2017 Feb/Mar

A First Economic Look at the Trump Administration

March 10, 2017

by Chris Kuehl, managing director, Armada Corporate Intelligence

Thus it begins – at least formally. What kind of economic growth does the Trump administration seek? What kind of shape is the economy as he takes over – as compared to what other presidents before him faced? What are the chances his goals will be met, and what are the factors that will make accomplishing these goals tough and perhaps even impossible? In the most general terms, he inherits an economy that has clearly started to recover from the grinding recession that began in 2008.

As the term starts, Trump will be facing trends that were initiated in 2016 and are expected to be a major factor in the coming year. One development is inflation – mostly driven by higher wages in select sectors. The rate now is close to two percent at the core level and is expected to continue inching up. Nobody is expecting hyperinflation or anything even close. For now, this level will actually be a good thing and stimulative to a degree. It also will help convince the Fed that rate hikes remain a good idea.

Another development is the strong dollar, and that could be the most vexing of the three. Much has been made of the desire to promote exports and reduce imports, but a strong dollar will make that all the more difficult to obtain. Trump broke with decades of tradition by calling for the dollar to be weakened but was immediately contradicted by his treasury secretary who reiterated the US commitment to a strong dollar. Beyond the verbiage, it is hard to shift the power of the currency as this depends largely on the actions of the Fed and the overall global demand.

As he develops policies that match the claims and aims of the campaign, Trump is in better shape than some of his predecessors while facing bigger problems than others. Labor force participation is lower than it has been since Gerald Ford was in office. It now is just a little above 62 percent and, at the start of the Obama term, it was at just over 66 percent. At the start of the term for George W. Bush, it was over 67 percent, and the two presidents before Bush (Clinton and George H.W. Bush) presided over an increase in the rate. This is a complex measure of the workforce, as there are many reasons a person may be out of the workforce. The number one factor is retirement. There have been more people ending their work careers than ever – at least 10,000 a day as the Boomers age in their golden years. Regardless of why people are leaving, there is an issue with having too few people to fill the jobs that are becoming available as too many of those seeking jobs lack the skills that are in demand.

One of the more challenging tests will involve manufacturing, as this was a big part of the campaign and has been a concern for years. The US has been regaining its status as a manufacturing state for years and never stopped being a dominant player. These gains have largely come at the expense of jobs, as robotics and technology have replaced a lot of the people who once worked in these factories and manufacturing facilities. The number of people directly employed in manufacturing has been declining since Eisenhower was in office. It was close to 35 percent when his term started and was down to a little over 30 percent when it ended. Every president since then has presided over a further reduction of the manufacturing workforce, and Trump starts with the lowest level yet – around 8 percent of the total US workforce. Remember that these are workers who are directly engaged in manufacturing – if you count all those people who work for manufacturing companies, the percentage employed is closer to 30 percent. To increase the number of people working in manufacturing will be a nearly impossible task, given the preference for the implementation of technology. Banning imports and restricting where US companies produce will have a minor impact and could even make the problem worse, given that most manufacturing jobs are in small and mid-sized companies.

Manufacturing in the US seems to be plagued by misnomer and myth, and this has been the case for years. For years, the story was that there was no longer a manufacturing sector in the US, although the numbers never bore this out. It has been about 30 percent of the GDP when one looks at all the people employed by the manufacturers – not just the ones who are running the machines.

Today, the political emphasis is on manufacturing jobs, and there are myths here as well. The political assumption is that companies are ditching US workers to set up in foreign countries. Although this does still happen, the biggest issue is replacing human workers with machines – and import restrictions will have no impact on this. There is, perhaps, good intent behind the moves that Trump plans to make, but there is a good chance for a backfire if there is failure to understand the real issues in manufacturing. A steel import tax will be good for the steel industry, but not so good for the users of that imported steel – the manufacturers that Trump wants to see hire more people.

Chris Kuehl is managing director of Armada Corporate Intelligence. Founded 2001, Armada began as a competitive intelligence firm. Today, Armada executives function as trusted strategic advisers to business executives. For more information, visit www.armada-intel.com.

Direct Mail Still Boasts Marketing Advantages

March 10, 2017

by Melissa Larson, contributing writer, PostPress

Pundits have been predicting the death of direct mail as a marketing tool for at least 20 years. It would be swiftly overtaken by targeted electronic blasts, online clickable links and a host of other e-tools, they said. Fancy the idea of mailing a printed piece to a physical address!

