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Impressions - Asides on offset and digital dialogue

December 2007 - Posts

  • Christmas cards show cause for print cheer

    Last Christmas I got a bit, OK very, bah humbug about some of the cards I received, in particular those that used image personalisation. Maybe my Christmas card critique/grouchy ingratitude* (*delete as you see fit) got me crossed off the list of those that sent them, but this year my not-so bulging sack of seasonal greetings was refreshingly free from impersonal personalisation.


    It did however contain some real gems of print production and the use of fancy finishing that engaged me far more effectively than any amount of writing my name in the picture.


    Spot varnish proved a popular technique for adding impact, it’s wonderfully effective and I’m also a sucker for die-cutting and embossing.


    Of all the cards though the one from Heidelberg, Germany took the biscuit, literally. One of the plethora of techniques it included in its card was a scratch and sniff coating on an image of festive biscuits with a lovely warm spicy and sweet smell that sung christmassy-ness as well as effectively as a doorstep full of carol singers. The scratch and sniff was just one technique employed alongside metallics, textured varnishes and die-cutting that all contributed to a great advert for the potential for print to engage the senses in a special way.


    I wish that the increased adoption of such fancy finishing isn’t just a festive flash in the pan and that in 2008 the industry continues to embrace print processes that add more magic to its products.

  • Getting bogged down.

    The print supply chain faces a dilemma; it faces competition from electronic media that aren’t subject to the same scrutiny over their environmental impacts, while at the same time marketing-friendly certification will increase the price of paper.

     

     

    Why it’s so important to pick paper from certified sustainable sources was brought home by the recent coverage of the devastation being done to the ancient forests of Sumatra. Sumatra is an Indonesian island and Indonesia is one of the biggest emitters of carbon dioxide in the world. The reason is down to the huge amounts of carbon dioxide released when forests on boggy soils are cleared. The amount of carbon released by a drying bog is truly staggering, and the despoiling of Sumatra is on a huge scale. Virgin forests are being cleared for two uses one is for paper and the other is palm oil. Much of the rush to palm oil production is to satisfy western demands for biofuels, which is based on an oversimplified argument that biofuels must have a lower carbon footprint than fossil fuels.

     

     

    The paper is being produced to meet the insatiable demand of the Asian market. The legality of the use of the land to grow trees for either product is questionable at best. While the forestry industry has argued for years that the non-governmental organisations have got things wrong and you can’t equate paper production with exploitation of virgin rainforest, here is one example where you can, and it’s all over the news pages at the moment.

     

     

    And when it comes to replacing this sort of virgin forest with a commercial forest, the damage done by draining the peat bog, in particular the huge amount of carbon dioxide emitted per hectare, won’t be mopped up by the crop trees that are planted next.

     

     

    Here is a clear case of huge environmental damage that no-one would like to think their actions contributed to. That is why certification is important, but it needs to be handled sensibly and not oversimplified. My understanding of the certification schemes for sustainable forestry is that many well managed forests can’t cost-effectively gain FSC certification due to their ownership structure but can get PEFC. The problem is that FSC is something consumers associate with sustainability. What was originally relevant to wooden toilet seats is now if you look up the supermarket aisles on toilet paper too.

     

     

    Getting the public to understand there is a valid alternative will be a big ask, especially if big brands continue to get behind the scheme that already has recognition. An averagely clued-up person might assume petrol bad, palm oil-based biofuel good until confronted with the Sumatran situation. That same story will also make them wary of paper. Do you think the average reader will understand that more than likely the paper they consume without an FSC logo comes from Scandinavia and that it doesn’t do damage in the same way as the Sumatran stuff?

     

     

    Without more public discussion that there are different schemes and what their merits are, paper and print are more likely to be tarred by association with the shenanigans in Sumatra than sharing in the glow of the FSC logo.

  • Pause for thought with print

    Research from the Royal Institute of Technology in Stockholm, Sweden into the environmental impacts of papers versus online and e-book readers suggested that the longer something takes to read, that is the more information is being ingested, the more environmentally friendly print becomes as a medium. It’s also much, much easier to read and navigate a long document in print as I found trying to skim the ninety something pages of the report on screen. A hard copy would have been preferable for both a quick flick and sitting down for an in depth read.

     

    Maybe print should take a leaf from the slow food movement and encourage a more contemplative in-depth approach to assimilating and digesting information as a way of promoting itself. Not so much a case of Print Sells as print tells. Print lends itself to engaging with the reader, telling a more complete story and engendering a state that encourages then to take more from the text. When you get lost in a book you’re transferred to another place. Not just to take more in but also to take a more intelligent approach and to actively engage and question what’s before you. In other words print and paper aid the savouring and digestion of information much as the slow ethos adds to the appreciation and digestion of food.

     

    Could this be the time to step away from our instant gratification, always-on, soundbite-driven habits of media consumption? Rather than rushing to read the next message that flashes up on a screen should we pause a-while and instead demand a more measured approach on paper?

