For printer and customer, taking a chance with variable-data digital printing made all the difference in the world. In the fall of 1998, Discover Color (a prepress, image management and print firm based in McFarland, WI) found itself amidst all the "buzz" about variable-data printing. Discover Color was not alone in its speculation about what the future of personalized printing would hold. Suppliers and print buyers were curious about the viability of variable-data-generated print-on-demand documents. It was in 1998 that Jim Sullivan, president and CEO, Discover Color, began to ponder the idea of providing personalized print services for his customers. Sullivan realized
Technology has transformed the prepress production workflow considerably during the last decade. Technically, we can do things faster and better than ever before, and with shorter deadlines, we're forced to deliver fast, furiously and accurately. So what happens if the file running at intergalactic speed is missing graphics, has bad color specification or has serious font problems at the printer? In an ideal world, this would never occur, and in the real world, the preflight process can ensure it does not happen. File insurance Welcome to the insurance policy for the digital highway. The preflight process ensures that the file has passed certain tests
Developers address publishers' needs for cross-platform workflow tools. Integration, not segregation, is being practiced in an increasingly multi-platform print production world. Your editorial crew, for example, may prefer to work on PC-based word-processing programs, while your creative staff members hold on tight to their beloved Macintosh workstations. Fortunately, there are a number of hardware and software solutions to facilitate communication between multiple platforms. Without them, the publishing world might be up the proverbial creek. Quite a predicament It's a bullish market for print buyers interested in analyzing operating systems. UNIX continues to be a popular solution for driving networks and Internet sites.
Determining your digital specifications is perhaps one of the most difficult challenges contemporary publishers face. In what format should you accept advertising? This month, Columnist Eve Asbury answers a question submitted by a publisher, Bridget Burns, who is in the throes of working out her title's spec sheet. Bridget Burns: I have seen many changes in the publications world, and I will say that this digital one is the most confusing. We are finding out that we must trust our prepress house with the intangible, and it's a bit scary. With film and proof, we can see if an ad does not fit, or if
Digital transmission service providers help publishers, agencies and other content creators plug in to the right solution for digital file transfer. No workflow is an island. Digitizing your internal operations without creating digital links to your production partners is like packing everything you need for a dream vacation, yet neglecting to make all of your travel arrangements. Goodbye, dreamboat; hello, shipwreck. For the content creator aspiring to an all-digital workflow, the decision whether or not to implement some means of digital connectivity for file transfer is a no-brainer. Just do it. Even if you're managing presently with snail mail and couriers,
Young & Rubicam's Roy Zucca has become a human sponge, soaking up knowledge from a variety of industry organizations, and wringing it out for all production people to re-absorb. Those Familiar with Roy Zucca and his accomplishments may consider his professional title, senior vice president and manager of print technology for Young & Rubicam, to be a necessary understatement—that is, an inadequate description of his overall role, yet short enough to fit on a business card. For, you see, Zucca is so much more than a manager of print technologies for one of the world's largest advertising agencies. Beginning his career as a graphic
In its current incarnation, waterless printing has been around for nearly a decade, but has gone largely overlooked by publishers until recently. The perception seemed to be that waterless was just for short-run, high-end products such as corporate image brochures, annual reports and product brochures—and indeed those types of projects make up the bulk of waterless work. However, developments in the last year or two, including longer runs made possible on web offset presses and the success of computer-to-waterless-plate, have made publishers large and small sit up and take notice. Even publishing giant Time Inc., New York City, is pursuing the