A statement on the website of the Data & Marketing Association (DMA) doesn’t exactly contradict that assessment, but it at least acknowledges a niche for direct mail:

“Direct mail continues to serve as a key driver in most omnichannel marketing plans,” said the statement. “It’s complemented well by online efforts and fills a much-needed niche. Where online is generally low-cost, low-impact, print is higher cost, higher impact. Where online marketing is passive, direct mail is active. Direct mailings are proactive and tactile – demanding that the recipient DO something with it. The better response rates make the return on the investment worthwhile for both retention and acquisition. However, the 2015 statistics are in and they’re telling us what we direct marketers predicted: 2015 direct mail volume was down while spend was up, most likely driven by postage increases.”

A more sobering statistic was offered by business intelligence website IBISWorld:

“During the five years to 2021, Direct Mail Advertising industry revenue is expected to remain nearly stagnant. Higher expected levels of consumer spending and rising corporate profit margins are anticipated to increase advertising expenditures, but outside competition should continue to hinder significant revenue growth and profit improvement.”

Direct mail: a necessary marketing concept but hardly a way to get rich. Yet, there are printers and marketers who are innovating and succeeding in direct mail. They’re doing it with a solid knowledge of what direct mail is – and what it isn’t – and a willingness to acquire the deeper knowledge of consumer attitudes and psychology that helps target likely campaigns. Of course, they’re also using the post-print tools and techniques available to them in order to drive up acquisition and retention.

Print is intrusive

Direct marketing creative consultant Alan Rosenspan, who has said of direct mail, “It’s intrusive – in the best possible way,” had this to say about the power of a direct mail piece:

“The first thing to remember is that direct mail is a tactile medium. Unlike email or TV commercials or billboards, it is the only form of advertising that your prospects actually hold in their hands. How it feels, how it looks, what kind of paper stock you use – all are important elements that effect response.”

He continued, “For example, a direct mail package announcing the opening of a beautiful new hotel should look very different than an appeal from a charity. The hotel would use expensive, coated stock that would feel expensive in your hands; the charity would usually use thin paper that looks like they need every penny they can raise.”

And size does matter, according to Rosenspan. “Size also is very important. We have found – in test after test – that the larger the size of the envelope, the more it sticks out from other direct mail, and the better it works. It also looks more important. Larger sizes, such as #12 envelopes and 9″x12″ envelopes, are particularly effective. They are more expensive to print and mail, but the improved response is almost always worth it.”

Color compels

Jeanette McMurtry, consultant and principal, e4marketing, urges marketers to delve into what she calls the “psychology of color” in order to understand how color in a direct mail piece attracts or repels prospects.

In a conversation with PostPress, McMurtry emphasized a spirit of experimentation in order to test out various colors – both for a direct mail piece and for an entire brand:

“Create a new ad campaign or brand iconology and produce it in various colors,” she said. “Send it to your customers and ask them which color caught their attention first and what words or thoughts first came to mind. Prospects see brand value differently through different colored lenses.”

According to McMurtry, taking some time to study what colors really mean to consumers – conscious and unconscious minds is time well-spent, regardless of your industry or if you’re B-to-B or B-to-C. “The wrong colors could project the wrong values, and that could be totally wrong for your bottom line,” she explained.

McMurtry also stressed the importance of doing the brand homework first. “Clever words, offers and compelling content will fall short of reaching your goals if your first impression is not a powerful statement about your brand’s values and experiences. Pay attention to the colors you use and the colors that attract your consumers. Soon, you will discover that you change behavior simply by changing colors,” she said.

Beyond color, McMurtry takes note of the power of such postpress techniques as foil and embossing and the ability of these techniques to yield, for example, upscale, exclusive-looking invitations, etc. “When something like that arrives in my mailbox, it makes me think I’ve been chosen for something exclusive. That makes me feel good,” said McMurtry.

Direct mail also may benefit from what it is not – it is not email, said McMurtry. “Digital overload is always a concern, in that it can lead to consumers tuning out. In contrast, we still open our mail.”

Folding effects

Graphic arts and finishing supplier MCD, Madison, Wisconsin, (www.MCD.net) offers high-impact options including foil stamping, embossing/debossing, specialty UV coatings, diecutting, gluing and folding and inserting, according to Vice President of Sales Sean Hurley. According to statements on MCD’s website, direct mail campaigns have quicker and higher response rates than digital alone. Brands that combine direct mail and digital channels can expect a double-digit uplift in conversion.

