Is There a Cultural Shift in the Advertising Workflow?

With the advent of digital workflow, new responsibilities emerge for the newspaper publisher and the ad creator

Ask most newspaper sales executives, and they’ll tell you just how competitive the market place is these days — how tough of a sell it is when other media forms are drawing the interest of advertisers like never before.

Newspapers must be able to compete with these other vehicles, present compelling circulation numbers, and provide excellent customer service to the advertising client. They must be able to accept, position, produce and print the advertiser’s copy and images, with particular attention paid to reproduction quality.

In the cases of ads supplied by larger agencies and experienced design firms, digital content may come in by way of “prepress-ready” file formats, all the elements present and accounted for, all the specifications for print met. But not all ads come in from clients well-equipped to supply these types of files. As a result, plenty of bad files come in the door — files rife with font, resolution or color space problems. And these “bad files” must then be fixed before they can be placed in the imposition, which, of course, takes time and money.

Fortunately, there are inexpensive software tools available to newspaper publishers and their advertising clients that smooth out these workflow wrinkles, and enables advertisers to supply well-prepared and accurate digital ad files to the publisher, as well as enabing the publisher to confirm that the files are “good” upon receipt.

The publisher’s role
Newspaper production departments have been long – (and well) equipped to receive any number of types of digital ad files — everything from native application QuarkXPress and Adobe InDesign documents to more standardized, locked down PDF files.

As the publisher, accepting these digital ads, the newspaper production team is often equipped with software — referred to in the print industry as “preflight software“
– that will analyze digital ad files and alert the publisher to any inaccuracies in their preparation. Preflight software will sound an alarm when there may be missing fonts and graphics, improper color space (RGB vs. CMYK) or resolution discrepancies.

While preflight technologies have been a staple for newspaper and other print publishers for more than a decade, the workflow between advertiser and publisher remains replete with flaws, with publishers and printers reporting as many as 85 percent of the digital files they receive from their clients are ill-prepared and require some intervention before they can be printed.

Most publishers and printers agree that the ideal advertising workflow comprises digital fields that are supplied in good form that meet the ideal printing specifications established by the newspaper publisher and its printer. And there’s really no reason why advertisers — whether large, print-savvy agencies or independent designers — can’t supply their files in this way. The tools to verify their content before submitting it to the newspaper are inexpensive, easy to use and accessible. But if may fall upon the publisher’s production and sales staff those who have direct contact with the advertising client — to evangelize their use.

Fortunately, it isn’t a tough sell for clients who share the publisher’s goal — to produce good print ads. Increasingly the culture is shifting, and ad creators are more inclined to do whatever is necessary to ensure the files they release to the paper will process seamlessly and look great in print.

The agency’s role
These days, it’s no longer the publisher and printer who share the responsibility of quality control; it’s everyone’s responsibility — from content creator to production to prepress to press.

“I examine and check all the files before they’re released from the agency — whether they’re for outdoor media, newspapers or magazines,” suggests Donna Carroll, quality control manager, newspapers or magazines,” suggests Donna Carroll, quality control manager, print production, Crispin Porter and Bogusky (CPB Miami).

CPB produces graphics and ad campaigns for some notable clients, including Virgin Atlantic Airways, Burger King, Mini Cooper, and NOW HIV/AIDS, just to name a few. Carroll says that no matter the size and prestige of the client, it’s the agency’s primary responsibility to ensure their ads are visually spectacular when they appear in print.

To ensure that the digitial ad files she offers to newspaper publishers, Carroll uses a low-cost application called Flightcheck Professional from Santa – CA – based Markzware. The solution according to the developer, is designed to “look inside” the digital file — whether it’s a native application file (such as QuarkXPress or Adobe Illustrator) or a final-format PDF — and determine whether all of the file elements are present and accounted for.

“We have 20 digital artists who work on files before I get them, Carroll explains. “For each of them, their last workflow step is to use FlightCheck [Professiona] to check these elements and then collect them to a single file package. Not only is it a checkpoint for us at the creative stage, it is also a collection tool that gathers all the images and fots, so that within the package, you know that everything required for the job is in there, and whe it gets to the vendor, it’s not missing anything.
“Then , they send the files to me,” Carroll ads. “I use FlightCheck again to double check them before they’re released to a publication or printer. It’s our last line of defense.”

