PrintWorks! fall 2015

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T h e O f f i c i a l P u b l i c at i o n o f t h e N at i o n a l Pa p e r T r a d e A s s o c i at i o n

paper people style and Substance in praise of paper Going Mobile and Beyond the tree-Farming Keyboard player the Ikea BookBook luxury, inked

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866.864.2450

Prin speaks

NPTA O f f i c e r s chairman

Hilton Maze

a m e s s ag e f r o m t h e c h a i r m a n o f t h e n at i o n a l pa p e r t r a d e a s s o c i at i o n

Simon Miller Paper & Packaging First Vice Chair

T

Bayard Tynes Strickland Companies second Vice Chair

he National Paper Trade Association (NPTA), founded in New York City at Delmonico’s Restaurant 112 years ago, is the industry trade association representing printing paper merchants/distributors within the paper supply chain. Our merchant members serve printers, publishers, marketers and corporations throughout North America. We provide a variety of value-added services, including delivering the latest and greatest printing papers when and where you need them.

Printing paper merchants make their customers look good by exceeding the expectations of the end user. We also provide value in the supply chain by aggregating product requirements for a broad, diverse customer base. This enables merchants to maintain a pipeline of inventory to support their customers, absorb unexpected spikes in demand and make manufactures’ lead times transparent to the customer.

Merchants are also an excellent source of education for customers because they can speak to a broad portfolio of products and specifically how they compare to each other. Merchants have a much larger base of product knowledge to draw from and share than anyone else in the paper supply chain.

We are confident that you will find the articles and case studies in this issue of Print Works! valuable and encourage you to learn more about what NPTA can do for you. A couple of new initiatives to investigate are:

Tom Wernoch Glatfelter Treasurer

Don Clampitt Clampitt Paper Co. Dallas Immediate Past Chairman

Travis M. Mlakar The Millcraft Group NPTA D i r e c t o r s

Mike Graves Midland Paper, Packaging + Supplies

Brad Perry Boise, Inc.

Julie Schertell Neenah Paper

Andrew Wallach Central National-Gottesman, Inc.

John Sims International Paper

Bill Garvey Athens Paper Company NPTA S ta f f

NPTA Paper School – Held at national print and graphic design shows like GraphEXPO or

Chief executive officer

HOW Design Live, this workshop provides attendees with a strong foundational knowledge of paper and print. It specifically explains the importance of selecting the correct paper in conjunction with the correct printing technique to achieve the desired final product. NPTA’s Paper School is delivered by leading experts from major paper mills and coupled with guided tours of the latest printing equipment.

Kevin Gammonley kgammonley@gonpta.com NPTA Executive Vice President

Sean Samet ssamet@gonpta.com

Find A Paper Merchant Map – If you would like to contact a paper merchant or learn which

Membership services Associate

merchants serve your state, we encourage you to visit the NPTA website (www.gonpta.com) and utilize our interactive merchant map. Simply click on your state, and you will be shown the merchants that serve that area. If you have a paper question, want to request samples or are looking to purchase specific paper, we encourage you to turn to a NPTA merchant.

Manager, Marketing & Communications

Lauren Checea lchecea@gonpta.com

• N P TA C h a i r m a n 2 0 15

330 N. Wabash Ave., Suite 2000, Chicago, IL 60611 312.321.4092 • Toll Free: 800.355.NPTA (6782) Fax:

312.673.6736 • e-mail: NPTA@goNPTA.com

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Phone:

NPTA’s new interactive merchant map can help you find a paper merchant in your area. www.gonpta.com

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Hilton Maze

Tia Crowley tcrowley@gonpta.com

print works!

3

people.

Paper

Photos by Gary Porter

Ted Fitzpatrick reads about his family’s Irish geneaology at Mckinley Marina, Milwaukee.

T

here is something special about the printed page. It engages. It educates.

t h e N a t i o n a l P a p e r T r a d e a s s o c i a t i o n

It enthralls. It’s comfortable, and it’s

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convenient. Everywhere you look, people read books, magazines and other forms of print. The allure and value of ink on paper endure. The pictures on these pages – taken by Gary Porter, a Pulitzer-Prize winner and former photographer for the Milwaukee Journal Sentinel – testify to the broad appeal of this timeless and beloved form of communication.

PW!

Women of Influence walk in downtown Milwaukee.

www.gonpta.com

Janelle Winter reads a book while sunbathing at Bradford Beach, Milwaukee.

Jeanette Burnett reads a book while sitting in Cathedral Square, Milwaukee.

Charlie DesPlaines, left, and John “Duke” DesPlaines read their print media in front of The Hen House, a clothing store in Bayview, WI.

see more paper people on page 6 ›

people.

‚ continued from page 5

Paper Photos by Gary Porter

Noel Traum works using print media from Allen Edmunds at Colectivo Coffee at the Milwaukee Lakefront.

Caitlin Taylor, a teacher at UW-Milwaukee, works on her dissertation at Fuel Cafe in Milwaukee's Riverwest Neighborhood.

Kevin Schrebe, a University of WisconsinMilwaukee student, reads information for one of his classes at Roast Coffee Company, Milwaukee.

t h e N a t i o n a l P a p e r T r a d e a s s o c i a t i o n

Diane Porter looks for a book at a "Little Free Library" in Wauwatosa, wi.

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Maya Woodfill reads while waiting for the Amtrak at Milwaukee Intermodal station.

www.gonpta.com

© NPI 2015.

Rights Reserved. © NPI 2015.

AllAll Rights Reserved. ®Registered and ™ Trademarks of Neenah Paper, Inc.

neenahpackaging.com

con en s F a l l

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p u b l i s h i n g s ta f f

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T h e O f f i c i a l P u b l i c a t i o n o f t h e N a t i o n a l P a p e r T r a d e A s s o c i a t i o n

Publisher

John Aufderhaar Bedford Falls Communications

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From the Chairman Hilton Maze, NPTA’s 2015 chairman, shares his insights on the industry.

Editorial Director

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Paper People A collection of images from Pulitzer Prize-winning photographer Gary Porter celebrating the timeless and beloved form of communication that is print on paper.

jaufderhaar@surfaceandpanel.com Scott W. Angus

Bedford Falls Communications

scottangus47@gmail.com

AD sales

Ryan Wagner Bedford Falls Communications

rwagner@bedfordfallsmedia.com

Graphic Design

Karen Leno/ KML Design, Inc.

kmldesign@mchsi.com contributors

Jim Hamillton • Jim Leute • Natasha Mekhail • Phil Riebel • John Schmid • Leah Wheeler

0 Style and Substance Cambria Style is a beautifully designed and carefully curated magazine, 1

the perfect complement and marketing vehicle for Cambria, one of the world’s top makers of

quartz countertops.

16 In Praise of Paper Paper products are renewable, recyclable and sustainable, and they’re

meeting a global demand in all aspects of everyday life. Still, paper and its production continue

to be labeled an environmental threat, a charge the industry says is inaccurate.

22 Going Mobile and Beyond Things are moving quickly in the world of digital printing, with

new equipment and new capabilities offering exciting possibilities. Print Works! asked some of

the top equipment makers to share what’s new among their offerings.

28 The Tree-Farming Keyboard Player Meet Chuck Leavell, musician, tree farmer and

outspoken advocate for the forestry industry.

32 The Ikea Bookbook Ikea executives come up with a novel way to get people excited about the

arrival of the print catalog in their mailboxes, launching a campaign that is a blatant spoof of

Apple and a satirical shot across the bow at over-the-top tech fervor in general.

36 Luxury, Inked There’s a natural fit between print and luxury: the quality and craftsmanship that

goes into a magazine is much like the quality and craftsmanship that goes into a refined product.

42 Women's Fashion Magazines Today’s top women’s fashion and lifestyle magazines offer

readers a robust cultural experience that simply cannot be replicated by tapping on a digital screen.

4 4

Power of Print New survey suggests that 88% of people polled say the printed page is better than screens for understanding, retaining and using information.

8 Quality Advances in High-Speed Inkjet New systems and techniques begin to address high 4

quality and cost-competitive inkjet printing at very high speeds on coated stocks.

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on the cover: Gary Porter captures "Paper People" in pictures. See more Paper People in the photo essay beginning on page 4.

From the Editor. Bedford Falls Communications’ editorial director is a longtime fan of print.

