember when your piece came out error-free? Thank a printer. Remember when your boss insisted they see a printed proof or bindery dummy before you paid for the final job? Remember when the proof was everything you’d hoped for? Thank a printer. And finally—remember when you literally “stopped the press” for a change during the last day of printing? Remember when they worked with you and helped you get the end product you desired? Thank a printer. Always, always, always, thank your...

The following post was submitted by Color 2015 sponsor, GTI Graphic Technology, Inc. What do a photographer, commercial printer, and sign printer have in common? They all have a need to accurately communicate color. When they carry out this objective consistently and accurately, they are providing a high level of value to their clients and increasing the efficiency of their business. Obviously, accurately reproducing color is a complicated process. Especially when different substrates, technologies, and production facilities are involved. To help ensure that accuracy is achieved, two guidelines should be followed. The first is to view original artwork under several different lighting conditions and to pay particular attention to the “final use” lighting environment—if it can be defined. Once a color image has been approved as the target color, future viewing comparisons (between proof and corrected proof or press sheet) should be made under ISO standard D50 light quality. So, if you are producing a point-of-purchase sign for a store window, you should proof your color selection in a lighting booth that can accurately simulate daylight during production. The second is to follow established industry standards. ISO 3664:2009 is the international color viewing standard for the graphic technology and photography industries and outlines targets and tolerances necessary for all color viewing systems to meet. All of GTI Graphic Technology’s Graphiclite® Color Viewing Systems meet or exceed the ISO:2009 Standard. GTI achieves this by utilizing lamps that provide the closest match to the spectral power curve of the industry aim point of D50, incorporating proper geometry of illumination into our booth designs, and by utilizing Munsell N8/ Neutral Gray to create the neutral surround conditions specified by the ISO:2009 standard. A “neutral” gray, like Munsell N8/, is not a black and white mix, but an equal mixture of all the spectrum (r-o-y-g-b-i-v) colors. A spectrophotometric measurement of such a gray will show it to contain approximately equal amounts of those spectrum colors. Non-neutral grays, however, have unequal amounts of the spectrum colors, causing a cold or warm color shift under differing lighting conditions. Neutral gray is specified and recommended for color viewing because it eliminates “simultaneous color contrast.” For example, a red sample viewed on a blue background has an orange cast, while the same red viewed on a yellow background appears slightly purple. For the eye to see color accurately, it is imperative that the surround environment be chromatically neutral. Neutral gray also minimizes “color pollution” of a viewing area, which is caused by reflections from chromatic surfaces. When D50 standard illumination is reflected from colored walls, its color quality changes so it is no longer “standard.” The application of a neutral gray to chromatic surfaces will eliminate such...

The following post was submitted by Color 2015 sponsor, GTI Graphic Technology, Inc. What do a photographer, commercial printer, and sign printer have in common? They all have a need to accurately communicate color. When they carry out this objective consistently and accurately, they are providing a high level of value to their clients and increasing the efficiency of their business. Obviously, accurately reproducing color is a complicated process. Especially when different substrates, technologies, and production facilities are involved. To help ensure that accuracy is achieved, two guidelines should be followed. The first is to view original artwork under several different lighting conditions and to pay particular attention to the “final use” lighting environment—if it can be defined. Once a color image has been approved as the target color, future viewing comparisons (between proof and corrected proof or press sheet) should be made under ISO standard D50 light quality. So, if you are producing a point-of-purchase sign for a store window, you should proof your color selection in a lighting booth that can accurately simulate daylight during production. The second is to follow established industry standards. ISO 3664:2009 is the international color viewing standard for the graphic technology and photography industries and outlines targets and tolerances necessary for all color viewing systems to meet. All of GTI Graphic Technology’s Graphiclite® Color Viewing Systems meet or exceed the ISO:2009 Standard. GTI achieves this by utilizing lamps that provide the closest match to the spectral power curve of the industry aim point of D50, incorporating proper geometry of illumination into our booth designs, and by utilizing Munsell N8/ Neutral Gray to create the neutral surround conditions specified by the ISO:2009 standard. A “neutral” gray, like Munsell N8/, is not a black and white mix, but an equal mixture of all the spectrum (r-o-y-g-b-i-v) colors. A spectrophotometric measurement of such a gray will show it to contain approximately equal amounts of those spectrum colors. Non-neutral grays, however, have unequal amounts of the spectrum colors, causing a cold or warm color shift under differing lighting conditions. Neutral gray is specified and recommended for color viewing because it eliminates “simultaneous color contrast.” For example, a red sample viewed on a blue background has an orange cast, while the same red viewed on a yellow background appears slightly purple. For the eye to see color accurately, it is imperative that the surround environment be chromatically neutral. Neutral gray also minimizes “color pollution” of a viewing area, which is caused by reflections from chromatic surfaces. When D50 standard illumination is reflected from colored walls, its color quality changes so it is no longer “standard.” The application of a neutral gray to chromatic surfaces will eliminate such...

