Paper - from a most unusual and environmentally friendly source

Paper can be made from a variety of materials, but perhaps one of the most unusual and environmentally friendly is paper made from stones.
Stone paper is known by many names including rock paper, limestone paper, eco-stone, and synthetic paper.

How it's made

Stone paper is made with a mixture of about 80% calcium carbonate which is also used in the manufacture of conventional tree-based paper. The calcium carbonate usually comes from limestone, marble and other stones collected as waste material from existing quarries for the building and construction industry. The stones are ground down to a fine chalk-like powder then a small quantity (about 20%) of non-toxic resin (HDPE- High Density Polyethylene) is added as a binder for the calcium carbonate. Together these materials create a soft, smooth, bright white paper that is tough, durable and both water and tear resistant. The paper is chlorine free, acid free, and safe for the environment.


The ECO benefit

• One ton of virgin paper uses 20 trees, 36,000 BTU’s of energy, creates 16,000 gallons of contaminated waste water, uses bleach, and contains 20-30% calcium carbonate (stone).
• One ton of recycled paper uses 4 trees, 22,000 BTU’s of energy, creates 9,000 gallons of contaminated waste water, uses bleach, and contains 20-30% calcium carbonate (stone).
• One ton of stone paper uses 0 trees, creates absolutely no waste water, and uses half the energy of virgin paper and 1/3 the energy of recycled paper. Stone paper does not require bleaching chemicals and generates no air pollution.

Stone-based paper is recyclable with both paper and plastic. Since it is stone it is not biodegradable. On exposure to UV light, e.g. from the sun, and moisture, the High Density Polyethylene breaks down after about a year returning the calcium carbonate to a power form. Egg shells are 95% calcium carbonate and decompose in a similar way. The HDPE is also recyclable and has the number "2" as its recycling symbol. Much of household waste is sent to WTE (Waste to Energy) plants where it is incinerated, scrubbed of carbon, and ‘recycled’ into energy.  Even conventional paper waste ends up in WTE plants.  If stone paper ends up at a WTE plant it actually is a great contributor since it burns more cleanly than many other materials and does not produce toxins.

The calcium carbonate itself is the most abundant natural mineral on earth making up 70% of all minerals on the planet.  Mining and quarrying operations already existing in the world scrape away tons of calcium carbonate each year in an effort to get at the ‘more precious’ minerals.  This excess material makes calcium carbonate a great ‘filler’ for papers, plastics, some food products and many household products.

Stone-based papers are:

•  Water Proof

•  Grease Proof

•  Tear Resistant

•  Weather Resistant

•  An alternative to synthetic papers such as Yupo, Tyvek and polypropylene films

•  A great grease barrier

•  A great outdoors product (with the addition of UV blockers)

Some stone-based paper brands include: FiberStone® Natural Stone Paper, Terraskin, and Rockstock.

5 Myths of Online Print Buying Exposed

While millions of people recognize the essential need for printed materials to successfully market their business, they find the process painful and expensive! Sure you can save money printing online, but who’d want to do that? The answer is: anyone who’s smart enough to ignore these common myths…

Myth #1: You can’t get quality customer service
If you’ve shopped for anything online, you know that customer service is one of the first things to suffer. Call for help, and you’ll get long hold times that often lead to inept sales reps who don’t answer your questions – and never call you back. Who needs it right? Why not spend the extra money and see your local printer who you can talk to face to face? Well, the truth is, in the online print industry – you simply don’t have to settle for poor service! It’s as simple as knowing where to shop and who to talk to. With devoted sales teams that follow your project from start to finish - companies like PrintingForLess.com have an A+ Better Business Bureau rating that often exceeds that of local printers. Don’t be jaded by bad experiences, and let that force you to miss all the opportunity that printing online has to offer.