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Print Works! is published on behalf of NPTA, the National Paper Trade Association, headquartered at 330 N. Wabash Ave., Suite 2000, Chicago, IL 60611. Toll-free: 800.355.NPTA (6782) or 312.321.4092, Fax: 312.673.6736, e-mail: NPTA@goNPTA.com. © 2015 Bedford Falls Communications, Inc. 302 N. 3rd St., Watertown, WI 53094 PH: 920-261-1947..

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print Works!

Style

and

Substance

By Scott W. Angus

Cambria’s award-winning magazine connects with readers on many levels.

L t h e N a t i o n a l P a p e r T r a d e a s s o c i a t i o n

ouAnn Haaf thinks print has a bright future. But not just any print.

“Print is not going anywhere,” said Haaf, editor in chief of the award-winning Cambria Style magazine. “The amount of digital noise has reset and elevated the print industry for those who are committed to creating really quality publications like Cambria Style.”

Cambria Style is a beautifully designed and carefully curated magazine that mixes understated product placements with a lively mix of lifestyle content, ranging from design and decorating to celebrity profiles to food and drink.

The magazine is the perfect complement and marketing vehicle for Cambria, one of the world’s top makers of quartz countertops.

“It’s a way for us to encapsulate the Cambria experience into something that is tangible and shareable, and it expresses how we feel about our brand, which is premium from start to finish,” Haaf said. “From the photography to the editorial to the paper, there really is no

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print works!

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Cambria Style is a marketing vehicle for Cambria, one of the world’s top makers of Quartz countertops. The biannual publication debuted in 2009.

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cutting corners – ever. And that is what the brand is all about.”

The biannual magazine debuted in 2009, and Haaf has been editor since the second issue. It has won many state and national awards for design and content, including Folio Ozzies for best single custom issue and best feature article in 2012 and best single issue in 2014.

More than 650,000 copies are distributed in the United States and Canada. The magazine is sent to Cambria customers, and the company also uses select mailing lists in core cities to find its target audience.

“We are very specific about where we are spending the money to grow as a brand, and so that’s where we focus on mailing the magazine. We don’t have a spray-and-pray approach,” she said. “We want to ensure it gets to the right audience.”

Cambria provides copies for luxury suites in sports arenas and distributes Cambria Style at top home shows and in high-end design showrooms. It is also a sister company of Sun Country Airlines and places magazines in seat pockets of its airplanes.

“From a marketing standpoint, this is our best piece of brand literature,” Haaf said. “This is the one that everybody uses.”

For good reason. Cambria Style has evolved into a sophisticated publication that subtly promotes the brand while being interesting, informative and useful in its own right.

“I love that people write to us asking about everything from our countertops to cooking and decor,” Haaf said.

“That tells me that people are reading it for the sake of reading it. They aren’t reading it just because they may have Cambria in their homes. They are reading it because they enjoy reading a good, quality, substantial publication that is very well made. And isn’t that the best way to share any message?”

As the magazine’s content has evolved, the editors have gotten creative at integrating the product into stories and photos without blowing Cambria’s horn too loudly, Haaf said.

The food features provided the most obvious opportunities initially to showcase Cambria’s countertops.

“That was an obvious connection to be able to have the food photography focused on Cambria products,” she said.

Today’s more diverse stories present greater challenges.

“It’s challenging and really fun to figure out how to take a product and, through photography and a story, kind of wrap something around it that somebody is going to find interesting,” Haaf said. c o n t i n u e d o n pag e 12

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th e Nati o nal Paper Tr ad e a s s o ciati o n

Cambria Style features celebrities who have ties to Cambria.

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“Cambria Style is a great sales tool that helps our customers conceptualize the many ways in which Cambria can be used and applied.”

Jesse Kliman of Colonial Countertops

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The magazine features celebrities who have ties to Cambria. Some, such as Mariel Hemingway and Cheryl Tiegs, are paid advocates. They are genuine fans of Cambria’s countertops and make appearances and do interviews to talk about the brand.

Others, such as Maria Menounos and Andrea Bocelli, seek out the publication and simply want to share their connections to Cambria.

Menounos and her partner were in a cabinet shop looking to redo their kitchen when they picked up an issue of Cambria Style. They inquired about the product and how to get it into their kitchen. And they asked about appearing in the magazine.

“That was a great coming-of-age story for Cambria Style – a really big win to show that the magazine is not only working to share the product, but it’s starting to sell itself to the other side, which is people wanting to be part of the editorial,” Haaf said.

Cambria, which is based in Eden Prairie, Minn., a few miles southwest of Minneapolis, has a small team responsible for much of the creative for Cambria Style, and it works with Touchpoint Media to produce the content and coordinate the design and publishing.

Cambria also has “VIP partners,” which are businesses that invest in custom copies of the magazine and then have their own ads placed inside the front and back covers. Among the partners are Colonial Countertops, Floform Countertops and Blasius Inc. “Cambria Style is a great sales tool that helps our customers conceptualize the many ways in which Cambria can be used and applied,” said Jesse Kliman of Colonial Countertops.

The magazine is committed to reaching its customers through all forms of media, Haaf said, but print is special in its capabilities and impact. Because of that, c o n t i n u e d o n pag e

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Haaf and her editors keep the content national to appeal to the magazine’s wide audience, and they are always conscious of Cambria Style’s shelf life, avoiding timely topics that will look dated in a few months.

th e Nati o nal Paper Tr ad e a s s o ciati o n

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she thinks long and hard about how to ensure that the content takes full advantage of what print does best.

“I think about, ‘OK, this is a great story, but will we be able to put together photography? Will we be able to style photography that’s going to make this beautiful and pop off the page?’

“We have amazing paper, which is very helpful, so that the photographs we do get always look incredible. So a big part of putting together the content is coming up with what the visual is going to look like because ultimately we are sharing a product, and if that product doesn’t look good, then we have failed.”

Haaf and her editors keep the content national to appeal to the magazine’s wide audience, and they are always conscious of Cambria Style’s shelf life, avoiding timely topics that will look dated in a few months.

“I think we’ve done a pretty good job of having large conversations that can stand the test of time.”

Cambria Style has an attractive, interactive digital edition, and it plans to offer expanded content online for people who are more interested in specific topics.

Social media are also part of its digital strategy.

“But quite honestly, the print piece is where we see our biggest return right now,” Haaf said. “Given that Cambria is a luxury product, it kind of goes hand in hand. To be able to really share the Cambria experience and show them in this piece that this is it, this is the experience.

“It’s exactly what you would expect from a company of this stature.” www.gonpta.com

“Personally, I don’t think anything will ever take the place of print.”

LouAnn Haaf, editor in chief of the award-winning Cambria Style magazine

Peter Martin, executive vice president of sales, marketing and business partner services for Cambria, called Cambria Style “an exceptional brand vehicle.”

“It is a representation of what Cambria is and what it has to offer,” Martin said.

“Wrapping that experience up in engaging editorial and gorgeous photography gives us yet another way to share the Cambria experience. Those solid, positive connections? They are ultimately what drives our business.”

Digital sources meet many of Haaf’s current, relevant media needs, but she loves print. She knows many others do, as well.

“Personally, I don’t think anything will ever take the place of print. I feel when I sit down and read a magazine, it’s almost like it’s a part of our history. It’s like a tangible connection to the past.

“I don’t think anything will ever take the place of flipping ahead, flipping back, dog-earing a page, feeling the paper, sliding your finger into the next page before you’re ready to turn. “ … I think people still enjoy the unmistakable feeling of touching something, sharing something. ‘Hey, I have a book I’d like to loan you.’ Or ‘Look, I have

this great magazine. There’s a recipe on Page 47; I dog-eared the page.’”

The key to print’s future is quality, Haaf re-emphasized.

The editor in chief talked about early conversations she had with Marty Davis, president and CEO of Cambria. He stressed that the magazine needed to feel good in people’s hands and give a satisfying “plop” when they dropped it on the table.

“Because a premium experience,” he told her, “is premium to the end.”

That was great advice because it aptly paralleled Cambria’s broader brand, Haaf said.

“I think that’s where a lot of magazines fall short,” she said, citing Restoration Hardware and Pottery Barn as companies that understand the new order and produce fabulous publications.

“Those that are sticking around and those that are coming around are the ones that are committed to doing it right.

They are saying, ‘Yeah, we’re going to do this, but we’re going to do it properly because now people’s expectations have been reset.’

