Margie Dana

What Print Buyers Won’t Tolerate

Last month I wrote a blog on this topic for Printing Impressions. I’ve expanded and revised it for today’s Print Tip. That’s the thing about us writers. We’re never satisfied, always tweaking this and adding that.

Remember that old game show, “$100,000 Pyramid”*? It was a contest between two teams, each one comprised of a TV celebrity and an average Joe who hoped to win the game and, therefore, a lot of money.

Dick Clark hosting the show $100,000 Pyramid

There was a big electronic board displaying a pyramid of different categories, which were hidden from the average Joes. The celebrity on each team tried to get his or her partner to correctly guess a category (worth a certain amount of cash) by suggesting things that would be included in it. Categories closer to the top of the pyramid got increasingly more difficult – and worth more money.

If I hosted such a game show, there’d be a category called “Things that Print Buyers Won’t Tolerate – for Long.”

Here are some examples of clues a partner might give to describe this category:

Dishonest printers and sales reps – God help you if they catch you in a lie
Waiting too long for a price estimate, like, longer than 24 hours for a typical job

Having your spec’d paper switched by a printer – without your permission or even knowledge
Invoices that don’t come anywhere near the estimate, even when specs didn’t change or if they did change, without any discussion about the affect on the cost.
Unresponsive sales or service reps
Sales or service reps impossible to reach by phone
Misrepresentation (what printers can and can’t do, equipment at the plant, etc.)
Unprofessional behavior
A habit of missing delivery dates
Overpromising by a lot (as in, saying anything to get the job, even though your facility can’t deliver)
A rep who habitually make a lot of excuses
Failure to accept responsibility
Being surprised by an unexpected ANYTHING during the production process
Being kept in the dark when problems arise that will jeopardize the deadline, cost, and/or quality of your project
Being given The Runaround.

This is a short but accurate and powerful list. I can also share another category I’d like to use in this game: “Things That Endear Printers to Their Customers.” It would be much longer. Another time, perhaps?

*According to Wikipedia, this show started in 1973 as the $10,000 Pyramid, with the late Dick Clark as the host.

Seeing Colored Spots Before Your Eyes?

By Margie Dana and Mike Taylor

While reading the Sunday New York Times, I noticed the colored dots you see in the accompanying photos. They’re register marks used to help the printers ensure the colors in the full-color images are printing properly. (You see these particular colors because they're the four process colors used for full-color printing: Yellow, Cyan, Magenta and Black.) I wanted to hear more technical detail from someone in the newspaper business for the “story behind the story.” I reached out to Mike Taylor, Print Manager for the OC Register in Santa Ana, CA. Mike took one look at these pictures I sent and contributed to today’s Tip.

These color dots can be in many shapes and are usually located in the spine of the newspaper. They’re called targets, and they’re for the pressman to align all of his color pages.

In the past, all newspapers were black and white with no color printed pages; hence no registration was needed. But things have changed. Today, with so much competition from magazines and now with the Internet, it is very important for newspaper publishers to offer advertisers beautiful color pages.

You can charge more for color (and earn more revenue), and from a reader’s perspective, the paper also looks much nicer. From a pressman’s point of view, once these dots or crosshairs are sharp (all four colors are aligned), they can start running “keepers”: i.e., good copies. Once these target (registration) dots are sharp, all of the full-color pictures should be nice and sharp also.

As the press continues to run good copies, the pressman will keep an eye on these dots and make adjustments as needed to keep the color aligned. The reason you are seeing these dots on newspapers is that the majority of newspapers have upgraded the older presses with new, state-of-the-art color management systems for a couple of reasons. The main reason you are seeing these is the importance of running more and more color pages (because of more color advertising) with tighter registration.

Advertisers want to see nice-looking color ads, and the paper itself is running more color pictures. The second reason deals with paper waste. In the past, this was not a big deal, because paper costs were not a serious issue. Today, paper costs are skyrocketing, so it is very important to get the color registration up and running very quickly, eliminating bad copies that can only be recycled.