One very striking recent project for MCD involves a telescoping direct mail brochure for carmaker BMW. “The BMW telescoping slider is designed so we can automate the gluing and folding. It is entirely automatically assembled,” said Hurley.

“This design was patented and developed by MCD, Inc. It features a diecut hook tab and lock to pull each slide forward. The body of the slider is wrapped around each insert slide piece. We produce one-pull sliders up to four-pull sliders, depending on the amount of print area needed,” he added.

“The best direct mail campaigns often are unique and interactive,” said Hurley. “Perceived value and enhanced brand awareness contribute to success, and if customers see an increase in response with an enhanced direct mail piece vs. standard direct mail, it justifies the rate of investment to the buyer”

Where does Hurley see the influence of direct mail going within the next three to five years? He listed the following:

more personalization,
campaigns targeted to individuals and
utilization of specialty enhancements and distinctive marketing techniques to increase response rates.

Rosenspan agrees on targeting, personalization and segmenting: “As they say, one size never fits all – and the same direct mail package can’t possibly appeal to every person. The more you break up your list, into groups of similar industries or like-minded individuals, the more successful you will be. Many companies build a response model of dozens of variables that will produce the best average response. But, they may be ignoring important segments of that model that may respond much better to a more personalized approach.”

Whether direct mail is used on its own, in tandem with electronic marketing or as part of a spectrum-wide campaign, brand owners need to be up-to-date on all available direct mail enhancements.

“Companies will begin turning back to direct mail as the limitations (and poor response) of electronic media become more pronounced,” concluded Rosenspan. “Hopefully, they will begin to understand that sending out email may be faster and cheaper, but it just doesn’t have the impact of a well-crafted direct mail package.”

“I also believe more companies will understand that all marketing decisions should be based on the value of a customer. If a customer might be worth thousands of dollars to you, isn’t it worth investing more to acquire them?” he asked.

Post Office Promotes “Irresistible Mail”

When you stop to think about it, the US Postal Service has quite a large stake in the success of direct mail marketing programs.

The postal service has sponsored the Irresistible Mail Award to, as it says, “showcase the most innovative and creative work in direct mail advertising.” The postal service is encouraging those who have managed, designed or printed an outstanding campaign in the last 12 months to enter. The program offers four quarterly awards and a Grand Champion who will be recognized at the annual National Postal Forum.

Criteria for the awards track closely with the techniques marketers commonly use. The entry description says, “Innovative pieces may include features on the following list or something even more revolutionarys,” including:

items with unique shapes (2D or 3D), sizes, textures or colors designed to be noticed in the mailbox
design and messaging on the outside of the envelope/self-mailer designed to increase open rates (e.g., transparent envelopes)
digital interactivity (ability to link from mail piece to digital experience through QR codes, AR, URLs, PURLs, NFC, etc.)
video in print
physical interactivity (ability to manipulate the mail piece through folding, etc.)
multisensory engagement through olfactory (scent); texture of the envelope, paper or ink; specialized inks (water-, heat-, light-sensitive or conductive inks) or personalization (greeting, content).

The contest rules, the submission form and past winners can be found at www.irresistiblemail.com/award.

Diecutting – Keeping the Process Simple

March 10, 2017

by Nick Crabtree, president, N & J Training, LLC

To keep the diecutting process simple, a number of steps should be taken before each diecutting project.

Whether the parts are folding cartons, plastic clamshell covers for electronic products, gaskets, shoe leather, pocket folders or POP displays, the principles of diecutting remain the same. As a colleague of mine once stated, “We are creating nothing more than a giant cookie cutter.” This is true, but that simplifies the manufacturing of diecut parts a little too much. Once we start to throw things into the mix, such as creasing, perforating and 50 percent partial cuts, these additions start to make the part production a little more complicated. Or, do they?

If we approach these mixtures in the same fashion that we would if we were cutting only, then it should not add an exceptional amount of additional work. To keep the process simple, a number of steps should be taken before each diecutting project.

The first step should be to clearly identify the product or stock being diecut. This is a very important step because it will dictate the tooling and materials needed to successfully cut the product. For example, we would not use 3 point cut rule on 100lb. cover stock. It is overkill and, in fact, would jeopardize the opportunity to cut the material cleanly.