“And I think that,” Haaf said, “is a very positive thing.” PW!

print Works!

In Praise of Paper

By Jim Leute

t h e N a t i o n a l P a p e r T r a d e a s s o c i a t i o n

P

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aper is the vehicle for these words. But paper is just one form of a diverse, versatile range of products made from the pulp of wood or other fibrous substances.

Paper products are renewable, recyclable and sustainable, and they’re meeting a global demand in all aspects of everyday life.

Paper is fundamental to education, communication and information. It promotes reading comprehension, spreads the word to large audiences and is the carrier of some of our most personal and vital information.

In one form, it packages everything from food to big-screen televisions. In another – tissues, diapers, hospital gowns – it’s vital to hygiene.

While innovative paper products are developed every day, paper and its production continue to be labeled an environmental threat, a charge the industry says is inaccurate.

“We live in a digital world, and some people think everything digital is the solution,” said Mark Pitts, executive director of printing-writing for the American Forest & Paper Association. “Paper is good, and we want people to feel good about using it.”

The AF&PA is the association of the forest products industry, which in the United States Mark Pitts, American Forest & accounts for about 4 percent Paper Association of the total manufacturing GDP. Industry companies make about $210 billion in products annually and employ nearly 900,000 people, many of whom live and work in rural counties that value well-paying jobs.

www.gonpta.com

“When you add up the value of print and paper, it’s a huge force in our economy,” Pitts said. “We’re in the top 10 of manufacturing sectors in 47 states, with a payroll of $50 billion a year.”

AF&PA represents a unique industry, one characterized by its production of essential bio-based products that support and protect everyday life.

The industry has increased production efficiencies, reduced its energy use, decreased its carbon footprint and significantly cut its release of pollutants, according to the association’s 2014 sustainability report.

Essential products

Forest products are critical components of modern life. They’re made from a renewable resource – trees.

Printing and writing papers include paper for books, magazines, office and home printers, birthday cards, wedding invitations, printed photos and vital documents.

Paper-based packaging is a versatile and cost-efficient way to transport, protect and preserve a wide variety of materials.

Wood provides shelter, furniture, flooring and cabinetry, as well as smaller items that range from bowls to chopsticks.

Critical to all are trees, a renewable resource that can be planted, grown, harvested and replanted.

Photosynthesis with tree growth captures and converts carbon dioxide into fiber and other wood components, which over time reduces the effects of greenhouse gas emissions. In turn, trees release oxygen.

Forest Products industry capital Expenditures

p h o t o g r a p h y by Pa i v i T i i t ta n e n

Two Sides North America presents facts about paper production, use and recycling to dispel myths, promote well-informed, confident media buying decisions and encourage greater responsibility throughout the life of paper products.

Here are a few myths and facts, according to the organization.

For more detailed information, visit www.twosidesna.org/Myths-and-Facts.

Myth: Making paper destroys forests.

Fact: Paper production supports sustainable

forest management.

Myth: Making paper consumes a lot of

energy.

Fact: Yes, but most of it is renewable energy.

While some emails use misleading taglines such as “Save a tree – please consider the environment before printing this email,” the U.S. Forest Service reports that 1.2 billion trees are planted each year.

Moreover, the nation has 20 percent more trees today than it did on its first Earth Day in 1970.

Myth: Making paper is bad for the

environment.

Fact: Paper is one of the few truly sustainable products.

Building on Two Millennia

Myth: Paper has a high carbon footprint.

Launched in 2012, Two Sides North America is a global initiative by companies from the graphic communications industry, including forestry, pulp, paper, inks and chemicals, pre-press, press, finishing, publishing, printing, envelopes and postal operators.

Together, they promote the sustainability of the industry and dispel common environmental misconceptions.

The organization notes that print and paper have been the preferred communications medium for more than 2,000 years.

By fostering a better understanding of the industry’s current environmental credentials, Two Sides believes print and paper will continue as the communication medium of choice.

Two Sides battles misconceptions that the industry is responsible for large-scale deforestation and adverse environmental impacts.

The first step is to find the myths’ source, said Phil Riebel, president of Two Sides.

bad.

Fact: Sustainable forest management benefits people and the planet.

Myth: Print and paper is a wasteful product.

Fact: Paper is one of the most recycled products in the world.

Myth: Electronic information is more

environmentally friendly than print and paper.

Fact: Not necessarily. E-media has environmental impacts.

pulp and paper mill Greenhouse gas emissions

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pulp and paper mill purchased energy use

Myth: Harvesting trees to make paper is

© i s t o c k p h o t o . c o m /c h a r l i e e d wa r d

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Fact: It’s not as high as you think.

print works!

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Paper industry Production

The American Forest & Paper Association says its members’ commitment to sustainable manufacturing is one of the most significant of any industrial sector. That commitment is as much economic as it is environmental.

Ensuring a market for paper helps ensure a market for trees. More than 90 percent of the U.S. forest products industry is supplied by private owners who have strong financial incentives to replant trees and sustain their stands.

Economic and environmental improvements form the basis of the association’s “Better Practices, Better Planet 2020,” a series of six sustainability goals. They include: ❱ Exceeding a 70 percent rate of paper recovery for recycling. Paper recovery for recycling reached 63.5 percent in 2013. ❱ Improving members’ purchased energy efficiency by at least 10 percent. Better energy efficiency has so far cut purchased energy by nearly 9 percent. ❱ Reducing members’ greenhouse gas emissions by at least 15 percent. So far, emissions have dropped 14.5 percent since 2005. ❱ Increasing the amount of fiber procured from certified forestlands and other certified sources, thereby decreasing the amount of illegal logging.

t h e N a t i o n a l P a p e r T r a d e a s s o c i a t i o n

❱ Decreasing the number of workplace injuries by 25 percent, a goal that has nearly been met.

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❱ Reducing water use in pulp and paper mills by 12 percent. Half of that goal has been met since 2005.

p h o t o g r a p h y by C a r s o n M c N e a l

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Two Sides targeted companies known to encourage consumers to embrace paperless electronic billing. The group then monitored mailings, websites and other marketing channels to see how the message was framed.

Much of what it found was “greenwashing,” claims about environmental correctness that don’t square with the facts, Riebel said.

Two Sides said the material perpetuated falsehoods about forest destruction, paper waste and carbon generation. It also ignored the high environmental cost of “going green” by switching everything from paper to power-devouring computers, servers and networks.

Two Sides’ anti-greenwashing watch list is now up to about 60 companies.

More than 30 companies have agreed to remove questionable claims.

Telling the story

Just last year, the National Paper Trade Association launched this magazine, Print Works! , to tell the positive story of paper and print, showcase new techniques and technologies and reinforce the value of working with a paper merchant.

In July, the Paper and Packaging Board launched a multimillion-dollar

Pulp and Paper Mill Air Emissions

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c o n t i n u e d o n pag e

pulp and paper mill effluent discharges

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751 million: Number of forested acres

in the United States, about one-third of the country. Privately owned forests supply 91 percent of the wood harvested, while state and tribal forests contribute about 6 percent, and federal forests supply 2 percent.

3.2 million: Number of trees planted each day in the United States, according to a 2012 report from the U.S. Forest Service.

p h o t o g r a p h y by M i c h a e l & C h r i s ta R i c h e r t

By the Numbers

20 percent: Increase in the

number of trees in the United States compared to the nation’s first Earth Day more than 40 years ago.

56 percent: Proportion of U.S. forests

that are privately owned, much of it by family forest owners who manage their lands to provide value to future generations.

10 pounds: Amount of carbon dioxide that a single tree can absorb each year.

10 percent: Offset in the nation’s

carbon dioxide emissions stored each year by the nation’s forests and forest products.

20 percent: Timberland in the U.S.

certified to reputable third parties that comply with sustainable forest management and procurement principles.

$210 billion: Approximate value of the forest products industry’s annual production, which is about 4 percent of the nation’s manufacturing gross domestic product.

900,000: People employed in the

t h e N a t i o n a l P a p e r T r a d e a s s o c i a t i o n

industry.

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$50 billion: Annual industry payroll.

15 miles: Length of a train that would

be needed to carry the amount of paper that U.S. papermakers recycle every day.

37 percent: Amount of fiber that comes from recovered paper that is used to make new paper products.

96 percent: Proportion of Americans

who had access to community curbside or drop-off paper recycling programs in 2014.