© 2012 Margie Dana and Mike Taylor. All rights reserved. You’re free to forward this email. However, no part of this column may be reprinted without permission from the author.antivirus software comparison

DRUPA 2012: An American in Dusseldorf

By Jeanne Connerney

Jeanne Connerney

When I heard that professional print buyer Jeanne Connerney was headed to DRUPA this year, I asked her to share her impression of this mega-show, which won’t take place again until 2016 (rather like the seasonal Olympic games, no?). Jeanne graciously agreed. I’m delighted to present her post today.

Jeanne has worked in global supply management for over 20 years, specializing in advertising, print, packaging, and paper. She has helped companies strategize and align their marketing, cross-media, printing, and mailing efforts, leading to increased efficiencies and significant cost savings. Currently, she works as a procurement specialist in the internal advertising agency of a major corporation.

DRUPA is the world’s largest print media show and occurs every four years in Dusseldorf, Germany. This year it took place from May 3 – 16. I was in attendance for two days, and I cannot claim to have covered even a fraction of the offerings. What follows is a brief and subjective overview of my personal highlights.

The star of the 2012 show was Benny Landa, who sold Indigo to Hewlett-Packard in 2002, and now runs his own company. His latest innovation is Landa Nanographic Printing™, a unique process that distributes extremely tiny pigment particles uniformly, and boasts “the broadest colour gamut of any four-colour printing process,” as well as being environmentally friendly. The Landa booth contains its own auditorium, where visitors are invited to a demonstration five times per day. The show begins and is interspersed with an avant-garde dance and percussion performance (I was told Landa’s daughter was one of the dancers), followed by an explanation of the technology through video, demonstration using the large touchscreen on the press, and Benny Landa himself. The press comes in both sheetfed and web, and will be released

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in 2014. The ease and speed of set-up make it ideal for variable data printing or short runs. Afterwards, sales reps outside the auditorium repeated that they guarantee the print quality will be as good, or better than offset.

I visited several booths offering new digital technology, among them Indigo. HP showcased 10 new presses at DRUPA, among them the Indigo 10,000 press, offering an image size of two and a half times larger than any of the existing Indigo sizes, as well as greater paper-feeding capacity and an in-line spectrometer for improved quality control and an automatic photo imagine and blanket change system.

Xerox and Kodak also highlighted their digital presses. I visited Fuji for an overview of their latest large format press. Besides digital presses, all press manufacturers had a large presence at DRUPA (Heidelberg, Komori, Fuji, Pitney-Bowes, Oce, etc.). With 1,850 exhibitors, almost every aspect of printing is represented, including digital software, ink, and paper companies.

Although attendance was visibly lower than four years ago, when I could barely move through the aisles, the visitors, representing 130 countries, seemed very engaged. The lower attendance made it easier to see presses up close and to find a sales representative for discussion. Each major booth offers representatives who speak one or multiple languages, often indicating which ones with flags upon their badges. Since the weather was cold during my visit, the outdoor booths serving beer and pina coladas were not busy. Each building at Messe has a food court and at least one sit-down restaurant.

DRUPA is the global meeting place of the industry, so much of my limited time was taken in meeting with global print suppliers and discussing their capabilities and the future of print.

Dusseldorf is a modern industrial German city, most of which was destroyed by the Allies after World War II, and then rebuilt. A dinner by the Rhine River is worth the taxi ride, and one can view the famous Gehry architecture. Unfortunately, I didn’t get time for sightseeing, although we ate dinner Saturday night in AltStadt (Old Town), wandering through outdoor beer gardens, full of revelers. Although many waitstaff and taxi drivers speak some English, many do not. My 10 or 15 basic German phrases came in extremely handy.

DRUPA remains the premiere print show to attend, and demonstrates that innovation continues within the realm of print media.

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The REAL Value of Direct Mail

h3>By Larry Raff

How coincidental is this? Last week I wrote about two different but very effective pieces of direct mail that I got at home (and loved), and within days, I was emailed a terrific blog post by Larry Raff, a nonprofit development consultant and president and principal of Copley Raff, Inc.