Myth #2: You need to be a technical wizard to succeed
Knowing how to handle complex technical situations can be intimidating to say the least. The good thing is, when it comes to online printing – that’s not your job! You want to make sure that your printer is an expert who is eager to assist you in every aspect of file preparation. Make sure your printer accepts every file type – so you know your designs will be transferrable to their presses. This is another feature that you can research quickly and simply by making a few calls. Online printers who refuse to accept your Microsoft Word or Publisher file for example, don’t deserve your business – especially when many other printers will! The fact is online print shops typically have more resources than local printers to augment files, and prepare them for printing. Take advantage of their assets.

Myth #3: You can’t get professional design services
Perhaps you’ve been relying on your local printer to provide graphic design services – usually at a premium price. How could you ever switch to online printing where you’re expected to submit a completed file type? Answer: many online printers have pre-stocked templates that are free, and easy to use. Some even supply pre made industry copy that can be tweaked to your liking, but is generic enough to promote the benefits of your business. Check out what online printers have to offer – you might find their designs look better than anything your local printer has created!

Myth #4: You don’t know how it will turn out
A major myth surrounding online printing is that you submit your image and specs – and it’s done, no turning back. What comes out the other end of the pipe is what you get - with no recourse. Sure, that would turn anybody away from the process! But don’t let the poor practices of a few ruin your expectations for all online printers. Quality printers will always supply you with a “Proof” that you must approve as your final product before anything is produced on a mass scale. Why not benefit from the attention to detail that comes from a large staff of professional experts who are all dedicated to the success of your job?

Myth #5: You can’t guarantee the best results
There are actually some online printers who will guarantee their work, 100%. That means if you don’t like it for any reason, you can return it for a full refund! That’s almost unheard of with local print shops!

The bottom line is…find the right printer! With a minimal amount of research you’ll see that you can save money printing online - and you don’t have to sacrifice quality, customer service, or peace-of-mind to do it.

The information in this post is courtesy of PrintingForLess.com - America's Print Shop. Click HERE for more details.

Inks beyond CMYK, Hi-Fi, and Pantone - the world of effects pigments

Printers and their customers are always looking for new ways to add value and a creative spin to print. When conventional CMYK, Hi-Fi, and Pantone spot colors just don't have the impact - it's time to look at the options available with effects pigments.

Here is a run down of the most popular effects ink pigments. Savvy printers will pretest and, based on their understanding and relationship with their customers, make them aware of the creative opportunities these inks provide.

Photochromic inks
Arguably one of the most popular of the effects inks. Photochromic ink undergoes a reversible color change when exposed to UV light. The color change is immediate and reverts to its original color or becomes colorless when the light source is removed. This ink is available in wet or dry offset and flexographic printing.

Austria Solar's 2011 annual report uses photochromic inks to parallel the company's business. It ships in a foil package. Open it under indoor light and all you’ll see is an embossed cover followed by blank pages. However when exposed to the sun the photochromatic inks react and the content is revealed. The report is the creation of agency Serviceplan and Creative Director Cosimo Möller.
Photochromic inks are available in colorless-to-color and color-to-color formulations.
Photochromic ink viewed under office lighting.

Photochromic ink viewed under sun light.
Thermochromic inks
Thermochromic inks are temperature-activated. When rubbed, held in the hand, or exposed to differing temperatures the ink changes from a colorless state or to another color and quickly reverts to its original color.
As with photochromic inks, thermochromic inks are available in colorless-to-color and color-to-color formulations. The temperature when the color change occurs can be predetermined - e.g. color appears at 72°F and becomes colorless at 90°F or color appears at 81°F and becomes colorless at 90°F.

Hydrochromic
This ink is activated by water, not sunlight or heat. A white hydrochromic ink just looks like white ink. When water is applied, it disappears and the image behind it appears. When the water dries, the image goes back to white.

UV Fluorescent
These inks are normally invisible as printed but fluoresce under UV light. There are two types; single long wavelength (360 nm) and dual which fluoresces one color under short wavelength UV (250 nm) and a different color under log wavelength UV (360 nm). Typical UV fluorescent color inks include yellow, green, blue, orange, and red. These inks are often used in banknote printing. This ink is available for wet or dry offset, flexographic and gravure printing.