76 percent: Growth in U.S paper

recovery since 1990, when the paper industry established its first recovery goal to advance recycling.

Source: American Forest & Paper Association www.gonpta.com

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campaign funded by a check-off program to increase appreciation for paper and paper-based packaging, reduce guilt about using the products and deepen understanding of the industry’s environment-friendly practices.

“The Paper & Packaging – How Life Unfolds” campaign integrates traditional media, including 30-second commercials, print advertising showcasing paper and packaging items, as well as a digital presence.

“It’s important that people know we have high-tech jobs, sustainable practices and lead in manufacturing innovation, but the best way to talk directly to consumers about the unique attributes of products we make is to connect with them about the role these products play in their lives,” said John Williams of Domtar, the board’s chairman.

Pitts said the industry needs to counter-balance the perception that paper is wasteful.

“Companies used to spend money promoting individual brands … ‘our brand is better than their brand,’” he said. “Now we’re promoting the fact that paper is good, and you can feel good about using it.

“The industry depends on the demand for our product, and that’s what this campaign is all about.”

Pitts’ organization researched different populations and found that the all-important millennial demographic values print and paper.

“They can’t imagine a world without it,” he said. “That surprised our researchers, who asked if we really wanted to survey that group.

“We said absolutely because they are the future buyers of paper.” PW! “The Paper & Packaging – How Life Unfolds” campaign integrates traditional media, including 30-second commercials, print advertising showcasing paper and packaging items, as well as a digital presence.

print Works!

©istockphoto.com/kevinsmart

Going Mobile and

Beyond

New digital printers offer versatility, speed and quality

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By Scott W. Angus

hings are moving quickly in the world of digital printing, with new equipment and new capabilities offering exciting possibilities for businesses and their employees. With that in mind, Print Works! asked some of the top equipment makers to tell us about what’s new among their offerings and how new digital printers can make life better and easier in today’s work world.

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Konica Minolta

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It’s a mobile society, and Konica Minolta is focusing on making it possible for busy employees to print from anywhere.

“We need to adjust our strategy to fit into the mobile work force and how companies want to do business,” said Dino Pagliarello, director of product marketing. “We are adding a lot of new capabilities in order to do that.”

Pagliarello emphasized that there’s no single fit. All companies have different ways that they want to interact with products.

Konica Minolta has equipment that can print wirelessly from Apple and Android devices, and he credited the Mopria Alliance for creating a standard for wireless printing. The alliance includes all of the top tech companies, and it established a standard that works no matter what products are on the printing end.

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The bizhub c25 from Konica Minolta offers compact all-in-one desktop convenience.

Kodak

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Kodak PROSPER 6000 Presses unleash the next generation of printing to meet diverse customer needs.

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Pagliarello said it’s all about convenience and making it easier for today’s busy mobile workers.

“Let’s say you’re a salesman and not typically in an office environment. You don’t want to connect to Wi-Fi for just a few minutes.

You don’t know the password. You can now find devices in your environment directly from your mobile device versus having to log in, connect to a network and then print.”

Pagliarello doesn’t think the print and mobile industries did enough to help people when mobile devices began to proliferate.

“If they couldn’t print, they gave up. It was too hard to do. We’re finally catching up. Now, we’re making it easier for the customer.

I believe that printing from mobile devices will continue to grow.”

Versatility is the key, he said, and KM allows people to print directly from their mobile devices, tap the Cloud for printing, upload and scan to mobile devices, do finishing and much more.

“There is just a lot of flexibility when it comes to moving around and having what you need at your fingertips,” Pagliarello said, noting that the company’s app – PageScope Mobile – enhances that flexibility considerably.

As for the quality of printing, Pagliarello thinks customers don’t even think about it.

“Quality is expected. It’s not something that people are delighted with. They don’t expect any challenges.

“Color quality has been so good for the past five or seven years, the quality that we have today is OK with the customer.

We’ve had very good quality for a long time.”

The challenges facing printers vary wildly across industries – from book publishers to direct mail marketers to newspaper publishers – but digital printing has put each in a position to thrive, said Vahaaj Khan, director, Americas Sales & Marketing – Inkjet Presses, Kodak.

“You’ll see businesses today investing in technologies that can address their current challenges while simultaneously laying a foundation for future success,” he said.

Book printers, for example, use digital presses for shorter runs and faster turnaround times, allowing them to better manage inventory and reduce warehousing costs, Khan explained.

The most successful companies not only transition offset runs to digital inkjet but build new products and services around what their investment in digital presses enables, he said.

Based on Kodak’s Stream Inkjet Technology, the company’s Prosper 6000 presses are the world’s fastest four-color inkjet presses, excelling in printing heavy ink on coated/glossy and uncoated/matte substrates, Khan said.

The presses are capable of delivering offset-class print quality, making them ideal for producing color variable-data direct mailers, customized catalogs, books and newspapers.

A key technological innovation incorporated into these digital presses is a new Intelligent Print System, which is an advanced press management process that constantly monitors and evaluates system operation to ensure outstanding color quality and highly efficient throughput, processing thousands of press inputs during operation.

Finally, with a color gamut that approaches that of offset, Prosper presses can produce printed products equivalent to SWOP, SNAP and GRACOL standards, allowing users to complement existing offset workflows and do load balancing, Kahn noted.

“Today’s printers, publishers and marketers need to drive innovation and leverage technology to sustain their print channels, all while managing the transition to a digital business model,” he said.

“The Prosper 6000 presses make it possible for them to reach new audiences more efficiently by streamlining print runs and varying their offerings to open up new revenue streams. Printers that invest in the speed, quality and economics of Kodak Prosper 6000 presses are looking to quickly respond to the needs of their customers, as well as the needs of their business, to survive.

“The future of print will revolve around these digital presses and solutions that allow customers to operate with enough agility to make this a reality.”

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The HP Latex 110 printer from Hewlett-Packard offers large-format printing with odorless, water-based inks that require no special ventilation.

With one HP Latex 110 Printer, a department can fulfill a wide range of user needs, such as simple banners, point-of-purchase signs on bond paper, canvas prints for office decoration, wall-covering themes for waiting rooms and customized tradeshow kits that can include fabric pop-up banners.

The HP Latex 110 Printer can be installed and operating in less than 2.5 hours. The list price is $10,999.

Xerox

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Hewlett-Packard

HP recently introduced the HP Latex 110 Printer, which is ideal for “print-preneur” customers seeking easy, affordable entry into large-format printing to jump-start a new printing business – whether from their home or a small, rented facility, said Joe Goicoechea, category manager, Americas Large Format Production, HP. Now available in the U.S. and Canada, the 54-inch printer is ideal for low-volume production of indoor and outdoor large-format applications, such as vinyl, stickers, posters, canvas and point-of-purchase signage. It is also the first HP Latex printer that can be installed by the user.

Building on the success of third-generation HP Latex technology, Goicoechea said, the HP Latex 110 Printer features:

î î î î

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Sharp image quality on prints that come out completely dry for same-day delivery.

Professional, high-resolution prints up to 1200 x 1200 dpi with user-replaceable, six-color ink cartridges.

Easy and intuitive operation with no specialist knowledge required.

While people recognize that technology is forging ahead in their mobile phones and other devices, they don’t always recognize that evolution and innovation are happening in the print world, as well, said Fred Ramsey, global product manager - office solutions at Xerox.

“For example, the Xerox patented ultra-low-melt Emulsion Aggregation (EA) toner is a fine grain, grown, low-melt-point formulation. This innovation may seem mundane at first glance, but the technology brings high-end applications to the general audience,” Ramsey said.

Whether it is magnets for a local pizza shop or plastic signs for a realtor, the Xerox Color C60/C70 offers turn-key features and media versatility, he noted.

“With this technology, it becomes much more attainable for anyone to produce, enhance and expand applications such as rugged polyester labels, menus, signs, vinyl window clings and even textured linens,” Ramsey said.

A first for a device in this category, the Xerox Color C60/C70 prints on linen to create unique applications such as event planning materials, appliques and luxurious embellishments. Xerox’s EA toner technology helps customers navigate the traditionally difficult peaks and valleys in linen and other specialty substrates such as polyester. c o n t i n u e d o n pag e

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Automatic maintenance and front-loading features, as well as online learning tools and software assistance.

A healthier work environment. Unlike solvent inks, waterbased HP Latex inks are odorless with no special ventilation required, features that are especially vital to print-preneurs operating from their homes.