This post struck such a loud chord with me about the power of direct mail, that I had to share it. Enjoy!

________________________________________________________________________________________

The traditional (and frankly easiest) way to evaluate a direct mail program is to determine net revenue and the number of donors you keep, gain, and lose. A mature and well managed program will invest in acquisition, end the year with more donors and, if you are really good, achieve an overall higher average gift to boot. Results are evaluated annually or semi-annually to inform the next budget cycle strategy. If this is your approach to valuing your mail program you will be challenged to sell greater investment in the program to your boss… especially these days.

Consider taking a longer, more detailed, and sophisticated view of direct mail value. While all of the above is obviously important, it is important to acknowledge that “unexpected” windfalls, such as significant bequests, are often from longtime $25 direct mail donors. These are the ultimate rewards from a regular mail solicitation program that keeps your mission and need for philanthropy in front of your lower profile and often overlooked donors and stakeholders.

Assuming that gifts like these are rarely direct-mail-driven ignores a striking reality: your donor file contains wealthy people who give you – and many other organizations – money regularly. Even billionaires write $100 checks! The size of their gifts may not elevate them to your attention, but it is your job to find those high net worth donors hiding in your file and to do something about them.

Stories abound about the gift officer who picked up the phone to thank a donor for his/her large mail gift or loyal giving and ended up with a new friend, a larger donor, and sometimes a new major
donor. Here are some key questions for consideration in regards to direct mail and fundraising:
[list style=”bullet” color=”pink”]

Should the $2.5 million gift made by a $1,000 direct mail donor five years after her initial, $25 response to an acquisition letter, be “credited” to direct mail?
What about the $1 million campaign gift from a donor referred to your group by one of your low dollar mail donors?
And what about those bequests?

[/list]

The correct answer to all the above is “YES!” But of course, let’s also be careful to credit these gifts to the organization as a whole: to all the programs that touched the donor. The profession of fundraising will be able to achieve its greatest success when all development folks come out of their job-title silos and take a collaborative view on performance. And in this context, direct mail undeniably sets up and contributes to major and planned giving success!

A properly integrated development office will identify these targeted mail donors through wealth screening and has the staff to make personal contact with them and plumb the potential to elevate them to greater generosity and involvement. The annual giving officers are central to feeding the major gift pipeline, and the direct mail program gives them “grist for the mill”.

If your in-house mail program is not growing net revenue and increasing the pool of active donors from year to year, you should consider bringing in an expert to help turn things around. Whether you hire a dedicated staff specialist or an experienced direct response consultant, you need someone who can look beyond the typical metrics that define mediocrity, and offer integrated wisdom and technique to ensure that direct mail becomes an effective and productive incubator for your major and planned gift donor portfolio.

And here’s the silver lining: You can now re-task and retrain the annual giving staff (formerly assigned to direct mail) to take personal engagement to the next level, meet with prospective major donors, and ask for larger gifts. This is why we call it “development” and not simply “fundraising.”

Your takes:

The true value of your direct mail program far exceeds the number of dollars and donors generated per each campaign.
Your best and next gift just might come from a regular, but under the radar, direct mail donor. It's time to re-examine who should be on your prospect radar.
Consider bringing in direct mail expertise to realign, integrate, and optimize your direct mail program. Dollar for dollar, it could be one of the wisest investments you make.

This blog post points out the value not only in a strategic direct mail campaign for fundraising, but also in getting professional expertise in designing and measuring your campaigns. Well said!

For more information about Larry’s company, Copley Raff, and to read more of his blog posts, please visit http://www.copleyraff.com.

Two Direct Mail Pieces Catch My Eye

ur son Jacob is a high school junior; therefore, he’s getting lots of direct mail pieces from colleges and universities all over the U.S. Many of these pieces come from schools we’ve visited (and to which he’s considering applying), although he’s clearly in some database (College Board, perhaps?) that’s generating tons of mail from lots of other schools.