Step two would be to make sure the cutting surfaces and plates are in good condition and, above all, the cutting surface and the tooling holder are parallel to each other. Make sure all old tape, rust and general dirt is removed from the front and back of the cutting plate. Clean the backing plate supporting the die. By doing these two simple cleaning processes, we are already 50 percent of the way to a quality diecutting job. I am amazed at the number of times I have been called into plants to solve a problem, and the simple solution to a good makeready and diecutting job is to clean the equipment.

We now have a nice, clean piece of equipment ready to receive the tooling for the diecutting. One of the most amazing things I have observed over the years is that most companies will not spend 10 minutes to clean up the last diecut job, but they will allow three- to four-hour makereadies, when the makeready should take no more than 30 to 45 minutes. I call this a violation of the step-by-step approach to diecutting – and, of course, we all know it is false economy. That false economy very often is caused by not allowing time in the schedule for cleaning. An unskilled scheduling department can cause untold losses in profit and communication barriers with production.

Let’s take the next step and look closely at the right tooling and the correct materials built into that tooling for the optimal diecut part with the highest quality finish.

Steel rule

Twenty-five years ago, only a few manufacturers and types of steel rule were in the US. Now, there are many manufacturers from around the world, many types of rule, with many bevels and many gimmicks. Twenty-five years ago most diecutting operators knew how to diecut, but today, in our fast-paced world, we have let go of the focus on basic training.

A number of years ago, the only thing to worry about with the rule was whether one could bend a 90° angle with a 1/32 radius and the rule would not crack. The bevel angle is mostly decided upon by the equipment in the dieshop. If the diemaker has a miter machine that is set for 42 to 45°, that is the angle of the rule that he orders. If it is 54°, he has limited himself to that support on his miter machine.

What the diemaker must focus on is where the majority of his business lies. If it is in folding carton, then 42 to 45° is probably best – that is, if his customer protects the cutting edge on press. If his customer cannot protect the cutting edge, then 54° is the best. It is a little more robust and, if the diecutter cannot protect the edge, hairing on the carton is not an issue.

These are the three simplest ways to look at rule requirements:

bendability
edge angle
diecut material

If the product to diecut is plastics, things become a little more complex. As materials have developed, rule manufacturers have risen to the occasion. For example, Poly-Ethyl-Toluene (PET), which is used mostly to protect electronic products against theft, requires sophisticated bevel angles and special edge hardening. Choosing the correct type of rule for the job being cut should be kept very simple.

Rubber

In many cases there are a number of flaws in the rubbering process, and I see them like this:

Training of the person applying the rubber. Many diecutting operations take the least experienced person in the plant and give him rubber, glue and a pair of scissors. His complete training is summed up in a few words, “Just put rubber on both sides of the sharp bits.”
Too much rubber being used. Systems using waterjet-cut rubber are very spectacular, and the die looks very pretty. But, if we look carefully at a job that is covered in waterjet rubber, take note how much rubber contacts the cutting plate, causing additional pressure on the material. The amount of surface area of rubber on the dies has increased significantly using this process. So, when designing the rubbering pattern, use caution in how much rubber is used. The high-speed diecutting presses rely on using the least amount of tonnage, preventing distortion in the sheet and thereby allowing the operator to “fly” the sheets at high-speed. From the benefit side, waterjet rubber does allow for an even distribution of pressure throughout the sheet.

Steel, phenolic counters and creasing matrix

This is where it can get a bit more complicated. Fortunately, the International Association of Diecutting and Diemaking (IADD) has helped organize formulated charts for calculating the channel widths and depths. These figures are used as guidelines when producing phenolic counterplates. The organization also has charts for the production of steel counters.

As we had indicated with steel rule, there now are a number of worldwide manufacturers for creasing matrix. Whether the matrix is manufactured domestically or from abroad, each supplier has its own way of calculating the two most critical dimensions. These dimensions are the matrix thickness and the channel width. Matrix height is calculated by simply using the material thickness that is being diecut. That is how it used to be when cutting the crease by hand. Now, it varies from material thickness plus 0.010″ (0.254mm) for a backer, to 1.5 times the thickness, etc.