HP Latex prints can be used in a range of spaces, such as offices, daycare centers and hospitals.

Because HP Latex ink technology works with a diverse number of applications and medias, customers can print on banners, vinyl materials, canvases, coated and uncoated papers, backlit films and synthetics with one printer.

“The possibilities of creativity and printing opportunities are limitless with HP Latex printing.”

The HP Latex 110 Printer’s low cost, recyclable supplies and environmentally friendly inks make it feasible for companies to bring their large-format printing in house. In-house printing can benefit companies by reducing their costs and helping them maintain control of quality and production timelines. www.gonpta.com

The xerox Color C60 uses Ultra-low-melt Emulsion (EA) toner to print on a variety of media, such as polyester and linen.

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Ramsey cited examples of what companies can do because of the new technology and low cost of in-house work:

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A pizza shop developed full sheet magnets for menus.

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A plant nursery creates flexible 4-micron pre-die cut polyester plant wraps. As a result, the nursery is saving money on stock preparation with immediate turnaround to combat weather changes.

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î

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A fitness center uses the low-melt EA toner for window clings on 2 mil plastic with high details, allowing the organization to communicate better with young and old at its facilities.

A mid-sized chemical company uses perm adhesive polyesters for labels to be able to produce low-cost but permanent labels for all state chemistry classes.

A regional sports company uses pre-die cut pieces to create short-run, low-cost promotional pieces using Xerox/Domtar qualified media.

What type of in-house expertise is needed to operate the equipment? A basic understanding of Adobe suite and sometimes advanced Microsoft Office expertise, Ramsey said.

“The printing devices themselves are very easy to use, and you do not need to know much, if anything, about color management and other print specific processes. The machine helps you throughout the process.”

As for cost, there is a range of price points, with $5,000 to $40,000 a good range for an up-level graphics and office capable device. A buyer can configure and customize the equipment to fit its needs.

Ramsey stressed that variable and, more important, personal print is within reach of small- and medium-sized organizations.

“Xerox offers a very wide set of printers/MFPs/production presses, from small letter-sized desktop lasers for $200 to the fastest digital presses in the industry.

“A mid-sized company can get the most advantage out of the equipment, but departments and organizations inside a firm can gain also significant value,” Ramsey said. “For example, a university may have significant enrollment and sports promotion in certain departments and find that they can in-source their projects thanks to technology and do more for less.”

Epson's workforce ET 4500 uses its new "Eco tank system" to provide up to two years of ink, equivalent to 50 sets of ink cartridges.

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Epson

Epson recently introduced EcoTank – a new line of all-in-one printers with a game-changing “supertank” design.

Rodrigo Catalan, senior product manager for Epson, said the five printers address one of the biggest pain points for small businesses and consumers: running out of ink. EcoTank all-in-one printers come loaded and ready with up to two years of ink in the box.

EcoTank color printers combine the high-quality printers Epson is known for with dramatic in-box cost savings and ultra-low ink replacement costs, Catalan said. When comparing EcoTank to a traditional printer, the ink included with the EcoTank is equivalent to 50 sets of ink cartridges, depending on the model.

For offices with high volume color print needs, The WorkForce Pro WF-R4640 EcoTank printer includes Replaceable Ink Pack Systems, which will print up to 20,000 pages before ink needs to be replaced.

Epson prides itself on delivering robust, high quality printing solutions that are easy to use. Epson’s EcoTank series printers offer an easy-to-use control panel with screen sizes up to 4.3” and include support for gestures similar to mobile devices for additional ease of use.

An additional standard feature of the EcoTank series is its wireless capabilities, Catalan said. Each model comes equipped with built-in wireless printing options that enable users to easily print from their tablet or smartphone using Epson Connect solutions, nearly anywhere.

Epson Connect allows users to wirelessly print documents, photos, emails and webpages, whether at the office or on the go, and offers them the ability to also scan documents and save them to the cloud for easy access and collaboration, Catalan said. For more information visit www.epson.com/ecotank. PW!

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theTree-Farming

Keyboard Player

By John Schmid, Milwaukee Journal Sentinel

Meet Chuck Leavell, musician, tree farmer and outspoken advocate for the forestry industry.

I th e Nati o nal Paper Tr ad e a s s o ciati o n

f any industry could use a prominent advocate, it’s forestry — because nothing grates on the ears of a forester like hearing someone say they won’t buy a book because it’ll kill a tree.

And few, if any, fit the role of forestry spokesman-at-large as well as Chuck Leavell, easily the world’s most recognized tree farmer.

Leavell’s tree plantation occupies 2,900 acres in Georgia. He has written books on woodland management, testified on logging legislation before Congress and likes to quote legendary Wisconsin conservationist Aldo Leopold.

And he has one other noteworthy credential: He plays keyboards for the Rolling Stones.

Leavell has been touring, recording and singing backup with Mick Jagger and Keith Richards since 1982. The band has had a keyboardist since its first gig in London in 1962, but Leavell has held the role longer than all three of his predecessors combined. He also has evolved into the band’s musical director, writing out each night’s set list on tour.

True, Leavell missed the Stones at their countercultural zenith in the 1960s and ‘70s.

But he wasn’t available in those years anyway: The Alabama native owns a Grammy Lifetime Achievement Award for his pioneering Southern rock work as a member of the Allman Brothers Band.

Ahead of the Stones' show this summer at Milwaukee's Summerfest, Leavell took time for a series of email interviews with the Milwaukee Journal Sentinel. The gray-bearded

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product made from trees. Growing and harvesting trees provides jobs for millions of Americans, and working forests are good for the environment, providing clean air, clean water, wildlife habitat and carbon storage. Thanks to improved forest management, we have more trees in America today than we had 100 years ago.”

Leavell’s midlife conversion to treehugger came after his wife inherited a large tract of land in central Georgia from her grandmother, whose family had held it for generations.

As it turned out, Lane’s inheritance came at a time when Leavell was unemployed, “without a prospect on the horizon.”

The Allman Brothers had broken up amid scandals and acrimony. Their recording company failed. A few of the Brothers joined Leavell’s band, Sea Level, which won acclaim but struggled to break even.

The call from the Stones, which came out of the blue, was still off in the future.

And so Leavell became a tree farmer out of necessity. He began with Christmas trees but advanced quickly into loblolly, longleaf and slash pines as well as some hardwoods. He took classes to become

From rocker to tree-hugger

Musicians’ involvement with environmental causes is nothing new, but Leavell’s interest goes far deeper than most. He and his wife, Rose Lane, were named National Outstanding Tree Farmers in 1999 by the American Tree Farm System, which honors renewable practices. He has been recognized by the Georgia Conservancy and the National Arbor Day Foundation, and was named an honorary forester by the U.S. Forest Service.

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“I never mind explaining to those that have misunderstandings about forestry practices that the U.S. is a great example of sustainable forestry.”

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Chuck Leavell,

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rocker shared his views on the economics of forestry; explained why he thinks Leopold is so revered; and addressed — sort of — whether the current Stones’ tour will be the last (“until the next one”).

“I never mind explaining to those that have misunderstandings about forestry practices that the U.S. is a great example of sustainable forestry,” Leavell said.

Leavell champions the idea of renewable, working forests, an idea that Wisconsin foresters helped establish early in the last century — always planting more than they cut. He marvels at the thousands of “gifts of the forest,” from timber for homes and churches to Keith Richards’ guitars and his own maple-and-spruce grand piano.

From the Stones’ June 9 tour stop in Atlanta, not far from his rural farm near Macon, Leavell said: “Here in Georgia, we plant, manage and grow 40% more trees than we harvest. And when we harvest, we do it in a careful and thoughtful way. There are good, sound and strong guidelines that most all loggers follow.”

Common misperceptions about tree farming often go unchallenged, an issue that Leavell addressed by writing the 2001 book “Forever Green.” According to his autobiography, he wrote that book during Stones’ tour stops in the late 1990s after he “discovered how much misinformation there is in the general public about the forest industry.”

To those who think that cutting trees is inherently bad, Leavell reminds that unmanaged forests are older, drier, less healthy and more vulnerable to forest fires.

“The Native Americans knew that,” he said. “Early Europeans and other earlier cultures and societies knew that.”