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I love looking at these pieces. He only seems interested in stuff from schools at the top of his list. To be honest, J’s not interested in mail in general. He’s getting his information elsewhere (web sites, peers, counselors, Facebook). I know many parents whose children have a different reaction – they do take the time to look at this kind of mail.

Still, I look. Two pieces caught my eye recently, and though they’re very different, I think they’re terrific in their own right: one for its message; one for its design.

The postcard from Brown University caught my eye for its message. It’s a simple, 5 ½” x 8 ½” full-color postcard. One side was a full-bleed campus photo with an inch-wide horizontal banner running across the middle. “COME SEE WHAT’S NEW AT BROWN” was the only copy on this side, plus the university logo. So right away, you knew what this card was all about. NEW things.

Brown Front

Brown Back

On the mailing side was the content: four bulleted paragraphs of very small type describing – yup – what’s new at Brown: 1) website for the Office of College Admissions, 2) creative arts center, 3) social media accounts, and 4) four athletic facilities.

I like the postcard’s focus very much. However, I think that for a postcard, it’s too copy heavy, and the second color (a lovely, springy-green shade that’s a screen tint) is too light when used in the body copy. This color is used for the URLs in the copy as well as for Twitter and Facebook addresses. There’s not enough contrast between the pale green and the white of the paper. There’s also a QR code tucked into the corner of the body copy. I’d have liked a little instruction with this code (“Scan this code”). The URL's is not a special landing page, either; it’s the admissions page on their site. (While I was on this page I noticed they recently posted admissions for the class of 2016: Brown accepted 9.6% of the applicants out of nearly 29,000. Oh, those Ivies!)

The other piece I liked for its design came from Tufts University. This 8” x 8” square beauty was a brochure about their upcoming summer session. The design is outstanding, as is the print quality. It has a sunny yellow cover, with a spot varnish simulating the sun’s rays. The cover in particular is gorgeous (kudos to the Tufts Print and Marketing Communications staff, who gets credited on the back cover).

Tufts Outside

Tufts Inside

The inside pages of the 12-pager use color, different typefaces, and photography very intelligently, very creatively. Lots of leading between lines of copy, coupled with different sans serif typefaces of different weights makes this fun to look at – and enticing to read. The designer used type treatment & a great color palette to emphasize phrases. It really works. It’s a visual acknowledgment to the fact that readers are more likely to scan for key words rather than read everything. So phrases like “individual attention, “intense and challenging,” and “work at the college level” jump right off the page at you. The university’s URL (http://ase.tufts.edu/summer) is printed in nice, big type on every spread. What a gorgeous design this is. What a smart piece.

This time in Jacob’s life is generating tons of direct mail for me to peruse and critique. Some mail inspires and impresses – like these two pieces. Into my sample drawer they go. Use a postcard for one simple purpose – to share what’s new, perhaps? Create a luscious brochure in a delightful square shape with a stunning cover design, and make your type do double duty (convey content and catch the eye).

I’ve had a mini-education in print publications from Brown and Tufts. I’ll be sorry to see all of this mail come to an end in a year!

What Is Drupa and Why Should I Care?

By Frank Romano

Frank Romano

Drupa is the name of the largest print-related exhibition in the world. It is sort of a cross between a world’s fair and the storming of the Bastille. It is the place where new printing technology is introduced. Sometimes, it even works.

The first thing that hits you is the sheer size of it all. It takes an hour to walk from one side of the messe (fairgrounds) to the other. There are about 20 buildings filled with every kind of printing and related device on earth. And there are 360,000 people from all over the world.

The day before the formal opening is when Heidelberg has their traditional press conference. But they were usurped by Landa, a company that revealed a new nanographic printing technology. In fact, HEI is partnering with Landa on a future printing device.

The Landa news became the hottest topic at the show. Benny Landa invented the HP Indigo digital printers. His new nano ink can print on any substrate from plain paper to film without any special coating. The ink is delivered by inkjet heads, and it lays down a thickness half that of offset, which means less ink cost. Landa has also partnered with Komori and manroland.