Remember the common goal
Like Donna Carroll, Kenny Berwager is a big proponent of preflighting digital ads before they leave the agency’s doors. He’s a graphic and production artist for Lois Knott Advertising, a small, more-than-35-year-old advertising firm based in Hanover, PA.

While the firm produces a wide range of advertising media — everything form print to radio and TV spots — the majority of jobs Berwager works on are bound for local newspapers.

He describes the typical newspaper ad workflow: “Lois [Knott] is the creative director. She gathers any materials I’ll need to produce the ad, and also provides me with a sample layout — just someting simple like a pencil sketch. I take that layout and begin the design — in [Adobe] Illustrator or InDesign, usually. We currently use the Adobe Creative Suite applications,” Berwager explains.

Once the ad design is complete and approved by the client, Berwager finalizes the digital file by putting it through a complete preflight analysis and then collecting the document or output to a flattened PDF file that’s both “camera-ready” and “prepress-ready.”

Preflight is absolute necessity to the Berwager’s workflow, he insists. Using FlightCheck, Berwager is able to see all the file’s guts.

“It checks for things that may be corrupt,” he says. “I can see if images are RGB but should be CMYK. I can tell their resolution. I can see all of these details about the images and the fonts, so if something needs to be fixed, I can go back to InDesign or whatever application I’ve created the file in, and make the changes, recheck it with FlightCheck and then save out my PDF. That way, I know, when the file leaves my desktop, it’s not going to land at the newspaper and cause all sorts of headaches there, or on press.”

Berwager claims that he’s quite happy to preflight his files before he releases them to a client, a publication or a printer. While it may be an added responsibility on his shoulders, he says that it’s worth the few minutes it takes to adjudicate the files — especially for his clients.

“[Preflight] ensures there are fewer mistakes in the print job and ultimately, that means that our agency or our clients won’t have nay extra, unexpected charges for fixing problems with the files we produce,” Berwager asserts.

Rampage Ships Version 11, Increases PDF trapping speed

Source: Press release issued by the company, unless otherwise noted.

June 10, 2008 – Rampage Systems of Waltham, MA announced that Version 11 of the Rampage Workflow System is shipping and improves the performance of PDF Trap Engine by as much as 75 percent.  Rampage Systems introduced PDF Trap Engine in 2006 to help printers deal with PDF files containing transparent effects.

Quad Core Workstation Offers Further Gains - The speed improvements to the software are compounded by the company’s move to faster workstations based on Quad Core Xeon processors.  Kevin McSweeney, Rampage Vice President of Sales and Marketing, said, “Speed was our primary focus for this initial release.  The majority of our customers will see speed improvements of 300 percent by running Version 11 on our Quad Core workstation.  In other words, they will be running faster software on faster hardware.”

Threaded RIP Option Doubles Performance - Version 11 also marks Rampage’s introduction of an option that runs two software RIPs on a single workstation.  The Threaded RIP option nearly doubles the performance of a conventional system.  For an existing Rampage customer, the cumulative effect of running Version 11 with the Threaded RIP option is a speed improvement of 300 to 700 percent depending on configuration. 

JDF Tightens Integration With Imposition Packages - Metrix from Lithotechnics (www.lithotechnics.com) combines job planning, estimating, and imposition into a comprehensive, yet easy-to-use package.   Businesses using Metrix 3.0 can now select predefined Rampage process plans (workflows) from within Metrix and generate a job in JDF that is picked up by Rampage for automatic processing.  Other imposition packages can actually run from within Rampage Version 11 and automatically generate a job including stripping instructions in JDF. 

Advanced Preflight Tool in Next Release - Version 11.1 of Rampage will include a comprehensive PDF preflight utility that will supplement Rampage’s existing Pre-Scan application.  McSweeney said, “There are many progressive businesses successfully using Rampage Remote for proofing and job submission.  The weak link in this automation chain is poorly constructed customer files.  Version 11.1 will address that issue and help our customers achieve even higher levels of automation.” 

Need help with business strategy, workflow integration, marketing, research or sales? Talk to us about howWhatTheyThink’s consulting services can help your company.

Need a speaker for your conference, open house or special event? Visit WhatTheyThink.com’s Speakers Bureau.