And to those who discourage the use of paper for the sake of trees, Leavell also has a ready response, which he includes in green type below the signature line of his emails: “Notice: It’s OK to print this email. Paper is a biodegradable, renewable, sustainable

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Leavell marvels at the thousands of “gifts of the forest,” from timber for homes and churches to Keith Richards’ guitars and his own maple-and-spruce grand piano. chuck Leavell represents Mother Nature Network, an organization he co-founded in 2009, as he rings the opening bell at the NYSE.

“My children’s book, ‘The Tree Farmer,’ is an attempt to help children learn about these issues from a very young age,” he said.

Also, in 2009, he co-founded Mother Nature Network, which attracts more than 10 million visits a month from more than 200 different countries.

A lifetime of music

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chuck Leavell has been touring, recording and singing backup with the rolling stones since 1982. He is Pictured here, on the left, after their halftime performance at Superbowl XL in 2006.

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a certified forester and learned to repair the tractor. Along the way, he needed to understand wildlife, habitats and the balances of biodiversity.

In Wisconsin, the industries that grew out of the state’s vast timberlands remain among the state’s biggest employers, including logging, furniture, paper mills and printing.

Not surprisingly, part of Leavell’s conversion included becoming familiar with the work of Leopold, whose book “A Sand County Almanac” was published in 1949 but remains required reading in forestry schools in Wisconsin and elsewhere.

Leavell still quotes Leopold frequently in his emails and books. Asked why Leopold is so revered, Leavell wrote: “Because he ‘got it.’ He had a deep understanding of nature and the incredible way that the big picture fits together.

“Nature is infinite — and constantly changing.”

Leavell spreads that message at every opportunity.

It’s all a jarring contrast to Leavell’s more glamorous life of swank hotels and pulsating concerts in sold-out stadiums.

His bandmates, though, are well aware of his tree obsession. “Oh, God, Chuck’s talking about trees again,” Keith Richards once said. And at this month’s show in Atlanta, Jagger introduced Leavell to 50,000 fans as an “amazing guy who’s a local tree farmer.”

At 63 and a grandfather, Leavell is young by Stones standards. Jagger and Richards are both 71. Charlie Watts is 74.

But Leavell played “Satisfaction” and “Nineteenth Nervous Breakdown” in his high school band, which did so well he never went to college.

He found no end of studio work in Muscle Shoals, Ala., one of the South’s recording capitals, and then in Macon, Ga., before the Allman Brothers invited him to join as the numerical replacement for founder Duane Allman, who died in a 1971 motorcycle crash.

Like each of the other Brothers, he’s branded with a tattoo of a “magic mushroom” on his right calf, all from the same San Francisco tattoo artist.

Leavell’s best-known contribution to the Allman Brothers is perhaps a bouncy instrumental called “Jessica.” Over the years, he’s played with the Marshall Tucker Band and Eric Clapton, shared a stage with the Grateful Dead and The Band, and counts the Grammy Award-winning Train single “Drops of Jupiter” among his studio work. PW!

print Works!

The Ikea Bookbook The Original Touch Interface

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By Leah Wheeler

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“Once in a while, something comes along that changes the way we live, a device so simple and intuitive, using it feels almost familiar.”

So says Jörgen Eghammer, “chief design guru” at Ikea in a video promotion for the Swedish budget furniture giant’s 2015 print catalogue.

“Introducing the 2015 Ikea catalog. It’s not a digital book or an e-book. It’s a bookbook,” Eghammer explains solemnly. “First thing to note is no cables, not even a power cable. The 2015 Ikea catalog comes fully charged, and the battery life is eternal. The interface is 7.5 by 8 inches but can expand to 15 by 8 inches.

The navigation is based on tactile touch technology that you can actually feel.”

In September 2014, Apple launched the iPhone 6 to great public fanfare. At the same time, Ikea was distributing millions of printed catalogs to consumers, and Ikea executives knew they needed to come up with a novel way to get people excited about the arrival of the print catalog in their mailboxes. By launching it as a blatant spoof of Apple and a satirical shot across the bow at over-the-top tech fervor in general, they made their point.

The Ikea video promotion, which was produced by the Singapore office of ad agency Bartle Bogle and Hegarty, has since gone viral.

With tongue firmly in cheek, video spokesperson Eghammer promotes bookbook “technology,” saying: “At only 8mm thin, and weighing in at less than 400g, the 2015 Ikea catalog comes pre-installed with thousands of home furnishing ideas. To start browsing, simply touch and drag (as he turns the pages). Right to left to move forward; left to right to move backward.”

The ad was shot against a stark white backdrop, reminiscent of Apple’s promotional aesthetic. Eghammer speaks enthusiastically about the extraordinary bookbook, describing its many userfriendly features in geek-speak terms. He describes the bookbook’s easy bookmarking (by dog-earing the corner of a page), “eternal” battery life, “crystal clear” images and “instantaneous page loading no matter how fast you scroll (as he flips through the catalog).”

“Amazing!” he intones deadpan.

When something generates as much media frenzy as an Apple c o n t i n u e d o n pag e

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Ikea's ad campaign is not only a clever lampoon of tech ads, tech jargon, tech gadgetry and the public’s seemingly insatiable appetite for new tech devices, but it also honors the quality, convenience, durability and relevance of printed catalogs and print advertising generally.

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product launch, it becomes ripe for parody. And this ad is not only a clever lampoon of tech ads, tech jargon, tech gadgetry and the public’s seemingly insatiable appetite for new tech devices, but it also honors the quality, convenience, durability and relevance of printed catalogs and print advertising generally.

Using terms and images that show its advantages to digital, the campaign underscores how strongly Ikea believes in the power of print.

“Digital cannot replace print,” said Tinus Strydom, creative director at BBH Asia Pacific (Singapore). “You can’t lend someone a book from your Kindle library. You can’t pick up a wellthumbed digital paperback from a backpackers hostel in Thailand.

You cannot meditate in the cathedral of knowledge that the New York Public Library creates. Books have a charm and a romance that digital does not have. They have an ‘in the world-ness’ that the virtual lacks.

“They age, gracefully. They remind us of journeys not taken by their very presence. They have heft, volume, weight, cover designs. They occupy physical and mental space, whereas digital

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is a screen. It lacks focus. You can jump around. Screens are not romantic.

“And while Amazon is the world’s biggest bookstore with the ability to recommend, offer reviews and help me find what I want, when a physical book or printed publication arrives on my doorstep, it’s like a present,” Strydom said. “Downloading the Kindle version of a book or magazine has zero anticipation. The internet is my research library; my bookshelf is the curated result of that research. It’s the stuff I want to keep, the physical mementos of my literary adventures.”

Leave it to Ikea to find a way to communicate the attributes of a printed catalog in a way that is sophisticated yet sassy, humorous and oh-so culturally relevant. Ikea, of course, knows a thing or two about simple, iconic design, too.

“At Ikea, we feel that technology that is life-enhancing should be in the hands of everyone. So the 2015 Ikea catalog is free,” Eghammer says. “You can download one from your mailbox when you open it with a key. If it’s not there, try refresh the next day. Or you can upload yourself to the Ikea store and find one there.” PW!

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Luxury, Inked Why Lifestyle Brands Love Print

I

B y N a t a s h a M e k h a i l , E d i t o r o f Sp a f a x L u x u r y B r a n d s

s print dead? It’s a question I’m asked all the time – in fact, for the 14 years I’ve been in publishing.

These days, however, I no longer have to field so many queries about the slowest death ever. I’m fortunate enough to work in one area where print is thriving: Luxury.

Not only did luxury brands undauntedly launch lifestyle magazines last year (with the trend continuing into 2015), their glossy books are becoming a hub of their companies’ marketing programs.

There’s a natural fit between print and luxury: The quality and craftsmanship that goes into a magazine is much like the

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The Mercedes-Benz Magazine, an exclusive LifestyleMagazine for people with high pretension.

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quality and craftsmanship that goes into a refined product.

To answer your question, then, print is not dead. Rather, it has also become a luxury good.

Print couture

If you’re a company which, for example, devotes 18 hours of labour to the construction of a single handbag, you are saying something about your brand: You’re unhurried, you value quality above all, you provide a product that most others are unwilling or unable to produce.

When developing a branding tool, you will look for a medium that reflects those values. That’s where print comes in. Our answer to the niche art of old-school hand stitching is an adherence to the niche art of old-school journalism.