Two of Landa’s presses were shown, a cut-sheet B2-format Landa S7 and a web-fed (52 centimeter/20.47 inch) Landa W50. These printers are part of a seven-product portfolio of Landa-branded products, most of which support up to eight colors.

Landa NanoInk is comprised of pigment particles a fraction of the size of a human hair. Powerful absorbers of light, these tiny particles deliver high-quality images that are unusually resistant to abrasion.

For the first time, commercial printers and their customers will not have to choose between the versatility and short-run economics of digital printing and the low cost-per-page and high productivity of offset printing. Now they can have both.

Digital printing was the hottest technology. Xeikon will have its usual powdered toner and a new liquid toner. Delphax is using Memjet inkjet heads in one model as is Canon/Oce. 4-up or B2 digital printers were in abundance. There are now nine companies with 4-up sheetfed inkjet presses.

Sheeted or roll-fed, digital printing was the key process at Drupa. Inkjet digital printing, that is. Most of the suppliers upped the speed; some increased the sheet size. All have high-dpi quality.

The reason for all the digital activity is short runs and longer short runs.

The finishing folks were all over the show-offline or integrated into the digital printer. There was a lot of built-in quality control and automated workflow software.

Hybrid printing was everywhere. That’s where you put an inkjet system at the tail-end of the offset or flexo press. Presstek and all offset manufacturers use this inkjet printing for spot personalization.

So far, there have been 22 press conferences. All of them announced something new, but in many cases it is a year or more away. Printers should keep making money with what they have so they can afford the new stuff.

The show confirms what we already know-digital printing is slowly but surely encroaching on offset. Offset will not go away but it is seeing and will see reduced volume. Print buyers will have more choice in printing processes

Why It’s Harder & Harder to Source Print Professionally

It used to be pretty easy to find commercial printers – compared to today, that is. Their company names identified them as printers. Maybe they had a form of the word “lithographer” or even “graphics” in their name, but one way or the other, you knew who you were dealing with.

Today you have to be a sleuth when looking for printers.

Many companies have changed their names, surgically removing any hint of “print,” “litho” or “graphics.” These same companies have painted over their web site, so to speak, with content that confuses. They are “direct marketing” firms, or “supply chain management” specialists. Many are “creative strategists.” I’m getting a headache.

I don’t know about you, but so many times when I visit a web site I have to sit and parse the content for what seems like ages to determine what I’m looking at. Is it a creative agency (design)? An ad agency? A printer? A broker? A direct marketer? All of the above – or none?

There are also companies who service the trade; that is, they manufacture print and related materials for other printers, not for end users like you or me. Again, it’s not always obvious who’s a trade printer.

There are print brokers, too. Tens of thousands of them! Print brokers represent print manufacturers. They are not employed by printers, but they are experts in helping you source your print and related projects with the most appropriate provider. Does this matter to you? It may or may not, but you should be aware of the difference. I’ve written extensively on how corporate buyers feel about brokers; I’ll leave my opinion on this for another day. (I will say this: don’t be close-minded! Examine all of your options, whether it’s with a print provider or print broker. Decide for yourself.)

Over the past 10 years or so, we’ve seen the growth of online (ecommerce) printers. What a great alternative! We buy so many products online, doesn’t it follow that print can be one of them? You may not buy all of your materials this way, but I’ll bet there are product lines that are truly well suited to an ecommerce printer.

And then there are the big box stores, particularly those that sell office supplies. They have in-store print and copy centers. Whenever I’m in one of these stores, these centers are hopping. Clearly, they serve a big audience.

Let’s not forget the brick-and-mortar printing companies throughout the country – and beyond. From a high of about 58,000 US printing establishments to the current estimate of about 32,000, there are commercial printers for your every need. They’re all different.

Your work as a print buying professional is cut out for you. That’s part of what makes the business so exciting. Being aware of your various printing options is important if you source print or design for print or even if you’re a marketer who uses print in your campaigns.

Make a point of understanding all of your sourcing options. I hope this Tip helps. Some will suit you/your company better, no doubt. It was easier when you didn’t have so many options – but was it better? You decide. Perhaps we should simply say, vive la difference!