XChange International announce release of Printools plug-in for Adobe InDesign CS3

Press Release 6/11/08

 

XChange International, the source for extended technology worldwide, are pleased to announce the release of the Printools plug-in for Adobe InDesign CS3. Badia Printools for Adobe InDesign CS3 provides prepress and printing professionals with a powerful collection of printing tools for automated and error-free output. In one comprehensive package users get batch printing of multiple documents, the ability to rename at print, print to file in different formats and preflighting before output. Users can even combine several of these tools during the same print session to streamline complex printing tasks.

The batch printing tool allows users to print multiple files (up to 5000 documents) with the same print settings. The user simply selects the files they want to print, arranges them in any order they wish, and clicks the Print button. Printools even provides the ability to combine batch printing with Save to File to generate multiple PostScript files at once. The Save to File as PostScript, PDF or INX tool allows users to save the printout to a designated folder as a PostScript, PDF, or INX file. When combined with batch printing, users can generate hundreds of these files in one single step.

The preflighting engine quickly and thoroughly checks for potential problems that could lead to time and material waste. Users can customise the preflight checks by activating any of the following diagnostics: missing fonts, text overflows, non-printing graphics, broken picture links, RGB images, modified links, and poor image resolution.

Printools 5.0 for Adobe InDesign makes it easy to keep track of the printed files with the powerful Print Log window. This window reports in real time which files are being printed (or saved), plus any errors or warnings that may occur during the output process. It also shows the Preflight Results list with all the preflighting details, and the Skipped Documents list, with the documents that have been skipped for not meeting the preflight requirements.

Additionally, users can now rename the document during the output stage, without altering the actual document or file name. Print renaming is useful for identifying the document during the output stage, regardless of the actual file name. It is also helpful in keeping track of revisions or when printing individual pages for imposition. Printools lets users specify up to 3 variable components in the new file name.

System requirements:
Badia Printools 5.0 for InDesign is Universal Binary and requires Adobe InDesign CS3 and Mac OS X Tiger (10.4.2 or later) or Leopard (10.5.x). Printools is also available for QuarkXPress versions 4 through 7.

Printools for InDesign CS3 or QuarkXPress are available now through XChange International. To order, or for more information, users can visit www.xchangeuk.com, or call on +44(0)20 7490 4455 during UK business hours. Email address is info@xchangeuk.com.

Preflighting A Win-Win For Both Printer And Print Buyer

Never before has the world of graphic arts been so dynamic, so ripe with change and new opportunities afforded by emerging creative technologies. And no longer are the creations made in popular desktop programs – like QuarkXPress, Adobe InDesign or Microsoft Word – bound to the traditional constraints of print. These days, businesses create content for any number of purposes.

Even small to mid-sized businesses generate a significant amount of ‘content’ for dissemination in one form of media or another – brochures, marketing materials, advertisements, educational and training materials, presentations, Web site copy, and so forth. And no matter the output intention – whether the information will be printed and distributed, or used in some electronic fashion (the Web, an Intranet, a DVD/CD-ROM, email newsletter, etc.) – it’s up to the creator of that content to ensure that it reproduces with integrity.

While the ‘new media’ enables businesses greater opportunity for exposure and reach, it’s prompted those creating content to adapt and learn new skill sets.

David Creamer, owner of I.D.E.A.S. Training, Bonsall, CA says that there is greater burden on businesses to stay on top of the rapidly evolving world of graphic arts and electronic media.

Take a simple concept like PDF, for example. While most professionals are fairly familiar with PDF as a universally embraced way to share content, the mere act of creating a PDF document is quite complicated. Depending on where and how the information is being disseminated, the PDF file must contain certain attributes to drive output. A PDF file that’s being posted on a Web site is very different from one that’s intended to be printed. This is just one example of the nuances in the graphic arts workflow of which content creators may not be aware.

Like a Microsoft Word or a QuarkXPress file, Creamer asserts, ‘PDF is just a format. It can eliminate the problem of missing graphics or fonts, but there is still the issue of garbage in, garbage out.

That’s why a content creator’s continuing education is so critical these days. I’m not talking about how to design, but how to create files properly — when to use a spot-color guide, when to use a process-color guide, how much resolution is necessary, how to eliminate transparency issues, how to make PDfs, and so forth,’ Creamer stresses.