In my division, Spafax Luxury Brands, we create custom-published travel and lifestyle magazines for clients such as

Targeting the world's wealthiest and most influential people – from Hollywood producers to today’s top CEOs – Bombardier Business Aircraft's Experience is a lifestyle magazine that speaks directly to this elite international clientele. The large-format publication offers its exclusive readership the best in travel, luxury and aircraft innovation.

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Mercedes-Benz, Bombardier Business Aircraft and Fairmont Hotels & Resorts.

Even after our stories are assigned and edited, we still invest in fact checkers to verify our sources.

That means, if we say “a blue mist rose over the mountains in the morning,” our fact checker gets on the phone to a local meteorologist to determine whether the refraction of light in combination with that specific time of day would cause A) mist and B) a blue-ish hue.

We still employ a copy editor to go over each piece of text with a fine-toothed comb, to systematically (some might say anally) root out obscure grammatical inaccuracies and ensure consistency with our extensive editorial style guide.

We still invest in proofreaders to lend fresh eyes to the pages before they go to press. Our art director spends the night at the printer once an issue to watch the pages coming off the machine and correct for any color discrepancies.

These once-standard practices have become increasingly rare. Many publications have simply stopped putting content

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through its paces as a means of cutting costs.

Minimal quality control is the new norm in print as it struggles to keep up with the fast pace and low cost of digital. As Poynter.org revealed in a 2012 article on how Newsweek’s decision to phase out fact checkers has resulted in embarrassing errors: “Today, it’s viewed as a luxury.”

Aside from our processes being luxurious, so too are our materials. We go to great pains (not to mention great expense) to select high-quality paper stock that feels rich and creamy on the fingertips.

We seek out beautiful, textural cover treatments (varnishes, embossing, foils) that convey worth and substance.

We work in oversized formats that signal to readers “these magazines are keepers,” meant to linger on a coffee table rather than being tossed in the recycling bin when the next issue arrives.

So why do we still take the extra steps that many magazine publishers have long since abandoned? Why does Valentino still take the extra steps to make couture gowns?

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Building a brand lifestyle

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Fairmont Magazine celebrates the memorable and timeless spirit of the Fairmont brand and its place in the world, astutely showcasing the sophisticated elegance and sense of place that defines Fairmont Hotels & Resorts. this publication resonates with its affluent, loyal and well-traveled guests.

Douglas Elliman, a luxury real estate brand, recently revamped its publication to include travel and lifestyle content in addition to the usual property listings.

In an October 2014 interview with Luxury Daily, Nicole Oge, the brand’s global chief marketing officer, had this to say about the value of print publications: Today, it is no longer enough to supply clients with market data and simple property listing information alone. By illustrating our markets from a lifestyle perspective, Elliman magazine [speaks] to buyers, sellers and renters in more meaningful ways.

Oge also describes a point that is key – a discriminating level of savvy that is unique to the luxury consumer: Smart and sophisticated individuals want a fuller, more comprehensive sense of what a brokerage has to offer. Through Elliman magazine and the stories within its pages, we hope to achieve just that. c o n t i n u e d o n pag e

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When the Elliman brand does make an appearance on the pages, it’s to reveal an otherwise untold part of the company story.

My recent favourite example of this approach has been The Karl Daily, a newspaper produced by fashion design icon Karl Lagerfeld.

Think of it as Vogue meets The Onion. From the first issue in September 2014 with its debut headline, “Haute off the press,” The Karl Daily has entertained its readers with clever content (even Lagerfeld’s cat, Choupette, has a column). Over the top and self-indulgent, yes, but then that is the aura of Karl.

The publication is a fantastic way for fans to engage with one of fashion’s most iconic figures, outside of the retail environment. But, of course, the idea is to eventually convince people to buy and that’s where building brand engagement through storytelling comes in.

Luxury mall Bal Harbour Shops in Miami (A.K.A. America’s most expensive retail square footage) does this with the print-digital one-two punch of a weekly e-newsletter and monthly magazine.

These aren’t glorified brochures, but thoughtful pieces of content that stand up to any consumer publication.

Think designer interviews, social pages, fashion-world news and beautifully displayed pieces (jewelry, clutches, shoes) that single out the spectacular.

That they all have a link to the mall is a mere footnote, but one that’s compelling enough to build ongoing engagement and encourage repeat shopping trips.

Net-a-Porter's Porter magazine is a great example of the digitalto-print trend in luxury shopping.

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Reach out and touch someone

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from the top: elliman magazine speaks to luxury real estate buyers, sellers and renters in meaningful ways that illustrate markets from a lifestyle perspective.

The Karl Daily is a newspaper produced by fashion design icon Karl Lagerfield.

Pineapple, air bnb's travel mag, is another example of the digital-to-print model.

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The luxury brands turning to print are also coming from an unlikely place: The web.

Print’s tangibility is being sought by strictly online businesses as a way of lending a physical component – a body – to their brand. A great example of the digital-to-print trend is luxury shopping site Net-a-Porter’s Porter magazine, launched last spring.

The beautiful fashion and lifestyle glossy is headed up by Editor-In-Chief Lucy Yeomans, formerly of Harper’s Bazaar U.K., who according to Women’s Wear Daily, promised: The power, expertise and reach of Net-a-Porter will also offer [a woman] the experience and service that she has come to expect, turning inspiration from the page into accessibility within seconds.

And, indeed, one can pick up the magazine from a newsstand or by a subscription and shop directly from its fashion spreads with a page-scanning app.

The digital-to-print model is one being picked up across the board. One has only to look at Airbnb’s November 2014 launch of travel mag Pineapple and Etsy’s printed holiday “magalogue” to see how brands are using print to help turn the incorporeal into something you can touch. PW! This article originally appeared in Sparksheet.

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print Works!

Women’s Fashion Magazines Readers find relaxation, inspiration Women’s fashion magazines target female readers by providing news and information about a range of subjects, including clothes and accessories, art, beauty, entertainment, health, sex, business, dating, food, lifestyles and more.

T

by Leah Wheeler

oday’s top women’s fashion and lifestyle magazines offer readers a robust cultural experience that simply cannot be replicated by tapping on a digital screen. Reading a fashion magazine is a full-on sensory encounter that goes beyond a mere visual perusal.

The very act of handling a thick, glossy fashion magazine is a tactile experience that engages the reader through a palette of images, colors, settings, models, products and brands, as well as through the stories, interviews and famous people featured on the pages.

As one fashion magazine enthusiast explained: “Curling up with a cup of coffee on a sofa and having a magazine in my hands is just a quiet moment which I treasure.”

Readers described the enjoyment and benefits they derived from reading printed magazines in several online forums and focus groups: Relaxation and enjoyment

“Sometimes I just want to take a break from thinking about important things and let my brain relax for a while.”

“It’s a women’s hobby, just like sports or cars are guy things.”

“We all have our own versions of guilty pleasures.”

Knowledge about fashion and beauty trends t h e N a t i o n a l P a p e r T r a d e a s s o c i a t i o n

“As women, we are social creatures, always interested in what other people are doing, wearing, saying, et cetera.”

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“Good taste comes from learning about good ideas around you.”

“It’s important for me to stay in the know about fashion and cultural trends.”

“If I have a job interview or a night out, I want to make a good impression with my appearance as well as my personality.”

“I read fashion and women’s lifestyle magazines because I love clothes and fashion. And while there’s no way I could wear the size 2 clothes being exhibited, the shoes, bags, hair, jewelry, and makeup are very interesting to me.”

©istockphoto.com/dr grounds

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Beautiful, artistic ads

“The top brands have amazing ads. They’re works of art in themselves.”

“The advertisements are gorgeous; sometimes I pick up a magazine just to look at the ads and to see what’s cool.”

“A lot of the ads are edgy and provocative – even shocking sometimes. They really make you think.”

Printed magazines are alive and doing well

The Association of Magazine Media is the primary advocate and voice for the magazine media industry, driving thought leadership and strategies to promote the industry’s vitality, increase revenues and grow market share. The Magazine Publishers of America (MPA) represents 265 domestic, associate and international members, and, according to a recent MPA report, 85 percent of Americans 18 years or older read at least one magazine. Women tend to read magazines more frequently than men, according to the MPA, and women enjoy print magazines that focus on fashion, beauty, health and fitness, celebrity gossip, family and home care.