The following post was submitted by Color 2015 sponsor, GTI Graphic Technology, Inc. What do a photographer, commercial printer, and sign printer have in common? They all have a need to accurately communicate color. When they carry out this objective consistently and accurately, they are providing a high level of value to their clients and increasing the efficiency of their business. Reproducing color accurately is a complicated process, especially when different substrates, technologies, and production facilities are involved. To help ensure that accuracy is achieved, viewing comparisons across the supply chain should be made in viewing conditions that comply with the ISO 3664:2009 standard. ISO 3664:2009 is the international color viewing standard for the graphic technology and photography industries. It is a set of specifications that enables lighting engineers and manufacturers to design, test, and certify their color viewing systems to the industry standards and challenges them to enhance the performance of their products. There are five specific conditions to meet when designing an ISO 3664:2009-compliant viewing booth. Color Quality D50 light, which represents natural daylight, is used to view prints, photographs, and other graphic arts applications. It should be noted that not all 5,000K lamps are equal. To maintain compliance with the standard, use only ISO 3664:2009-compliant lamps in your viewing booth. Light Intensity Consistent light intensity is critical to consistent image rendition. The standard provides a target intensity designed to allow full tonal visibility of shadow detail without washing out highlights. Color decisions should be under light that is between 1,750 and 2,250 lux, with 2,000 lux being optimum. Evenness Even light intensity across an image assures correct interpretation of print/reproduction quality. Evenness is ensured by measuring illuminance at several evenly distributed points on the viewing surface. Illumination should be at least 1,200 lux (60% of 2,000) intensity at all points on the viewing surface. Surround Surround color and reflectance affect color appearance. ISO 3664:2009 specifies that the surround and backing shall be neutral and matte. Munsell N8/ neutral gray paint is used by GTI Graphic Technology, Inc., the leading manufacturer of color viewing systems to meet this condition. Geometry The presence of excessive glare is distracting and can hide reproduction detail. Therefore, the light source, image, and the observer’s eyes need to be positioned to minimize glare. The standard does not explicitly specify lighting geometry but states it should be minimized.   Selecting a viewing booth to meet your requirements is easy. Determine what size viewing area you need; it is recommend that your viewing area be large enough to allow side-by-side comparison of prints and proofs. You should also consider the number of people who will be involved in the viewing process when selecting your...