     

    What would a passion for print akin to the fetish for food be like? Would we see our TV’s clogged with print-related spin-offs such as Jamie’s school books, Charnock’s press hall nightmares, Nigella QuarkXPress and River Cottage book binders?

     

    Would the chattering classes slip off to the library after a slap up supper to savour the delights and differences between pages produced from Sitka spruce, Silver birch or a piquant Scots pine?

     

    I doubt there’ll be a slew of coffee table hardbacks extolling the virtues of “A month of MAN Roland makereadies in minutes” or “102 speedy Speedmaster morsels” but if we can find a way of reminding people how much value print adds to reading without killing the planet in the process it should keep print prosperous.

  • Being moved by moving print

     

    What with it being December I started Christmas shopping this weekend. Looking for something for my young niece I came across a delightful book called Gallop!

     

    It uses some ingenious paper engineering and very simple print to create the illusion of moving pictures as you turn the page. The cover image is of a horse galloping, hence the title. Other images include cats and dogs leaping, a monkey swinging from tree to tree and a butterfly beating its wings. I’m a sucker for this kind of print geekery and as this book has a nod to Eadweard Muybridge, whose work in recording motion in photography contributed to the development of the cinema, it ticks lots of my boxes. So much so that I’m going to have to buy another copy for my niece, and anyone who knows me is going to have to put up with me blathering excitedly about the book for a while to come.

     

    Why should you care? The book was written by a bloke in Boston, USA, and is printed in China, so you’d be forgiven for thinking so what?
    Well it’s one of those things that puts the wow factor back into print and I’d defy anyone not to be a little bit enchanted by a book with moving pictures. I reckon you could make some print projects really stand out with something like this.

     

    The bloke, Rufus Butler Seder, is an artist and inventor who calls his process Scanimation and in addition to the book has a range of greetings cards, rulers and suncatchers that utilise simple optical effects, which can all be bought from his website www.eyethinkinc.com.

     

    He’s also come up with a process called Lifetiles for making moving images on walls that uses no moving parts or electricity. It’s similar to lenticular print, which is having a bit of a renaissance at the moment. If I was a large-format printer I’d be taking a close look at that to see if I could apply that or a similar technique to give my clients’ campaigns a little bit extra, while respecting any intellectual property rights of course.

     

    You could argue that such optical effects are a bit of a gimmick and aptly for the title of the book a one-trick pony. But remember lots of people said the same about image personalisation software (oh hang that was me) and the use of those systems is increasing as people find appropriate applications and creative executions for them. Who’s to say that moving print isn’t another application that will help print move on in battle for people’s attention and therefore its fight with other media?

     

  • Printing screens and what is greener print or screen?

     

    News that inkjet is now making inroads into making electronic displays and a study into the environmental impacts of print versus online information read off a screen have got me thinking.


    Xaar’s inkjet printheads, as used in an increasing range of digital print applications, are being used in the fabrication of LCDs.


    Printed electronics is one of the much-vaunted applications for inkjet beyond what we understand as print. In many electronics manufacturing processes today flexo and screen printing are used, as are masking and etching not a million miles from repro techniques of yore.


    Apart from being an aside for the technologically minded why would a printer care that the technology they use to print billboards, point of sale, labels and the like is also being used in the manufacture of electronics?


    LCDs are the screens that are slowly starting to eclipse print in electronic billboards and appear in the aisles in shops.


    With the same cost, quality and flexibility benefits that inkjet offers to printers being used to produce screens, print’s ability to stave off competition in some of these applications is being eroded. OK it won’t be immediate but it’s worth contemplating how these competitive technologies may impact our market in the medium to long term so that the appropriate strategies to challenge or integrate them with printers’ offerings can be developed.


    Where might we challenge screens? While cost of the infrastructure to implement displays is an issue today, it’s one that will become less so as the cost of screens falls due to more efficient manufacturing and higher volume production – with inkjet enabling that.


    Recent research on reading newspapers online on screen rather, using an e-book or in print published by the Royal Institute of Technology in Stockholm, Sweden showed where the environmental impacts were. In print the biggest impact was from the production of the substrate with some from printing and distribution. For online the biggest impact is the power consumed by the screen while reading.  In the case of the ebook it is production of the reader, but with the wildcard of wireless distribution of data providing a potentially energy intensive weak link.


    We need more research into how different media impact the environment and at what stage in the process but at least this Swedish research provides a basis to build on and to start a dialogue.


    Speculating wildly it may turn out that an always on network of wirelessly networked digital displays, however they are made, take more energy to grab people’s attention as printing out a poster, driving it to a site and sticking it up.


    At the moment we’re only starting to ask questions about these sorts of issues never mind find the answers. So in the meantime whether you read in print or on screen there’s going to be acres of information you’ll need all your energy to understand and interpret.