For America's number-one comic book company, digital prepress technologies are "off like a bat out of hell," but DC has not given the green light for a complete CTP conversion—yet. "ABOUT 1986 or so, an engineer friend of mine who designs water tanks called me up and said, 'You have to come over and see my new computer and what it can do,' " recalls Bob Rozakis, executive director of production for DC Comics, New York City. "He was drawing on the screen and printing it out in color. I said, 'If the computer can tell the printer how to do this, there has
Vendors provide proofing methods for direct-to-plate workflows. IN THE FILMLESS world of computer-to-plate (CTP) printing, it's no wonder that digital color proofing has become a hot topic. One critical issue publishers face when going CTP is whether or not they can rely on the proofs they receive. Will those proofs be accurate? Will they be consistent? The burden often falls not only on the manufacturer of proofing equipment, but on the prepress house or printing company that is actually plating the job. So, how are these printers and service providers meeting the proofing needs for their CTP clients? Here's what several representatives had to
Company: Talcott Communications, Chicago Production Director: Dave Seng Publications: Monthly four-color tabloid Giftware News (160 to 300 pages) and two four-color, standard-size monthlies, Chef and Fancy Food (~64 pages) Equipment: Apple Macintosh work-stations; Agfa Duoscan and Arcus II flatbed scanners (95 percent of editorial scans are done in-house); Nikon slide scanner, two Netware file servers Software: QuarkXPress Data transfer: Via Jaz disks Computer-to-plate (CTP) is the darling of graphic arts technologies, and by now most publishers are familiar with CTP's potential to shorten production time and output first-generation quality. However, as the experiences of Talcott Communications will attest, CTP is neither a panacea for production problems, nor is it
Until every advertiser sends digital ads, some decisions about which magazine forms to run computer-to-plate can be tricky. After all, says Linda Manes Goodwin, vice president of manufacturing for PC World Communications, San Francisco, once a publication sells advertisers on the idea of running CTP to achieve better quality, the publication must come through. Essentially, Manes Goodwin has found that the biggest challenges she has encountered while soliciting digital ads for PC World and beginning to run some forms CTP center around three areas: Ad Positioning. Since many advertisers buy magazine ads based on position requirements, having a large number of digital ads does not
Shifting over to a RIP-once digital workflow involved a great deal of training at PC World: Bringing RIPping and proofing in-house meant that Linda Manes Goodwin, vice president of manufacturing for PC World Communications, San Francisco, and her staff had to learn to handle tasks such as preflighting, PostScripting, RIPping and proofing files. Manes Goodwin is convinced that computer-to-plate printing is where the industry is headed because it improves quality. While her determination is one factor driving her conversion forward, she also points out that she has felt able to achieve it because of the competence of her staff—especially in working with computers and software.
Linda Manes Goodwin, vice president of manufacturing for PC World Communications, San Francisco, has become a CTP crusader, speaking at recent industry events about her own efforts to implement CTP printing with her magazine, PC World, and actively soliciting digital ads from PC World's advertisers. Linda Manes Goodwin, vice president of manufacturing for PC World Communications, San Francisco, had been watching the industry's progress with computer-to-plate (CTP) printing, and saw no reason to wait before forging ahead with it. So she asked her printer, Brown Printing, Waseca, MN, to tell her what it would take. Why do you want to go CTP? Brown wanted to
With several prominent web sites launching magazines, Newsweek starting to rise from the ashes, and many titles seeing increased ad pages, 2013 was the year print forgot to die. It was the year our industry seemed to reach consensus that, for many years to come, we will derive much of our profit from putting ink on paper.
There has been plenty of press lately about online properties going print. It’s hard not to be drawn into these stories and see them as silver linings after a year of “print is dead” hysteria. However, these launches, though encouraging, are less a bellwether for the health of the publishing industry and more of a reminder of what makes magazines valuable to begin with.