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Against the grain

August 2008 - Posts

  • Sun sets in the East

    I’ve been utterly grief-stricken this week. I find myself sitting in front of BBC at 7pm staring blankly at The One Show with a sense of mourning. On the tube to work today I turned to the Metro freesheet’s sport section with sadness. My mind has been wandering to Mr Wu’s famous restaurant in London’s Chinatown, wondering whether it serves bird’s nest soup.

    No, the grief is not due to poor TV programming, or dull sports journalism, or even a hunger from MSG-laced greasy cuisine. It’s not even the dismal "summer" weather.

    It’s Olympics Withdrawal Syndrome (OWS). So in a forlorn attempt to revive mine and the nation’s spirits, I hereby stand atop the podium of print and raise our industry’s flag.

    40,000 fellow OWS sufferers headed to central London for the handover ceremony last Sunday in The Mall, which was lined with 26 large-format London 2012 flags and fence signage thanks to Essex-based approved supplier Piggotts. The 220-year-old printer produced more than 700 polyester banners for distribution across the UK as far afield as the Channel Islands. A grand total of 200,000 people flocked to sites across the UK: 20,000 in Cardiff; 30,000 in Liverpool. Some 10,000 even poured into the streets of Belfast despite Northern Ireland being mysteriously left out of the Games due to the conspicuous branding of ‘Team GB’.

    Wouldn’t ‘Team UK’ have been somewhat more inclusive?

    One British print icon who couldn’t have felt left out of Beijing 2008 was screen printing aficionado and comics creator Jamie Hewlett. Like them or loathe them, it would be hard to have missed Gorillaz illustrator Hewlett’s Monkey Magic i-dents for the BBC coverage of the Games.

    Not to be outdone, another Hewlett (in this case Packard) threw support behind the Olympics, reminding us there is more to the Olympics that just the four-yearly summer variety. HP has contributed $1m to the 2009 Special Olympics Winter Games, while more than 300 HP employee volunteers will be on hand next year in the host city of Idaho to provide technology and logistic support.

    However, it was rival digital manufacturer Kodak that this year drew back the Silk Curtain as ‘official imaging sponsor’ of Beijing 2008. It was a photo finish for the Nexpress, which produced on-demand print, such as photobooks, postcards, newsletters and posters for the event. The digital press was certainly close to the hearts of Games superstars such as Usain Bolt and Michael Phelps – security badges printed on the Nexpress adorned athletes, officials and volunteers alike. Not everyone got the wear a medal, but in a nation that is so, shall we say, ‘security conscious’ as China, the security badges were the must-have fashion accessory.

    Just as those athletes who left Beijing with a medal around their necks were buoyed with success, so too was the entire UK lifted by the nation’s record medal haul. And not wanting to rain on the tickertape parade, I must conclude with an apology. Back in Printing World’s July cover feature on tendering, I foolishly predicted that at Beijing 2008 (and I quote): the UK’s “sportspeople would be left in the dark as rival contenders notch up far superior medal counts”.

    Let’s call that statement poor foresight rather than Australian egotism (or sloppy journalism!).

    So from a native of one great sporting nation (that this time only managed a measly sixth on the medals table) to another, I must congratulate Team UK, erm, Team GB’s sterling performance.

    Roll on London 2012.

  • What came first: the chicken or the iGen?

    Spread the word – guys like kit. Whether salivating over a Bugatti Veyron, considering refinancing their mortgage to pay for a new TAG Heuer chronograph with close consecutive times register and tachometer scale, or spec’ing out a 12-unit long perfector to hit 18,000sph, there is something very male about flashy gadgetry. So it’s little wonder that when e-paper (the kind of coated grade The Stig would procure) got it’s first major commercial outing, it was on the front cover of a men’s magazine.

    US magazine Esquire is equipping the September issue with an electronic display on the front cover. Like the limited edition £840,000, 1,000bhp monster Bugatti, the e-paper front page is so expensive that the E Ink display has been limited to 100,000 of the total run of 720,000. Esquire editor-in-chief David Granger was not one to downplay his achievement, calling the special edition cover a response to the print industry’s "lack of progress" since the nineteenth century.