Optically Variable Ink
This ink contains minute flakes of metallic film which, when viewed at different angles, morphs from one color to another very dramatically. This ink needs to be printed with a fairly heavy weight to get the best results which makes the ink feel almost embossed on the substrate. The ink are very expensive and therefore is usually printed in small areas. The most common color changes are brown to green (and vice versa) as well as red to purple. It is typically used for passports and driver's licenses.

Bleeding
Bleeding ink prints in black but when exposed to any aqueous solution it will produce a red stain - even when touched with just a wet finger. This ink is only available for use with dry offset printing.

Fugitive Ink (water based)

Fugitive ink works similarly to bleeding ink since when exposed to water or an aqueous solution the ink runs. These, also, will be found on checks and if you are to wet your finger with saliva and wipe across the background, you would see the ink smudge.

Coin Reactive
The image printed from this ink is white or transparent. The image is revealed when the edge of a coin is rubbed over the ink. Coin reactive ink cannot be scanned or copied.

Erasable
Erasable ink is used on the background of a document. If an eraser is rubbed on it the ink rubs off in that area. The ink also reacts in the same manner as solvent/chemical reactive inks do. Erasable inks are typically used on scenic or pantograph backgrounds on checks and certificates. This ink should not be used for documents that will go through a laser printer.

Iridescent
Iridescent ink is a translucent pearlescent ink which, when viewed at different angles, creates a subtle change of iridescent hues. It is available in blue, red, green, gold, and silver.

Metameric Pairs
Metameric pairs are two inks that appear similar in color under one set of light conditions but are visibly different under another set.

Puff Ink
Puff ink rises and expands ("puffs") when exposed to a heat source.

Glow in the Dark Ink
This ink radiates a bright light green color after being exposed to bright light and then placed in a relatively dark environment.

Penetrating Ink/Indelible Ink
Penetrating inks contain a penetrating red dye that goes into the fibers of the paper and will show through to the back of the document. Penetrating inks are commonly used on the arabic and MICR numbering of negotiable documents to deter forgers from trying to scrape the number off from the document. If the number is scraped off the red stain remains on the document. Penetrating inks are available for letter press or wet offset printing.

How to subdue the Reflex Blue Blues

Reflex Blue (a.k.a. Red Shade Alkali Blue, Pigment Blue 61, Reflex Blue R 54/R 56) is one of the most commonly used spot colors - especially for corporate colors - and it is one of the most problematic inks to use on press.

Reflex Blue suffers from excessive marking, low scuff resistance, poor lightfastness and poor, very slow, drying qualities. It also has a bronzed look that causes it to shift color, from Blue to Purple when viewed at different angles.

And when mixed as part of another blue spot color, Reflex Blue effectively contaminates that ink color with its poor performance characteristics.

Reflex Blue Blues - slow drying

Printing inks are made primarily with resins, varnish, linseed oil, soybean oil, or a heavy petroleum distillate as the solvent (called the vehicle) combined with organic pigments. The resins and varnish control the tack and gloss of the ink while the solvents control press stability and fluidity. Drying oils control surface strength, drying time, and set, while the pigment acts as the coloring agent.

Although each ink pigment is unique, most have fairly uniform shapes and surface areas. Reflex Blue pigment on the other hand has jagged, irregular surfaces and shapes. To blend Reflex Blue ink, ink manufacturers must add surface active agents to the mix that allow proper wetting of the pigment. As a result, the ink retains a higher level of moisture than other ink formulations and therefore takes longer to dry.

Offset inks are generally designed to dry by two methods: absorption into the paper and evaporation from the surface. As the ink dries, the small, uniform color pigments settle close together and leave a flat ink film surface. However, when Reflex Blue pigments set they have a rough ink film surface. Although the ink may feel dry to the touch, just a light rub will break the surface and expose the wet pigment underneath. This results in unsightly scuff marks and color transfer (set-off) to surfaces that come into contact with it.