‘Everyone can make a PDF file on the computer simply by selecting the print-to-PDF option. It does not mean that it is a production-quality PDF.’ Stephen Shinnick agrees. Shinnick is the vice president of sales for All Systems Integration, an international graphic arts and printing integration firm. In his role, Shinnick consults with businesses across the globe, and suggests and implements technologies that help his clients create, manage and distribute content in the most effective and cost-efficient way.

Fortunately, content creators don’t have to be formally trained graphic artists to prepare good files, Shinnick suggests. There are very low-cost software solutions — commonly referred to as ‘preflight’ tools — to help ensure content is rendereed precisely the way you expect.

Beyond PDF Preflight (Postflight)- pdfToolbox 4

Callas Software used Drupa 2008 in Düsseldorf, Germany to highlight it’s new version of pdfToolbox. As their RSS feed reads;

“pdfToolbox 4 is a major upgrade for callas’ print production toolset. It is going beyond regular preflighting and fixing to offer functionality that just gets the job done.”
SOURCE: Graphicstart.com

By-the-way, you can now view Drupa, the world’s largest printing and graphics show on your own computer desktop. Check out the link here.

Acrobat Pro 9. Auto correction preflighting features for print production

Adobe Announces Acrobat Pro 9, Creative Suite 3.3

by Jeff Gamet, 12:05 AM EDT, June 2nd, 2008

 

Adobe announced Acrobat Pro 9, the next version of its PDF viewing and editing application, along with Creative Suite 3.3 on Monday. Adobe Acrobat Pro 9 will include native Flash support, enhanced collaboration tools like PDF Portfolios, improved print production tools, and support for Adobe PDF Print Engine 2.

PDF Portfolios lets Acrobat users bundle documents, images and videos together as packages with summaries, create PDF forms and collect and analyze form data without requiring IT department involvement. Portfolios are compatible with the new (in beta) Acrobat.com hosted services that support document collaboration.

Adobe Acrobat Portfolios

Acrobat Pro 9 will include new preflighting and auto correction features for print production environments. It supports RGB and CMYK conversions, spot color remapping, and overprint preview. Acrobat Pro 9 also includes an Object Inspector for reviewing the metadata associated with any selected object, can identify a wide range of differences in document versions, and offers full support for PDF/A, PDF/X, PDF/X-4p, PDF/X-5 and PDF/E.

Listen To Markzware On Computer America

Click Here To Listen!

05-29-08 Show
Carey Holzman - Thursday, 29 May 2008, at 10:58 p.m.

Hour one: Markzware. This software publishing company, caters to the worldwide graphic, printing and publishing industries. FlightCheck Professional is a stand-alone application that can inspect over 45 layout application types and hundreds of image types. The amazing thing is that you do not even need to purchase Acrobat to perform quality control checks on PDF files!

Whenever print shop managers make the decision to adopt a PDF workflow, they need preflight and conversion tools that can easily accept a wide variety of file formats. Increasingly, customers are using business office software applications like Microsoft Word and Publisher. This is bad news for printers since they would rather be dealing with QuarkXPress or InDesign files.

The solution is a combination of Markzwares wide technical knowledge of file formats and our applications like FlightCheck, Q2ID, ID2Q and MarkzTools. All of these are easy-to-use, cost effective solutions for prepress and print shop managers. While plugins and XTensions like Q2ID, ID2Q and MarkzTools convert and migrate date from application to application, FlightCheck then checks those files, including PDFs to ensure proper printability.

Computer America listeners get 15% OFF! Enter code mark15 when purchasing any products from their website: 
http://www.Markzware.com

Click Here To Listen!

 

What Does Preflighting The Design Mean?

What Does Preflighting The Design Mean?

As a graphic designer, has this ever happened to you?

The scenario: Youve sent your marketing masterpiece that you have meticulously designed to your printer. The deadline is tight, but you made it. Then the phone rings. Its your printer calling to let you know they are having problems printing your piece. You are about ready to scream because the client is waiting to get this piece out to his customers.

What are some of the problems, you ask the printer. The response: Youve sent low-resolution graphics, and have missing files and graphic items that have the wrong color space. Whats more, the job has missing or stylized fonts. Ugh, you say. How come I didn’t know the file I created and designed was improperly prepared and has become a can of worms?

The reason is that the job that was created was not ‘designed’ correctly.