The following post was submitted by Color 2015 sponsor, GTI Graphic Technology, Inc. What do a photographer, commercial printer, and sign printer have in common? They all have a need to accurately communicate color. When they carry out this objective consistently and accurately, they are providing a high level of value to their clients and increasing the efficiency of their business. Reproducing color accurately is a complicated process, especially when different substrates, technologies, and production facilities are involved. To help ensure that accuracy is achieved, viewing comparisons across the supply chain should be made in viewing conditions that comply with the ISO 3664:2009 standard. ISO 3664:2009 is the international color viewing standard for the graphic technology and photography industries. It is a set of specifications that enables lighting engineers and manufacturers to design, test, and certify their color viewing systems to the industry standards and challenges them to enhance the performance of their products. There are five specific conditions to meet when designing an ISO 3664:2009-compliant viewing booth. Color Quality D50 light, which represents natural daylight, is used to view prints, photographs, and other graphic arts applications. It should be noted that not all 5,000K lamps are equal. To maintain compliance with the standard, use only ISO 3664:2009-compliant lamps in your viewing booth. Light Intensity Consistent light intensity is critical to consistent image rendition. The standard provides a target intensity designed to allow full tonal visibility of shadow detail without washing out highlights. Color decisions should be under light that is between 1,750 and 2,250 lux, with 2,000 lux being optimum. Evenness Even light intensity across an image assures correct interpretation of print/reproduction quality. Evenness is ensured by measuring illuminance at several evenly distributed points on the viewing surface. Illumination should be at least 1,200 lux (60% of 2,000) intensity at all points on the viewing surface. Surround Surround color and reflectance affect color appearance. ISO 3664:2009 specifies that the surround and backing shall be neutral and matte. Munsell N8/ neutral gray paint is used by GTI Graphic Technology, Inc., the leading manufacturer of color viewing systems to meet this condition. Geometry The presence of excessive glare is distracting and can hide reproduction detail. Therefore, the light source, image, and the observer’s eyes need to be positioned to minimize glare. The standard does not explicitly specify lighting geometry but states it should be minimized.   Selecting a viewing booth to meet your requirements is easy. Determine what size viewing area you need; it is recommend that your viewing area be large enough to allow side-by-side comparison of prints and proofs. You should also consider the number of people who will be involved in the viewing process when selecting your...

Life moves fast. Who has time for print? One new campaign is suggesting we all do—even if we aren’t aware of it. Paper and packaging has been in competition with other media forms for quite some time now. Within our industry we know that printed paper and packaging products are viable and sustainable. But the real problem is convincing our customers of that. It comes down to general perceptions. Kids, instead of coloring in a coloring book, would rather play video games on tablets. Sports fans would rather download a virtual game ticket. Vacationers would rather take their e-book to the beach. But what if we could change these perceptions? What if we could show people that print and packaging products are actually a significant part of their daily lives? Last week we posted about what effects the “Paper and Packaging—How Life UnfoldsTM” campaign may have on our industry. Marketing and advertising agency Cramer-Krasselt is helping us fight back. They created this targeted campaign to give us, as Mary Anne Hansan, executive director of the Paper and Packaging Board, told the Washington Post, “a voice in an increasingly competitive world.” Here thought leaders from Cramer-Krasselt discuss how they developed the engaging stories that speak to the core of the industry’s most pivotal consumers. PIA: Where did the inspiration for the “Paper and Packaging—How Life UnfoldsTM” campaign come from? We wanted to try to connect with consumers in engaging and emotional ways, so we focused on storytelling. At first we thought we’d create some compelling stories and then add in some paper and packaging. But what we actually found was that every story we wrote already had paper and packaging in them. That’s when we had this epiphany that paper and packaging are like actual characters in our lives’ greatest stories. The letters, the boxes, the tickets, the photos, the books. These are all the things that allow us to grow and learn and connect. In essence, paper and packaging is how life unfolds. Todd Stone, Vice President, Group Creative Director, Cramer-Krasselt   PIA: What is the key message about paper and packaging products? Paper and paper packaging is relevant and valuable to our daily lives, helping us achieve and accomplish important things—achievements both large and small. It does that by enabling us to work productively, interact thoughtfully, build stronger connections, solve problems creatively, learn more effectively, and live sustainably. Jamie Schmelzer, Vice President, Group Account Director, Cramer-Krasselt   PIA: What type of consumer does this campaign target? Our target for this campaign is a group of consumers we’re calling The Expressives—Educated adults 18–49. Most are working. Half are married with kids. They’re big fans of paper and paper-packaging, even...