The channel width is calculated using all kinds of formulas from 1.5x to 1.75x or even 2x material thickness plus the thickness of the crease rule. The formulas themselves are very simple if we choose one and stick with it, but if we want to change, then what happens? It is difficult to understand, from my perspective, why there is not more control and standardization as there is in Europe – but, it is something diecutters here in the US must deal with.

The point is, look at different matrix products and see how many variations there are available. Years ago, when we used to cut our creasing matrix grid by hand, we never had these problems. It is a simple process, and there is no need to overcomplicate it.

The message here is to try to keep the diecutting process as simple as possible. Study the process carefully, and choose the rule that works best for the diecutting job. Choose the creasing product and formula that works, then stick with it and learn from it. Diecutting and finishing life, in general, will become much easier to work with.

Nick Crabtree is president of N & J Training, LLC, Hagerstown, Maryland. To contact Crabtree, call 240.313.8598.

This article is reprinted with permission from the International Association of Diecutting and Diemaking’s monthly magazine, The Cutting Edge, June 2007.

The IADD is an international trade association serving diecutters, diemakers and industry suppliers worldwide. IADD provides conferences, educational and training programs, a monthly magazine, online resource library of 550+ technical articles, industry experts to answer technical questions, publications and training manuals, recommended specifications, online used equipment marketplace, videos and more. IADD also co-presents Odyssey, a biannual tradeshow and innovative concept in technical training featuring a hands-on Techshop, where training programs come alive in an actual working diemaking and diecutting facility inside the exhibit area. Visit www.iadd.org or call 815.455.7519 for more information about IADD.

Be a Customer Service Contender: Why Most Customer Service Isn’t as Good as It Could (or Should) Be and What You Can Do About It

March 10, 2017

by Katie Zabriskie, president, Business Training Works, Inc.

Too often, organizations recognize they have a service issue, yet their efforts to address shortcomings fail to solve the problem. In the worst cases, customer service initiatives backfire and motivate people to do less. So, what’s going on? Usually, a few things are to blame.

Typically, there’s an organizational mindset misalignment, a lack of commitment from the top, an absence of recognition for giving great service or a combination of all three. In contrast, legendary service organizations have a service mindset, commitment and reward great performance.

Service mindset

Great service companies eat, sleep and breathe extraordinary service. They don’t pull people off the phones for a few hours and expect magic. They use the following techniques:

They have a service mission, and it does more than sit in a frame on a wall in some conference room. It’s top-of-mind throughout the organization. People know it and live it through their daily interactions with customers and each other.
They design processes with the customer’s best interest in mind. Think about that well-known airline, so full of love for its customers it allows them to cancel flights for full credit on a future trip. Clearly, they believe most of their customers won’t book travel they don’t need, and those who must make a change eventually will choose to fly with them again.
They hire people who genuinely love service and are proud to live the brand.
They constantly retool the customer experience, because they know what worked well in earlier years is long overdue for a makeover.
They educate, educate and then they educate some more. They want to make sure that the people who represent the brand understand what the brand experience is and how to deliver it.

Commitment

Great service companies involve everyone in their service culture and improvement efforts. They invest in their employees and trust them to do what’s right by engaging employees in the following ways:

Their management team models service-centric behavior and holds others accountable for doing the same.
Their leaders participate in education efforts, often introducing workshops, wrapping them up and actively taking part during sessions.
They commit to and believe in their staff. Because they’ve chosen their employees well and trained them appropriately, they treat staff members as the adults they are and give them latitude when solving service problems.

Reward

Great service companies reward service-centric behavior. They don’t ignore great work or punish people for taking initiative. They commit to honoring their employees in the following ways:

They value their employees and recognize that without them there is no customer service.
They reward employees by trusting them to do what’s right.
They encourage people to find new ways of solving problems.
They recognize that a paycheck alone is not enough.

When thinking about everything that the greats do, it’s easy to get discouraged or think your business or department will never achieve true service success. The good news is you’re wrong. While it won’t happen overnight, you can take a page or two from the masters to elevate your approach.

What to do when you realize you’re not great

Start by thinking about your purpose. What is it that your organization does? Articulate your purpose. Everyone needs to understand your core reason for existing and how the actions they take related to service support that mission.

Next, think about your processes and how customers interact with you. Do you have your customers’ best interests at heart? If not, what changes can you make to remedy those shortcomings? This step has an added benefit. When your organization’s and your customers’ goals are in harmony, you will have happier customers. Furthermore, it is less likely your people will find themselves dealing with the unhappy, disappointed or disgruntled.