Reflex Blue Blues - color shift/burn out

Reflex blue  color-shift or "burnout" can occur when the printed ink film is over-coated with aqueous, or UV coating.  This affect results from a chemical reaction due to pH incompatibilities between the alkaline aqueous coating and certain alkaline sensitive ink pigments like Reflex Blue. The chemical reaction basically changes the way the color pigments reflect light. Individual press sheets pulled during the press run or top sheets in the pile are rarely as affected as the sheets within in the press loads. This indicates that heat and oxygen deprivation are contributing factors in accentuating and accelerating, the color-shift effect. Unfortunately the color-shift may not be apparent immediately off press and may take 24 hours or longer to be noticeable.

Tips for subduing the Reflex Blue Blues

1 Don't use it. If that's too drastic then:
If you are a printer, speak to your ink vendor. Most will stock an "imitation" Reflex Blue substitute. The most common is a Carbazole Violet & Phthalo Blue mix. Note that the imitation Reflex Blue may have a slightly different hue than the actual Reflex Blue so do a drawdown of the ink and get customer approval.

If you are a print buyer/specifier, speak to your print supplier about selecting an "imitation" Reflex Blue substitute. Get drawdowns of the ink and, once satisfied with the hue, document the ink manufacturer, ink series and name so that the same ink can be used for all your Reflex Blue needs.

2 Print the job using UV inks since they dry immediately.

3 Print small lifts. Shorter stacks of paper at the press deliver facilitate faster drying by allowing more air to circulate between sheets enabling gasses to escape. Shorter stacks will add a small amount of extra run time on press. Wind the printed loads as soon as possible to reduce unnecessary exposure to high heat builds captive in the pile.

4 If the shop runs a five day production schedule then print on Friday to allow the sheets to dry over the weekend before printing the second side or sending the presswork to the finishing/binding processes.

5 Consult with the printer/ink vendor to determine whether reformulating the Reflex Blue ink by adding drying agents. Note that doing so may increase cost and/or compromise the inks on press performance in other ways - e.g. it may adversely affect te quality of screen tint areas.

6 Apply a varnish, aqueous or UV coating to help seal the ink and eliminate scuffing, fingerprinting, and bronzing of larger ink areas. Use a low-amine or heat-resistant aqueous coating with as low a pH as possible (less alkaline). Inform your ink supplier of the need for alkali or fade resistant inks compatible with aqueous or UV coating and also consult with you coatings supplier and are assured of these pigments’ compatibility with their product. Confirm that the coating to be applied has been thoroughly tested prior to running the job.

7 Beware that UV coating, in particular, does not coat well over Reflex Blue and will sometimes fade or change the ink color. Pre-test Reflex Blue, especially tint solids and screens, by wet-trapping half the image with selected coating and then expose both samples to a high-heat source such as a heated saddle dryer. On-press testing is usually required to simulate actual production with ink and fountain solution. For side-by-side comparison, cut the coater blanket packing half-way through the printed ink film to be tested. Then expose the coated and uncoated print samples to a heated dryer saddle immediately off press. Burnout and color-shift will usually occur during heat application. If time permits, wait 24 hours, then reapply heat, and again compare the color integrity of the test samples. Test, test, test.

Other alkali sensitive pigments that can have similar issues to Reflex Blue include:
• Rhodamine Red - (Y.S. Rhodamine Red)
• Purple - (B.S. Rhodamine Red)• Warm Red - (Red Lake C)
• Violet - (Methyl Violet)
• 072 Blue
• Rubine Red - (Lithol Rubine)
• Fluorescent inks

Print buyers don’t buy printing

No print buyer has a need for presswork for the sake of being surrounded by more print. Instead, they see print as a media that fills a communication need more effectively than other, often less expensive and less troublesome methods, such as the Internet. In short they are looking for the unique value that only ink on paper can deliver.

