Salt Gain

If a recipe calls for a measuring of salt, very rarely is it ever a good idea to add all of it in the beginning.  Cooking is a delicate process that requires continual attention and tasting along the way.  Adding too much salt to a recipe is an easy way to overpower a dish and unfortunately, you can't take that salt away.

When you cook, you should salt as you go.  If you finish cooking and your dish isn't just right, then you can add salt to achieve the desired taste.  Simply put, salt is much easier to add than to take away.

The same can be said of ink.  Primarily due to dot gain, ink is easier to add than take away.  Dot gain is the phenomenon that is caused by halftone dots increasing in size during the printing process.  A nice, round dot will grow on press as it is transferred to paper and the result can be an average 15% growth of the dot causing the dot to look darker than expected. 

Unfortunately dot gain is unavoidable so printers must compensate by creating curves in prepress that eliminate the effects of dot gain.  Because dot gain is greater in the midtone values (around a 50% tint) and less in the extremes (5-10% tint or 90-100% tint) a tint reduction on a linear curve is needed to lower midtone plate values.  Simply put, you can't just lower the ink densities on press if the midtones are too dark as this would also result in the dark image areas to look light and faded.  So to achieve the optimal printed image it becomes necessary to remove enough dot on the front end to compensate for the dot returning during the printing process.

New Starbucks Logo Represents a Change in the Company's Focus

Starbucks recently launched a change in their logo to celebrate their 40th anniversary (see the new logo here). Whether you are a fan of the giant coffee chain or not, it seems that Starbucks has lost site of the power of their name.

By removing their name from the logo, they are removing the most important part of their business, their brand. For Starbucks, their brand is completely represented in their name. Maybe for a company like Nike, who specializes in a number of sports related products, the swoosh is all you need because when you think of Nike, you no longer think about just shoes. However, Starbucks is in the business coffee and their name so powerfully connects to the idea of coffee, that removing it from the logo doesn't make sense from a branding standpoint. Perhaps if Starbucks goal is to expand their services to the point that the company is not primarily associated with coffee anymore, then this is a great decision (Starbucks mulling wine, cheese move). If their goal though is to merely show a fresh look, not some complete shift in their businesses focus, then removing their name could be a disaster.

There is nothing wrong with a logo change. The reality is brands get stale. The mistake is found with removing your name from a logo, when your name is the product itself. Think about Coca-Cola. They have undergone numerous logo changes but they remain the superior soft drink company. Despite the many graphical changes in the Coca-Cola logo (see the Coca-Cola logo throughout the years), the one thing that has remained constant in the logo is the name Coca-Cola. This is because their name is the product, Coke, which is synonymous with a cola drink. Just as a Rolex is an expensive watch, a Kleenex is a tissue and Campbell's is soup, to many people Starbucks is coffee.

When you go to Starbucks, you may be thinking ahead of time that you want a Caramel Machiatto, but you are also thinking that you want a Starbucks. This holds true, despite the many types of drinks available at the store. When your name almost becomes the thing itself you have a powerful brand. By removing it from the product, they are saying Starbucks isn't coffee rather a company that just happens to sell coffee among other things. That is apparent as the number of products you can buy at Starbucks seems to increase every year to the point where they have over extended their brand. Starbucks seems to be on a mission to be the cafe that sells everything, not just the few things they are good at that make them who they are. This logo change is just another move by a company that from a branding standpoint, appears to be getting out of the coffee business.

How To Make Paper Look Old and Create Direct Mail Guaranteed to Get Opened

Marketing and advertising has been increasingly over produced for many years. The mass production of media means that consumers give less time and attention to advertisements. The supply of marketing is greater than the demand given to it and the bubble is bursting on ineffective forms of communication. Total customization or the ability to create a unique experience for each and every consumer is the marketers new goal.

Today, only hand-crafted, highly-customizable printed materials consistently get noticed. The new art of printing begins with a creative idea, is achieved through a unique process and shipped with a personal touch that connects to people on a human to human level.

The creation of an aged mailer offers a perfect opportunity to create a real connection to the past and revisit a time in printing when the artisan was more powerful than the machine. An aged mailer offers you the ability to touch people's senses and send them back in time.

Just think about all the times we hear stories in the media of letters delivering decades later? People emotionally connect with the past and the dated look of an aged mailer immediately makes one think of the old and forgotten times.

As a fellow print chef, you can begin aging paper right away and rekindle the past with uniquely, hand-crafted printed materials.  To create this highly-customizable printed item right in your own kitchen, here are a few quick and easy to follow steps:

1. Print your message on the paper before beginning the process
2. Pre-heat an oven to 200 degrees
3. Soak paper in tea, coffee or vinegar and plan on your mailer still smelling like your ingredient of choice (If aging an envelope, while soaking, carefully open flat at the sealed areas as glue will now be ineffective)
4. Remove from liquid and sprinkle coffee or tea grinds on paper
5. Rub in grinds to create an assortment of random stains
6. With a dry towel or cloth, carefully pat the wet paper to remove any excess liquid and brush off remaining grinds
7. Place the paper on an oven proof pan 
8. Put pan in oven and frequently check paper every minute to test for dryness and ensure the paper does not stick to the pan
9. Remove as soon as dry and let cool (once cool, if aging an envelope, re-seal with a glue stick)

Master Sommeliers of Printing

A sommelier is a trained expert on everything to do with wine. They are extremely knowledgeable individuals that understand all aspects of taste and how these tastes will pair with an entire menu of food. Among other things, a sommelier might build a wine list for a restaurant, create suggestions for wines that complement particular foods and assign wine ratings.