Model what you want to see. People work for people. If you supervise others, they are watching and learning from you. If you are disengaged, they probably are too. On the other hand, if you embody the spirit of service, you probably see elements of yourself in their performance.

Teach your staff what to do and how to do it. You can’t expect people to deliver great service if they don’t know how. Furthermore, you can’t expect them to care if no one at the top does. Take employee development seriously. This means being a champion for training, participating in education and coaching for new skills after the fact. Eventually, your people will be able to do more, will make better choices and solve problems more imaginatively.

Hire for service skills. The next time you have an opening, think about what makes someone great at service in your organization and seek those attributes. Don’t settle. You’ll be sorry later.

Reward. Even if you have no budget, you can reward employees for giving great service. Start with a sincere “Thank you.” Heartfelt appreciation can work wonders.

Finally, put your continuous improvement hat on. Systematically evaluate where you’ve been, where you are and where you are going.

None of these steps are necessarily difficult. The trick is to take them. In other words, to win the service game, you’ve got to be in it. What will you do better today?

Kate Zabriskie is the president of Business Training Works, Inc., a Maryland-based talent development firm. She and her team help businesses establish customer service strategies and train their people to live up to what’s promised. For more information, visit www.businesstrainingworks.com.

Association News: BIA

March 10, 2017

How Can My Company Get Recognized for the Outstanding Work We Produce?

You created a great piece for a customer and want to show it off to the rest of the industry, but you don’t know where to start. Enter your piece into the Premier Print Awards. The 2017 award competition can be your showcase. Share your postpress success story on both a domestic and international stage. Build your brand and team recognition.

There are many postpress categories that you can enter, including the following:

foil stamping
digital enhancement printing
diecuts and pop-ups
folding
binding
other special finishing techniques
cartons, containers, boxes and totes

The Premier Print Award Competition recognizes the highest quality pieces in various categories from around the world. Each year, only the most worthy pieces receive Awards of Recognition, Certificates of Merit and the highest honor – the Benny statue. The Benny has become a universally recognized symbol for excellence in the printing industry. For more than 60 years, winners of the largest, most prestigious print competition in the world have leveraged this honor to gain a competitive advantage.

Important Dates for 2017

February – Premier Print Awards entry system opens

April 21 – Early-bird Premier Print Awards entry deadline

May 19 – Premier Print Awards final entry deadline

June – Premier Print Awards judging and winner notification

July 14 – Deadline for 2017 Premier Print Award proofs

July 31 – Deadline for advertisement in the 2017 Premier Print Awards Supplement

Aug. 28 – Deadline to RSVP for the 2017 Premier Print Awards Gala featuring the InterTech Technology Awards

Sept. 10 – 2017 Premier Print Awards Gala featuring the InterTech Technology Awards, in Chicago, Illinois

For more information on the Premier Print Awards, visit www.printing.org/ppa.

Continuing Education Opportunities

Are you looking for opportunities for continuing education in the industry? How about for your employees? At Printing Industries’ iLearning Center, you have an array of online courses at your fingertips. Some of the courses include the following:

Seven Basic Tools for Process Improvement, presented by John Compton
Makeready Reduction, presented by Malcolm Keif and Kevin Cooper
Power Selling Program, presented by Leslie Groene
Vertical Marketing: A Guide to Profits, presented by Thaddeus Kubis
Hazard Communication: Train the Trainer, presented by Gary Jones and Caitlin Seiler

New for 2017 will be a postpress and finishing orientation course. This course will highlight key areas of the bindery, such as safety, cutters, folds, binding options and finishing options. This course will be geared toward new postpress employees.

Suppliers, we need your support. We are looking for companies interested in sponsoring this course. Sponsors have the opportunity to demo their product in a video in the training course.

BIA Member Benefits

Don’t forget to take advantage of the benefits you receive as a BIA member …

Members receive:

Exclusive discounts on products, as well as networking and educational events
Access to professional peer-networking forums
Free economic reports focusing on postpress companies (participation in the survey required)
An informational monthly e-newsletter
Discounted online learning at the iLearning Center (www.printing.org/iLearning)
Free technical support
Quarterly magazine focusing on postpress
Access to the BIA member-only listserv

Benefits for Your Business:

Learn about cutting-edge trends in finishing equipment and technology and how to apply them to your operation
Discover ways to expand your offerings and product lines
Branch into hot, growing markets, such as packaging, with the necessary skills, equipment and other resources
Increase on-time order delivery and meet customer demands
Become more competitive in your market

By joining BIA, you belong to an organization dedicated to supporting and enhancing our industry. We are your advocate, helping you increase growth and profitability every day. BIA is your postpress resource. Joining BIA helps your organization with numerous benefits you cannot get anywhere else. Members gain access to an abundance of resources that deliver results to enhance your success today and in the future.