    And here’s me thinking the invention of offset lithography, desktop publishing, computer to plate, digital printing, and even the PUR binding that holds Esquire together, were all examples of progress in print. Apparently not.

    Perhaps Granger could be accused of bluster and bravado. He is American, after all. But there’s also some truth in his statement. Back at the dawn of the new millennium, in those halcyon days of my youth at university in Brisbane, Queensland, I wrote a paper on electronic ink, and how it was about to revolutionise publishing and sound that long-postulated death knell of print everyone keeps banging on about.

    Why has commercial e-paper taken so long to materialise? I think it is a case of ‘technological determinism’, an academic theory that once handed me a knock-out blow at the end of 12 rounds of ego-posturing intellectual sparring in the campus refectory (yes, Queenslanders can do intellectual debate, even when trying to focus on standing in line for a meat pie at the tuckshop).

    The phrase comes from the academic idea that society’s technology determines its values, structure or history. Basically, do we invent a piece of technology to fulfil a need or do we invent new needs because technology can fulfil them? Did the dotcom bust of the early 21st century occur because we weren’t yet interested in running our businesses and living our lives online, or was it that the sub-standard technology and snail’s pace dial-up connections couldn’t provide us with a viable model for the e-commerce and social networking that is now so prevalent? In a print context, you could ask the same kind of chicken-or-egg question: Is variable-data print a growth area because the market has long demanded personalisation, or is it because digital print technology can now offer variable information?

    I was talking to Xerox’s monochrome expert Malcolm Glynn yesterday, who said there is a huge upturn in demand for black-and-white print. Glynn says he’s suddenly having conversations about quality of digital B&W for the first time in about eight years and thinks B&W will be an integral part of the fledgling transpromo market. Rather than purely market demand, it seems that technological developments, such as flash fusing to rapidly dry high-resolution toner-based B&W prints, have helped put high-quality monochrome back on the agenda.

    Printing World’s Amy Golding will be looking at print buyers’ understanding of digital print for our September issue (alas, no e-paper cover). She has found that many print buyers, and moreover the marketing departments behind them, aren’t clued up to the new applications offered by digital print. I was chatting with Real Digital International’s sales and marketing director Andy Ruddle, who echoed these sentiments with a story about a recent job for a high-profile publisher. It was up to Real Digital to explain how the technology of digital could help determine the overall approach Ruddle's customer took to its campaign, rather than just discussing prices and run lengths. Xerox says it is having similar conversations with marketing departments to show them the capabilities of digital.

    How many printers are also having these types of conversations with their clients? It’s not enough to just talk about economic short runs or personalising a piece of print with the recipient’s name – digital technology offers so much more. There's a real opportunity to get closer to your customer while winning more high-value work thanks to the functions of modern digital equipment.

    As gadget-obsessed guys would accept, it’s not just important to brag about the time-keeping accuracy of your TAG watch, but also the 17 extra functions, including the choice to synchronise with time zones in New York, Sydney or the Mars landing site and the fact it tells you the current temperature in the Mariana Trench. It's not just important to brag about your digital press, but all its extra functions and applications you could offer customers. Spread the word upstream about the power of print.

  • Workflows and work flaws

    How do you link Adam Smith, a holiday to the Isle of Wight and a Honda TV ad? Well, if you want to make your Friday morning easy, don’t try. But if you’re determined, as I am, then some kind of structured approach, a workflow even, would come in handy.

    For the September issue of PrintBuyer, I’ve been looking at marketing campaign workflow software, known as Marketing Resource Management systems, or MRMs. These clever little pieces of software have been devised to streamline the process of taking those creative ideas dreamt up in latte-fuelled brainstorming sessions by a bunch of hot-desking, beanbag-lounging creative types and turning them into well-produced piece of print, preferably at rock-bottom price.