However, if you look at print buyer needs simply in terms of print products and specifications, you may be trying to sell what they are not buying – nor what they value. Instead, try going beyond the specs and look at what your customer is trying to accomplish with their project for themselves, as well as for their customer. Then see if there is a way that you can leverage your print knowledge and techniques to help them better accomplish their print communication goals. Rather than simply parroting printing specs in your quote, acknowledge your uniqueness by translating and describing your technical and service capabilities into differentiating value for their project in your quote.

On-press stability and consistency

A printing press is a device for laying down a film of ink onto a substrate. Each component on each press unit, from ink ductor rollers to ink train oscillation moves or rotates with a repetitive frequency and this shows up as solid ink density variation. When the natural solid ink density variations through the press run are graphed, the result is sometimes referred to as the "heartbeat" of the press because of its resemblance to the rhythm of a human heartbeat.
The heartbeat of a press - the solid ink density variations measured over through the press run. Each of the 3 sections contains 100 press sheets from the beginning, middle, and end of the press run. Each "heartbeat" in each section is the solid ink density variation between 10 sheets. So, each of the three sections contains the SID measurements of 100 sheets.
The human heartbeat.
Every press design has its own "heartbeat" profile that represents its normal condition. What one looks for are abnormalities in the heartbeat profile itself as well as in comparison between different press units. Plotting the heartbeat of the press, just as it does with humans, can help diagnose problems in the system that may need correcting.

Solid ink densities varying naturally through the press run cause dot gains - tone reproduction - to also vary which in turn causes color shifts in the presswork. Below, courtesy of data provided by Alwan Print Standardizer, is a movie showing dot gain variation through the press run.
Click on the expand icon (the four arrows) to enlarge the video for greater clarity. Then click on the play arrow.
It's fair to say that a printing press in proper working condition is stable - but not consistent. And that fact applies equally to the presswork itself. Therefore, since variation is an integral characteristic of the printing process, the important thing is to establish, and communicate between buyer and print provider, what the target for presswork color should be, how it will be measured, and what range of variation is acceptable based on the needs of the specific job at hand.

What the press operator is scrutinizing

It's the stereotypical image of a press operator - bent over the presswork and examining it under a loupe. People attending a press approval often wonder what the press operator is examining so closely. In fact there's a great deal of information that the press operator can determine from a close up view of the press work.

The first thing that's checked is registration.On the left, dot centered rosettes indicate that the presswork is out of register by one half row of dots. On the right, clear centered rosettes shows the presswork is in register.
Misregistration can also be determined by examining the edge of images to see if one of the process colors is extending beyond the image edge. Click on the above image to enlarge.
Next is halftone dot formation.Halftone dots can reveal issues such as dot doubling that may be the result of loose or incorrect blanket packing.
Here speckles of ink indicate there may be a problem with the plate processor. Also, in this case, the black printer is, because of the elongation of the dots, showing a problem with slurring.
The amount and type of halftone dot distortion can reveal problems with ink water balance as well as the condition of the fountain solution.
When halftone dots are the same size and should be the same approximate density as in the case of Cyan and Magenta - but aren't - this can signal a problem with the solid ink density or an ink/water imbalance.
Pinholes forming inside halftone dots can signal a calcium carbonate issue.

Technical tips for creating brand colors

Color is one of the most critical components in creating brand identity and while there is a fair amount of information on the psychological and cultural aspects of color - there's very little information on the technical issues that need to be considered when developing a custom or brand color.

Brand colors are custom (a.k.a. line, spot) colors that are any single color (typically other than cyan, magenta, yellow, or black) that are usually printed as a solid area of ink on a dedicated press unit.

There are two types of custom colors -
1 Proprietary
2 Referenced.

Proprietary custom colors are colors that are created by the brand owner or their creatives. Coca-Cola red and Kodak yellow are examples of proprietary brand colors.
Referenced custom colors are usually published in color palettes that are to be used by creatives to specify spot colors.