Looking for a Bindery or a Supplier to Help with an Upcoming Project?

Are you looking for a trusted company to bind your project? Need a new piece of equipment, or do you just need to buy supplies? Make sure to visit and bookmark www.printing.org/BIA and check out the FindABindery feature to locate a qualified binder. Additionally, there is a BIA Supplier link containing a list and description of manufacturers. With valuable listings of BIA members on both the manufacturer and supplier end, it’s easy to find excellent partners to deliver the high-quality work your customers demand.

We are continually updating this information, but if your company is not listed or you need your information changed/updated, please contact Mike Packard.

For more information about membership in BIA, contact Mike Packard at 412.259.1704 or mpackard@printing.org.

Application: Lights, Camera, Color! Mohawk’s Newest Guide Impresses with Color and Texture

March 10, 2017

by Brittany Willes, editor, PostPress

As every designer and printer knows, the success of printed communication begins not with the words or images on the page but with the page itself. As asserted by Chris Harrold, vice president and creative director for Mohawk, “Paper is a powerful tool, on par with copy and design in its ability to deliver, enhance and create memorable impact. Just as food delivers more than simply nutrition, the flavor and presentation of a meal plays a role in how we enjoy and remember the experience.”

Just as flavor and presentation can enhance a meal, color and texture are essential tools for enhancing print communications. With that in mind, Mohawk set out to create a definitive guide that could re-educate the design and print communities as to the benefits of print on paper – with a clear emphasis on the enhancing qualities of colored and textured papers.

“We saw a real need to create a useful tool with detailed strategies on how to harness the inherent impact that texture and color bring to a print job,” stated Nicholas Motyl, project coordinator, marketing. The end result was Mohawk’s A Maker’s Field Guide to Texture and Color, a 115-page resource for designers and printers.

The field guide is divided into four sections. According to Motyl, “The first section is an introduction on the importance of materials in any print project and how they can be used to shape, support and amplify your overall message.” The guide then shifts into two sections on texture and color. Each of these sections features three practical strategies and then a summary printed demonstration showing the range of possibilities with fine paper. Finally, the guide ends with a resource section allowing the user to gain more information and build on the techniques addressed.

Just as the guide details how texture and color can impact communication, the guide itself features a range of colors and textures. For instance, the cover was created using Strathmore Grandee, Blazer Blue 100 Cover and features red and white foil. The guide was released with two different dust jackets – one targeted at teaching graphic designers how to utilize the field guide and another that offers tips for the print community when working with clients. Both dust jackets were printed on Mohawk BriteHue vellum 60. The designers edition displays Ultra Lava text, while the printer’s edition makes use of Ultra Lime.

Along with the cover, tabs denoting the guide’s different sections likewise feature decorative foiling. The color tab is set off with blue foil, while the texture tab features red. True to its title, the guide features a wide range of colored and textured papers, as well as a range of processes, including 4-color process, duotones, blind embossing and spot Pantone colors. Overall, everyday printing techniques were showcased on 32 differently colored and textured papers in order to demonstrate how the two combine to make an impression.

Furthermore, the guide makes use of a combination of 4-color process and UV inks in an array of colors, including match blue, match red, match brown, match gold, match purple, match pink, match orange, white and black. Some pages feature multiple hits of these inks for added emphasis. Additionally, the guide also displays both embossing and diecut processes for certain sections.

In order to print the field guide, Mohawk reached out to printer and marketing communications company Sandy Alexander, Clifton, New Jersey. The guide was printed using offset printing, digital printing and embellishing processes. Finally, the guide was bound using a special type of copper wire-o, giving the guide an overall clean and functional appearance.

With 115 pages of photos, illustrations and printed examples, it should come as no surprise that such a complex project would present its own set of production challenges. Hybrid Design, San Francisco, California, was responsible for designing and creating the guide. Collaborating with the printer, Sandy Alexander, required a great deal of time, cooperation and coordination. Despite the potential for obstacles and headaches, according to Motyl, “The process was remarkably smooth. We moved from concept to final print in less than six months.”