Any person who has a great deal of expertise on wine can become a certified sommelier but only a small number of individuals can claim the title of Master Sommelier. Master Sommeliers have gone through years of rigorous training and these individuals can claim the right as masters of their trade.

Just as the case with a sommelier, any person with a great deal of expertise in printing can become a certified commercial printer however only a small number of printers can claim the title of master. Master certification in the printing industry is conducted by IDEAlliance and G7 Master & Expert certifications are given to those small few who can prove they are masters of the print trade.

G7 Master Printers are able to ensure the highest level of color match consistency from proofing to printing. This standard means the company uses the most modern technology and techniques as it applies to proofing, printing and color calibration controls. G7 Experts are individuals that are deemed as master specialists in color management, proofing, plate making and printing of all varieties. To put it simply, a G7 certificate deems you an expert on all things color as it relates to printing.

Does this mean that non-G7 printers aren't good at color management? Absolutely not as many printers have a number of practices and procedures in place to ensure their proofs match what prints and that color remains consistent from press to press. You can still rely on the expertise of a non-G7 certified printer as after all, this is what they do for a living! In addition, there are numerous other certifications available that prove a printer has high-quality control standards.

I am still of the belief that the most successful printers will always be the ones that place the client first, care and are passionate about the work they do (master certified or not). It's just like walking into an established wine store and seeking out the expertise of the owner. It's highly unlikely they are a Master Sommelier but these people have the knowledge and resources to guide you into a purchase you'll be happy with to ensure you return in the future. However, there is something to be said for the printer that takes the time to go through the certification process to prove they are masters of their trade.

Related Links and References:
Guild of Sommeliers
International Sommelier Guild
Court of Master Sommeliers
Sommelier Facts on Wikipedia
IDEAlliance
ColorWiki
G7:  What is it - and Why Should Print Customers Care?

Designing for Digital Printing - Part 2: Design Stage

Avoid large solids on the fold marks to reduce the noticeability of cracking. Heavy ink coverage
along the spine/fold is important for thicker stocks, especially in instances with toner-based digital printing. Toner sits on top of a sheet and doesn’t absorb into the paper. When the paper folds, the fibers pull apart at the fold (crack) and while all printing can show the presence of cracking, toner-based print projects will magnify the problem.

Solids and gradients can be especially problematic when printing digitally and are prone to banding. Avoid large solids and tints in your document by adding filters that add additional noise and texture to help ensure a smooth and even finish. Try to break up solids with photos and other design elements to eliminate any streaking. When designing a gradient, the move needs to be greater on a digital press for it to be noticeable. You might not even identify a 10% to 30% gradient but a 10% to 70% will start to give the effect you desire. In general, avoid long gradients with small, light color changes.

Create smart files. The digital press will most likely print in CMYK so design your file in CMYK. RGB has a greater color gamut and those RGB colors you see on your screen may not be possible to reproduce in the CMYK color gamut. In addition, to ensure good print resolution, create and save images at 300 ppi (pixels per inch). Also, when saving your files, quality PDF’s generated in the proper settings are best for digital printing.

Does your design incorporate variable elements? When designing multiple versions, create a common design and have a few select areas that will be interchangeable with unique content depending on the specific audience. Also, if the variable element you design is to be determined by a field in a spreadsheet, proof and test the longest word (highest number of characters) in the database field to ensure that it fits properly within your design.

Designing for Digital Printing - Part 1: Pre-Design Stage

Choose the printer, then design. Chances are, each printer can provide you a list (and samples) of digital paper stocks they commonly run that work well for their particular presses. These may be different from printer to printer so it is important to know what stock works well for your printer. 

What type of color reproduction can you expect? Can your printer provide you with a digital chart or samples that indicate how PMS colors will print digitally once processed out?

What are the font limitations?  Depending on your printer’s device capabilities, they might run into issues when printing small fonts.

Choose the paper.  Ask the printer for digital paper samples ahead of time. When you spec paper, don’t think in terms of #3’s or #2 grades, think in terms of digital grades. Your printer should be able to provide you with digital paper samples of various finishes, weights and sizes.

Estimate before designing.  If you have a rough idea of your project (size, quantity, color, etc) talk to a printer and have them give you a rough estimate for how it will be produced. Is it more efficient for them to produce the project digitally or offset? Do they recommend any sizes that are close to your estimate but offer greater efficiencies?

Find the grain.  In your printer’s estimate, which direction will the grain run?   Paper that folds against the grain will crack easier than paper that folds with the grain direction. The ideal grain direction should be parallel to your fold.