The main brands of referenced custom color palettes are:

Pantone, the dominant spot color printing system in the United States and Europe.
Toyo, a custom spot color system that is popular in Japan.DIC, Dainippon Ink & Chemicals, Inc., another popular Japanese custom color system.
ANPA a palette of 300 colors specified by the American Newspaper Publishers Association for spot color usage in newspapers.
HKS Hostmann-Steinberg Druckfarben, Kast + Ehinger Druckfarben und H. Schmincke & Co. a custom color system containing 120 spot colors and 3250 tones for coated and uncoated paper.
The main benefit of creating a proprietary brand color is that it is unique to the brand thereby enhancing the brand's unique identity. The downside is that the creatives/brand owner are required to create their own system of specifying, communicating, and manufacturing the color.

The main benefit of using colors from a reference custom color palette is that the system of specifying, communicating, and manufacturing the color has already been built. The downside is that the color is not unique to the brand and can be used by others, potentially creating confusion in the marketplace.

When creating a new proprietary custom colors to be used for brand identity keep these technical tips in mind:

1- Humans have very good color discrimination for greens and much less for blues, reds, yellows, and purples.This means that they can more easily distinguish between subtle differences in two similar greens than they can two similar reds. It also means that there are more green custom color options than there are red.

2- In offset lithography, the range of possible greens is larger than that of reds, blues, and oranges

3- Humans have poor color discrimination when hues are very saturated - I.e. saturated colors will tolerate greater variation in reproduction before a color shift is noticed.

4- RGB, CMYK, and Hexadecimal values do not actually define colors because those values are device dependent. I.e. it does not, for example, tell us the specific hue of the Cyan ink being used - a factor that will change depending on the ink manufacturer.A demonstration by Flint ink of the influence on ink color resulting from differences in the substrate upon which the ink is printed.
So, a color defined using CMYK values will also look like a different color when printed on newsprint, in a magazine, or in a brochure due to the differences in the specific CMYK inks used and the substrates they are printed on.
Instead, define the color using CIEL*a*b* reference values since these are device independent. If RGB and/or CMYK values must be provided then make sure that the version or source is included (e.g. sRGB, Adobe 1998 RGB, CMYK/SWOP, CMYK GRACoL 7, etc.) to help minimize variation.

5- Confirm that the proposed custom color is within the color gamut of the expected most used reproduction process.An application like Chromix ColorThink enables the CIEL*a*b* values of the custom color to be compared with the color gamut of the system that will be used to print it and determine if it is reproducible or not - i.e. in, or out of, gamut.
If the custom color is within gamut, it means that it can be simulated by mixing screen tint percentages of the primary inks of the print process.

6- Make sure, by testing, that the ink pigments used in the custom color will not shift hue because of heat e.g. during lamination or react with other inks or to oxygen e.g. Reflex Blue.

7- Avoid using fluorescing agents in the ink.

8- Use certified sample color swatches and CIE L*a*b* values to communicate color globally.Ideally the sample swatches should be as large as possible since the perception of color changes with coverage area. Also include a "Hi-Lo" reference which shows how much darker or lighter the color can be and still be in specification. If possible, include a CIEL*a*b* Delta E value for how far the hue of the color can deviate while still being within specification. Include the information about how the Delta E value is to be calculated (e.g. Delta E 98, Delta E 76, Delta E CMC, etc.)

9- Prevent brand bloat by consolidating/rationalizing custom color libraries. Retire old colors and consolidate colors that are very similar.

Addendum
A number of readers questioned my statement that humans have very good color discrimination for greens and less so for other colors. In the below video Eric Fossum, image sensor engineer and primary inventor of the CMOS sensor used in digital cameras, mentions the color sensitivity of the human eye during a recent talk at Yale University.

How was it printed? Simple ways to determine the printing method used.

The proliferation of new printing technologies like commercial production toner and ink jet presses as well as the rapid increase in quality of some traditional systems like flexography, has made it a bit difficult to determine exactly which printing method was used for a given sample. Was it offset or digital ink jet? Flexo or offset?