Buying Print? Same As It Ever Was

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em>I’m honored to be one of PIworld.com’s many bloggers. Most of the time, I blog about print buying issues, but I’m also passionate about printers’ marketing efforts, so I use my PI blog to share opinions and suggestions for printers as well.

Recently I posted this blog, a reaction to a PBI BOSTON session that featured three buying pros: Blair Weidig, Tom Pixton and Maria Cipicchio of LehmanMillet, MIT and Dana Farber Cancer Institute, respectively. Their session ended the show. It was worth waiting for. I loved it.

One of my favorite things to do in this business is listen to a group of print buying professionals. Just when I’m anticipating what they’re going to say – they surprise me. It simultaneously humbles and delights me.

The last session of our PBI BOSTON conference was “How to Source Printing in 2012: Best Practices.” I’d selected three savvy pros from different industries to share their philosophies on the subject. They had communicated with each other a bit via email, but as far as I know, they hadn’t shared their own presentations.

I certainly didn’t know what they were going to say, but considering this is 2012 and the industry’s in the middle of a ginormous shake up, I figured we’d hear about new strategies for finding printers. There I sat in the front row, fingers poised over the keyboard, listening.

What they said was so shocking, I could barely type.

Turns out, the tried-and-true, age-old practices of print buying are still, to this day, the best and most effective ones. There were no secret apps, no “silver bullet” formulas, and no shortcutting software to turn the business of buying commercial printing into a routine, foolproof task that anyone can do.

Au contraire. You have to be mindful and detail-oriented, creative and intelligent.

Here’s what we learned about sourcing print from these pros:

1. Buyers need to know their clients: who are you producing/sourcing for? What matters to them? Getting to know them is half the battle. Get inside their heads and make sure you appreciate what will make them happy with the results. One speaker made us laugh: Art directors want the best, the most expensive and the coolest. Clients want it cheap and they want it yesterday.

2. Ask every question: of your clients especially. Don’t assume anything. Print buyers are the go betweens. If you misinterpret your client, then you give bad direction or specs to the printer, and the job doesn’t come out as the client expected. It’s your fault if you didn’t dig deep enough.

3. Choose the right vendor: pretty obvious, right? Not so easy unless you’ve covered points 1 and 2 – and have the experience required to discern which printers are most appropriate and the best fit for you.

4. Be consistent: work with your company’s style guide and brand specifications. Printers need this sort of baseline to work from.

5. Work with a stable of vendors: don’t spread your work around too much. Spend a lot of time and budget with one printer, and they’ll be more likely to get things done for you.

6. Pick a new printer as if you’re hiring a new employee: printed samples and specs are like the rep’s resume. Go over them carefully. Prepare questions ahead of time.

7. Try to keep changes at a minimum once a job’s at the printer’s: proofing is key. The buyer should look at everyone’s comments on a proof and consolidate them for the printer.

8. Strategic outsourcing (aka “Know Your Vendors”) works: you can improve relationships with your printers if you handpick them carefully. Have core vendors.

What I loved about these tips from this trio was that they are the same common-sense best practices that print buyers have been using for decades. They still work, and they make a great checklist for anyone new to the field.

One of the speakers delivered this quotable quote: “Print is a highly customized, highly service-oriented commodity.” If that’s not a lovely, oxymoronic sentiment, I don’t know what is.

What do you think?

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Category Archives: Print Tips

What Print Buyers Won’t Tolerate

Seeing Colored Spots Before Your Eyes?

By Margie Dana and Mike Taylor

DRUPA 2012: An American in Dusseldorf

By Jeanne Connerney

The REAL Value of Direct Mail

Two Direct Mail Pieces Catch My Eye

What Is Drupa and Why Should I Care?

By Frank Romano

Why It’s Harder & Harder to Source Print Professionally

Buying Print? Same As It Ever Was

Two Savvy Print Buyers Talk Shop

What do print buyers look for?

How much do buyers rely on the equipment list?

Bottom line? Ask questions.

Positively Print Buying