    As a case study of these types of workflows, Honda uses market-leading MRM Aprimo to coordinate marketing collateral procurement across its network of dealerships. As a metaphor for workflow, look no further than the self-same car manufacturer and it’s classic ‘Cog’ TV ad, the one where the car parts (85 car parts, in fact) roll, bounce and pitch their way across the screen, each forming a little piece of a chain reaction that concludes at the point we’re told to go buy an Accord.

    Now that is workflow perfection in action. Every participant and step in the process working without a single fault in one unbroken camera shot. Well, without a single fault on the 606th take. It actually took 605 failed attempts to get it right. You might call them ‘workflaws’.

    While Honda didn’t actually use a workflow software product to drive that campaign through to the dazzling incarnation on your TV, MRMs do offer a host of functions to connect the steps on the campaign trail, from strategic planning, budgeting, financial tracking, multi-channel campaigns, content management and performance measurement. They can also improve lower-level marketing activities through web-to-print-style procurement, such as Honda does across its dealer network.  

    Print workflows take the whole process to the next level. And their efficiency is down to one basic fact – getting rid of the human element as much as possible. Sure, whizz bang types, such as HP’s new SmartStream Director, offer a host of other functions, from web-to-print to personalisation to e-commerce, but in terms of production management and tracking, they succeed by taking over the drudgery and drone work. Computers are simply better at organising things.

    If artificial intelligence ever does take over and go homicidal, as in The Matrix, it’d be bad news for we carbon-based life forms, but great for short lead times and process visibility. In fact, I’m currently researching a feature for PrintWeek's Drupa Technology Report about on-press quality control systems for sheetfed presses – the products revealed at Drupa by Heidelberg, Manroland, KBA et al for their top-tier presses are so advanced it’s almost scary. For instance, KBA’s QualiTronic Professional takes spectrophotometric readings of the colour bars on each sheet (at 18,000sph) and constantly calibrates and recalibrates the ink ducts throughout makeready and production to maintain colour consistency within a tolerance of +/-1 delta-E. It can also take a snapshot of each and every sheet and reference any potential faults, such as hickeys, against a datum sheet. Then it can tag any imperfect print with a mark that is read at the die-cutter or folder stage and the sheet diverted out of production.

    If the machines ever do rise up, I wonder whether the real Terminator wouldn’t be better epitomised by a German long perfector than an Austrian bodybuilder.

    It’d probably be a better actor anyway.

    But while computers are still (mostly) tools that remain at our beck and call, I’ll continue to try to use them efficiently to streamline the most mundane tasks, such as planning my holiday. Apparently Brits spend more time looking for a holidays than a new home, which either says a lot about the state of the property market or tells you how much hassle goes with pre-planning a little trip abroad. It’s even complicated just trying to plan a mini break within Blighty; I’m currently trying to organise a trip to the Isle of Wight with a few friends and the string of emails, phone calls, suggestions and timetables that are flying back and forth are just mindboggling, and in terms of everyone actually getting any closer to the Solent, mindbogglingly useless.

    It’s like one of those maths questions – take five people, each coming from a different part of the country. They are travelling at widely different speeds using a variety of means of transport and need to arrive at a single destination on a specific day at a specific time. How long will it take them to book tickets?

    Now if only there was workflow software for holiday planning…

    But for now, it’s down to a purely human organisational structure, which is another flawed flow. Adam Smith, “father of capitalism” and poster boy of the £20 note, realised there was room for improvement when he said you could create value by studying the nature of work itself, and hence gave birth to workflow as a concept.

    Maybe Smith became the big daddy of workflow because he needed a way to coordinate his own competing interests, which in true Renaissance Man form spanned economics, politics, philosophy and astronomy. Or maybe it was because he was famously absent minded, one day wandering into a tanning pit in Glasgow, another time telling his London publisher he had forgotten he was the author of that magnum opus on capitalism, The Wealth of Nations.

    Certainly another advocate of the beauty inherent in streamlined automation, one Bill Gates, didn’t forget this, giving a copy of The Wealth of Nations to Warren Buffet as a thank you gift after Buffet donated $30,000,000,000 to Gates’ charity.

    What do you buy for the man who has it all and has just given it to you? A book on capitalism seems like a barely veiled swipe.