The word ‘design’ means more than making a product look pretty. Of course, a beautiful piece is very important. But possibly more significantly, is how the piece works and functions. The ‘design’s performance is the result of the designers objectives in terms of getting the reader to ‘think something’ and to ‘do something’.

To ensure the desired performance, it is imperative that the ‘mechanical design’ is accurate. Wikipedia’s definition of ‘design’ includes this statement: ‘… Designing normally requires a designer to consider the aesthetic, functional, and many other aspects of an object or a process, which usually requires considerable research, thought, modeling, interactive adjustment, and re-design…’

What preflighting software does is assist the ‘right brained’ designer, by providing a logical /mechanical software solution that does the left-brained work for him/her. Preflighting is a logical process. This process needs to be included within the overall design and construction of the piece to be printed. The end objective needs to be thought out well in advance. That is, that the piece will print as expected. Because, if this doesn’t happen, the entire design concept is worthless.

In the new era of digital design, graphic artists must think beyond aesthetics and accept some of the responsibility that prepress and printers once held. The idea of a quality control check, or preflight provides in macro terms the benefit of “lean” manufacturing for both designers and printers.

Preflighting for print and establishing an effective workflow also includes:
• identifying defective products
• eliminating overproduction
• excessive
• reducing work-in-process inventory
• avoiding over-processing
• stopping unnecessary movement of people and of products

• and waiting

Graphic artists of days gone by may have had it easier than their contemporary counterparts. Primarily, they could concentrate on the aesthetics of great content, allowing others—prepress and print production people, for example— to deal with the mechanics of producing it.

But the role of today’s graphic artist is a bit more complicated, thanks to the introduction of new electronic media and a shift of responsibilities. By and large, “prepress” has fallen by the wayside, leaving it up to creative professionals to be both designers and technicians, and to bridge the gap between design conception and final reproduction.

Clearly, a design’s destination (print, online, CD-ROM, and so forth) determines how a file should be created. A document bound for print will have different resolution, color-space, and trim-and-bleed requirements, for example, compared to content meant for the Web. Knowing the output intentions is important, but ensuring that digital files meet those specifications is equally as critical.

The bottom line is to follow the basic rules of print production, preflighting utility programs should be used to check designs. A systematic check of files before they go to a print vendor or are printed in-house is the best way to ensure error-free output.

One of the easiest ways to save is to pay close attention to prepress expenses. The costs of film, direct-to-plate or creating PDF files for print are enormous. And when there is a problem resulting in the job to be re-printed the costs add up, exponentially.

The printed word is a very reliable format for reaching potential audiences. Creating eye-catching flyers and marketing material has been greatly enhanced by digital technologies. Page layout programs, such as QuarkXPress and Adobe’s InDesign, have helped streamline the design and production process, which encompasses acquiring materials, designing the piece and checking the integrity of the file before final print.

Preflighting the design just takes moments. Those few seconds can save graphic professionals hours of misery fixing problems that will show up after film or plates are created. The financial savings in time and materials can be tremendous to marketers eager to get the message in the hands of potential new customers.

Markzware Friend, David Watson of Ultimate Dies

I am saddened by todays news of David Watsons death.

David was a visionary and a gentleman. He always made it a point to visit me at all the GraphExpo and other tradeshows to share a word or two with me.

I have known David personally since 1996. He was a typesetter from the old days. We both shared an affinity with each other as I was a typesetter and we could relate to each other.

Not too long ago, shortly before drupa he gave me another one of those [out of the blue] phone calls. It was to invite Markzware to demonstrate our wares at the Hewlett-Packard booth. 

I will miss David.

Click here for the full press release

Proof of Preflight

I know, it sounds like the title of a movie- but it is not. The Ghent PDF Workgroup, who has developed many valuable specifications to make PDF delivery for print more predictable, announces the first Universal Proof of Preflight.

When implemented in a software solution, this best practice specification offers users the ability to review a PDF file’s preflight audit trail, including a digital signature, at any time during the design to print workflow.

This capability provides users the assurance that they can safely accept a PDF file with a Proof of Preflight. This process verifies which GWG preflight Specification was used to preflight the file and also the outcome of the preflight check.
SOURCE: QuickPrinting.com via Graphicstart.com

It will be interesting to see how this progresses as it sounds like a good idea.