“Equal parts inspiration, education and conversation, the Maker’s Field Guide aims to equip printers, communicators and designers with practical strategies and powerful demonstrations of how persuasive uncoated textured and colored papers can be when fully understood and utilized,” Harrold affirmed. To that end, the guide has received a largely positive response from the creative and printing communities. Having distributed almost 10,000 copies of the field guide, “the feedback we have received confirmed our sense that this kind of tactical refresher on how to use fine paper was long overdue,” stated Motyl.

Application: Cuba Libre! – Hera Printing Raises a Glass to the Classic Cocktail

March 10, 2017

by Laura Copeland, assistant editor, PostPress

¡Por Cuba Libre! Translated to Free Cuba in English, this battle cry characterized the freedom-fighters’ spirit during Cuba’s crusade for independence from Spain in the late 19th century. According to legend, on a hot day in a post-war Old Havana bar, a soldier raised his mixed drink – a Bacardi rum on ice with cola and lime – and cheered ¡Por Cuba Libre! Uniting the crowd in fellowship and fun, the drink soon gained popularity among the locals, eventually becoming an internationally celebrated beverage known as Cuba Libre. Today, it still is admired the world over, and to commemorate the historically significant drink, Bacardi turned to Hera Printing Corp., San Juan, Puerto Rico, to assist in creating a poster honoring it.

Hera Vice President and Plant Manager Ricardo Garcia recalled, “Bacardi came to us looking for innovation – they wanted to make their poster pop.” Bacardi executives understood Hera recently had purchased a Scodix S75 digital enhancement press featuring the patented Scodix SENSE® polymer coating process. “When we introduced [Bacardi] to this process, they were amazed,” exclaimed Garcia. Recognizing the machine for its efficiency and accuracy, Bacardi knew the Scodix system could produce the poster it desired.

Joining forces, Bacardi and Hera came up with a plan that would incorporate the use of the Scodix coating process. The poster was printed on 4-color process on a Heidelberg SM74, using dull-coated 130lb Sappi Fine paper. The design team used inks from Vanson Ink’s line, V3, in the primary four colors – yellow, magenta, cyan and black. After a matte aqueous coating was applied for protection, Bacardi wanted to further enhance the poster.

To accomplish such a feat, Hera decided to employ one tool in particular. According to Garcia, “What gave the poster that pop was the Scodix system.” For this project, he called on Prepress Director Juan Sostre, Machine Operator Gabriel Carrero and Designer Rose Torres to make Bacardi’s vision come alive. “The artists started thinking about how to make it more creative and how to make it stand out,” Garcia clarified. He explained the biggest challenge with this project was keeping a balance between the product and the art – making the drinking glass look realistic, but not letting that effect overshadow the product or the idea behind it.

Craftspeople worked to make the poster not only look true-to-life, but also feel real to the touch. “You can feel the ribbing in the glass, the vein in the fruit and the texture of the bubbles in the cola,” Garcia stated. To create this effect, a layer of polymer liquid was applied on top of the printed material. Additionally, “We had to pass the job twice through the machine. The first pass was for everything we wanted to stay on the same level with an even gloss so that not only the glass would shine, but also the Coca-Cola behind the glass. Then, the second pass gave the texture on the glass on top its shine,” he explained.

The design team determined what parts of the poster needed to incorporate texture and then applied the polymer accordingly. “You really have to design what you want to be polymer,” Garcia said. “Where do you want it to be higher and lower, and where do you want to have texture?” Once that is agreed upon, the appropriate software is assigned, the polymer is applied into the machine and the sheet is passed through. Next, the polymer drops into the printing material, and a UV light completely seals it. Once it comes out, it is dry and presents with a super high-end gloss with texture. “This is the elegance Bacardi was looking for,” noted Garcia.

The 3D poster has received great praise and several awards. It has entered a few competitions nationwide and worldwide – taking first place in the General Commercial Printing category for the Scodix Design Awards in 2014. Additionally, it took second place in the Premier Print Awards, as well as the Printing Impressions‘ Gold Ink Awards. Beyond its international recognition, the poster is revered within the company – it is the only Bacardi decoration hanging in the office of Bacardi’s general manager in Puerto Rico.

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