Here is a guide to help you identify which printing method has been used. The best method is to look very closely with a loupe at the letter forms and then confirm by looking at the halftone dots themselves. Although these images were taken at about 200x to show as much detail as possible, they are not that different than what would be seen by the human eye under a loupe at 10-20x.

Offset lithography

Type edges are sharp and well defined. The ink density is similar across the letter. The paper around the printed ink is usually clear/unprinted. The sharpness and consistent ink density is reflected in the halftone dots. Note that this same sharp appearance occurs if the halftone screen used is FM (the third image) rather than AM (second image).
Gravure

All graphic elements appear halftone screened so the edges of text show a rough halftone appearance. Although presswork color may appear rich, viewed under a loupe, the halftone dots may have a watery appearance. Individual dots may appear to have a hole in their centers.
Flexography

Flexography uses a rubber-like plate that, under pressure, transfers ink to the substrate. This results in type that often appear to be surrounded by a sharp-edged "halo." The same effect, but in opposite, occurs in the halftone dots which may have dark edges and light centers. Both type and halftone dots usually have very sharp and well defined edges. Note that this dot sharpness also occurs with an FM screen printed with flexo (third image).
Electrophotographic (a.k.a. laser toner, Xerographic)

With electrophotographic systems the image is created by depositing a powder toner. This results in a "sprayed on" appearance. Type edges are soft and there are often specks of wayward toner on what should be unprinted paper. On close examination you'll likely see apparently random Yellow dots. Those are anti-counterfeiting tags. Halftone dots have a similar fuzzy appearance.
Inkjet

Under a loupe, ink jet type has a "blocky" "chunky" edge appearance. This is caused by the low resolution/large droplet size typical of these devices (despite the claims of high dpi). Sometimes there will be the occasional "satellite" ink droplet near the letter (two are shown in the image below). Because of the way the ink is sprayed onto the substrate, halftoned areas appear to be done with an FM screen. However, unlike the FM screening used in offset lithography, there is usually no apparent pattern or organization to the dots.
Engraving

Engraving is typically used for currency/bank note printing, stamps, and sometimes very exclusive stationary. Type is very crisp and sharp. The process is capable of extremely fine detail and as a result is used to print security microtype. Halftones are usually created with line effects rather than a conventional halftone screen. Softly passing one's fingers over the printed work will reveal a tangible texture due to the raised ink.
Thermography

Thermography is commonly used on wedding invitations, letterheads, business cards, and greetings cards as an attractive alternative to the more expensive engraving process. Type has a raised surface texture similar to engraving however, with thermography type appears to be printed under a transparent coating. The low resolution of this process makes it unsuitable for quality halftone screening.
LCD display (print to screen - just for fun)

The letter "e" as displayed black against a white background on my laptop's display. Since the LCD display produces no light of its own, it requires a cold cathode fluorescent lamp situated behind the LCD panel. Electronically-modulated pixels filled with liquid crystals are arrayed in front of the light source to produce images in color. Passing the backlight through the red, green, and blue liquid crystals recreates the backlight white, while blocking the backlight creates black. Anti-aliasing of the letter helps to smooth the shape of the letter form and compensates for the relatively low resolution of the screen itself. Note that the pixels forming the image are not square but rectangles.

QR Codes (2D Matrix Codes) - Reality check

If you're like most people in North America, you probably won't know what the above image represents, even though it is the latest craze being promoted to print service providers and marketeers.

"Matrix Codes," most popularly known as QR or Quick Response codes are essentially bar codes like the ones printed on package goods that are scanned at the merchant's checkout counter. QR codes take the notion a step further because they enable print media and web-enabled mobile media to work together. A QR code is a high-density barcode readable by smart cell phones and simple PC cams. By pointing the camera at the QR symbol, an application on the phone, or PC, opens the individual’s mobile browser and instantly connects them to a designated Web page without them ever having to type in a URL or promotional code - they just point and go. By scanning the codes, one can not only access websites but images, personal information, make phone calls, play a video, and send text messages.

QR codes are already a big part of mobile culture in Japan (where the technology originated in 1994) and South Korea with some 40% of mobile users in Japan regularly using their mobile phones to scan QR codes in advertisements.The marketing opportunities enabled by QR codes are limitless.

Advertisers, publishers and brand owners can use QR codes to add interactivity to any print media. In Asia (and slowly in the rest of the world) they are being placed on just about everything you could imagine - and some you wouldn't think of, like tattoos and gravestones.

QR codes explained in a clip from the television show CSI: New York.
Here are just a few examples of where you can find QR codes being used today:

• Business cards
• Outdoor posters and signage
• Packaging
• Clothing
• Newspapers and magazines
• Point of purchase displays
• Event registration

The reality check - at least for North American marketeers

While there seems to be a great deal of enthusiasm for the potential applications of QR codes, the state of the technology in North America is akin to the state of the internet for people who don't have a computer, or who do have a computer but have no ISP access. Sure the technology is great, however, from a marketing point of view, you've got to be realistic about your audience.

Today, with QR codes, you're only broadcasting to a small minority of the market:

1) They must have a smart phone or a phone for which QR reader applications are available - not just a phone with a camera. Right away that eliminates some 75% of the cell phone using audience.

2) They must be aware of the significance and value of QR codes. Try asking the technophiles at any cell phone kiosk to see if they have any idea what a QR code is. So ignorance going to remove, IMHO, at least 90% of the 35% of the market that have smart phones. So now you're down to maybe 3% of the market

3) They must download and install the QR software. That's work which many people shy away from. So maybe that cuts out another 50% of the market. So now you are down to maybe 1-2% of the market being able to use QR codes.

4) From a marketing perspective, you have to ask what percentage of that 1-2% of the total market is made up of your target audience (e.g. print specifiers)? 1%, 10%, 50%? I doubt that it's even as much as 1%.

Using a message delivery system that, at best, is accessible by only 1-2% of the total market and likely .001% of a given target market is not a message delivery system that I would count on to deliver a measurable, let alone significant, marketing ROI.

So, use and promote QR codes - but don't expect them to deliver an ROI as an effective marketing/promotional media. At least not today. However, once QR readers are pre-installed on smart phones and the major brands bring more attention to the technology QR coding will rapidly move from hype to "must have."Fortunately, the cost of entry is zero. You can create your own QR Code for any website, short text message, or other information using any one of the free online code generators like the one available HERE.

You can take it with you! - (How to be at the printshop - when you're not.)

Sometimes you just can't be at the printshop. Perhaps you're on holidays, relaxing at home in the evening, or maybe just goofing off on a "customer visit." Well now there's a way to not be away when you're away: just carry the sounds of the pressroom with you.

You can play them when you're pining for the shop when traveling to remind you of how good your job is:

The chugga chugga of a Heidelberg press

Or simply play them in the background when you get that unexpected phone call from the boss:

The satisfying rhythm of a productive press

You can acquire the appropriate press sounds that meet your shop's equipment from the online sound effects library HERE to use and enjoy as needed.

Toilet training - for the printer

When I worked at the graphics vendor Creo, one salesperson's test of a printshop's character was not its presswork or company motto but the state of its...toilets. It was the first part of the shop he would investigate.His feeling was that printshops would start up at some time in the past with the best of intentions - everything spic and span, neat and tidy.However, over time, familiarity, complacency, and laziness would invariably set in.And no matter what high minded ideas management had for the company, the lowliest facility - the toilet - would reveal the true character of the shop. Toilets provided witness to the reality of the shop's true culture.The company's toilets, after, were the one area shared by top management and lowest level employee - so blame could not be transferred.So, it is critical that the company's toilet facilities be considered just as much of an ambassador of the company as any other part of the printshop's facilities.The toilet facilities indeed reflect the company's attitude and vision for its business.