The MPA Magazine Media 360° Brand Audience Report captures consumer demand across multiple platforms and formats, including print and digital editions (a digital edition is a replica of the printed magazine edition posted online), web (desktop/laptop), mobile web, video, and social media. The report utilizes reputable third-party data and gives a comprehensive and accurate analysis of the scope and impact of magazine media. The

10. Redbook offers cutting-edge fashion tips, expert beauty advice and an in-depth celebrity profile with each issue.

The Top Ten women’s fashion and lifestyle magazines

Each of the top women’s fashion, beauty and lifestyle magazines targets a specific audience, and this demographic focus informs everything from the magazine’s content to the photography to the celebrities profiled and the brands advertised.

One thing all of these top fashion magazines have in common is creative and often beguiling photography.

The artwork, photography and layout in a printed publication is crucial because readers tend to linger over graphics in print publications longer than they typically stay on a digital page. A print magazine reader will often study a photo or design layout carefully, touching it, returning to look at it again and again, even taking it along with them when they shop for similar items or want to recreate a certain look. The imagery in fashion ads is sophisticated and artistic, a key part of the appeal of women’s fashion and lifestyle magazines.

Magazines that are successful today hold a place in the virtual world as well as the physical world. The top fashion magazine publishers provide readers with a rich omni-channel experience, which incorporates print, digital, mobile apps, social media, video and event experiences, such as Fashion Week, into a seamless overall encounter. The various channels complement and reinforce each other in creative ways that make each element an integral part of the total experience.

Omni-channel is how people are shopping, obtaining news, staying connected, getting tips and information, making decisions and living their lives these days, and publishers are continually learning more about the key role that printed materials play in the overall omni-channel experience.

For today’s women, fashion and lifestyle print magazines are a tried and true yet still relevant source of information and inspiration for living a stylish life. PW!

The world’s top 10 fashion magazines:

1. Elle features news and discussions of beauty and issues that affect women. Politics, news, relationships, and other major topics are discussed from a woman’s perspective.

2. Harper’s BAZAAR focuses on high-profile designers, high-brow fashion news, new trending styles and fashions.

3. Glamour often features cheeky columns along with fashion advice and stylistic photos.

4. Vogue seeks to explore the world of fashion in depth, including people, places, and events that every fashionista and designer wants to know about.

5. Marie Claire covers everything from news and careers to fashion and social issues geared towards women.

6. People Style Watch, a spinoff of People Magazine, focuses specifically on beauty and style tips that often come from stylish celebrities in American pop culture 7. Allure is a source for beauty information ranging from expert hair advice to celebrity beauty tips. Allure also contains product reviews and tips for beauty regimens.

8. Vogue UK , the British version of the US fashion magazine, covers in-depth fashion, people and events from a British perspective.

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“It’s fascinating to peer into the lives of the celebs who are featured and see what’s behind the pretty faces, learn what matters to influential people.”

“How many of us have the opportunity or resources to attend Fashion Week in Paris, Milan, New York or London? Fashion magazines take us there and let us share the excitement of these great events.”

9. InStyle offers a deep perspective of fashion and design, emphasizing the private lifestyles of famous people.

Topics discussed include home entertaining, and various aspects of style and fashion.

report found that of a total audience 96.5 million, 69 percent use the print and digital channel. This figure represents category growth of 10.9 percent from 2013 and speaks volumes about the magazine industry’s potential.

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The doings of celebrities, thought leaders and famous people

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print Works!

Power of Print: 88% say it’s better than screens for understanding, retaining and using information.

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by Phil Riebel , president of Two Sides North America

n the past three years, Two Sides has featured several articles, studies, blogs and news items highlighting the social benefits of print and paper when it comes to learning, literacy, comprehension and retention of information. We captured many of the key messages in our fact sheet, “Print and Paper Play a Key Role in Learning and Literacy.”

But we still had questions about how people interact with print, especially given our increasing digital focus and the growing hours we spend every day reading from screens (including computers, tablets and smartphones): Do people now prefer reading on screens?

At what point and for what applications is paper preferred?

What do people prefer when it comes to learning, especially complicated materials?

What does the younger generation prefer?

To get the answers, we teamed up with our UK colleagues and global polling firm Toluna in early 2015 and launched a new consumer survey in the UK and the U.S. The survey covered age groups ranging from 18 to over 65 years old.

FIGURE 1: I understand and can retain or use information better when I read

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(Please indicate how much you agree with the following statements):

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FIGURE 2: When I have something complicated to read, I prefer to read:

SURVEY HIGHLIGHTS

One of the key findings of our U.S. survey was that 88 percent of respondents believe they understand and can retain or use information better when they read print on paper, with only minor differences between age groups. There is a lower preference for reading on screen with the lowest being 41 percent of respondents selecting mobiles and smartphones as useful for understanding and retaining information.

The same trend was found for reading complicated documents, with 80 percent indicating a clear preference for reading print on paper and reading on screens showing a much lower preference than print at below 16 percent across all age groups. Mobiles and smart phones were preferred by only 3 percent for reading complicated materials.

(eye strain, headaches, insomnia). Overall, the survey reported that 81 percent of respondents preferred to read print on paper when given the choice. These percentages drop to 39 percent for screens, laptops and PCs, 30 percent for e-readers and 22 percent for mobiles or smartphones. The preference for print on paper is seen across all age groups and is strong at over 77 percent.

See Figure 2

See Figure 3

See Figure 1

There are clear concerns that switching from printed books to digital methods is affecting education:

The survey also revealed 81 percent found printed media more relaxing to read, while 62 percent of mobile/smartphone users (rising to 73 percent among the 18 – 24 year olds) were concerned about how these devices were damaging their health

• 68 percent believe that books are more likely to encourage learning and c o n t i n u e d o n pag e

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We expected that print would still be preferred by many, but the results exceeded our expectations. They demonstrated that the majority of people still value paper-based communications for many applications.

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FIGURE 3: When given a choice, I prefer to read:

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FIGURE 4: Schools and other centers of learning are turning to on-screen learning and using printed books less. (Tell us how you react to the following statements):

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the development of other skills than using screens.

• 63 percent worry that children are not going to learn as much without books.

• 59 percent believe that learning from books is the best way to learn.

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• 58 percent would insist that their children learn from books.

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• 42 percent believe that learning from screens, PCs, tablets, etc., is just as effective as books.

See Figure 4

The results of this survey will be useful for those who choose the way in which information is distributed, particularly for advertisers, marketers and educators who need to understand how information is being delivered, received, processed and retained. While on-screen reading occupies an increasing amount of consumer time, people’s preferences are still for www.gonpta.com

reading print on paper, which they believe to be more informative, less distracting and less harmful to their health.

Results also show that many people are concerned about the effects on learning and literacy due to the switch from printed books to digital media in our school system. The Two Sides survey shows that 68 percent of respondents believe that books are more likely to encourage learning and the development of other skills than using screens and that 63 percent of respondents worry that children are not going to learn as much without books.

While acceptance of digital media is generally stronger among younger age groups, there is also a strong preference for print on paper existing across all ages. PW! There are many more interesting findings in the full U.S. survey report, which can be downloaded at www.twosidesna.org/ Reports-and-Studies.

About Two Sides

Two Sides is a global initiative by companies from the graphic communications industry, including forestry, pulp, paper, inks and chemicals, pre-press, press, finishing, publishing, printing, envelopes and postal operators.

Our common goal is to promote the sustainability and attractiveness of the graphic communications industry and dispel common environmental misconceptions by providing users with verifiable information on why print and paper is an attractive, practical and sustainable communications medium.

For more information about Two Sides North America, please contact us at 1-855-896-7433 or info@twosidesna.org.

Visit the Two Sides website at www.twosidesna.org and follow Two Sides on Facebook, LinkedIn, Twitter and YouTube.

Phil Riebel: pnr@twosidesna.org.

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print Works!

Quality Advances in

High-speed Inkjet

By J i m H a m i lt o n

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veryone with a home photo printer has seen that high-quality color printing is possible using inkjet.

It’s slow, and the ink is expensive, but the ability to inkjet print beautiful images is nothing new.

What is new today is the ability to translate this into highspeed use in production facilities. I’ve already written (“The Impact of Inkjet on Production Print”, Spring 2015) about the growth production-speed inkjet has had in three key application areas: transactional documents (like bills and statements), direct mail, and books.

One common denominator for these applications is the use of uncoated (or lightly coated) papers and relatively low-color coverage levels. If production inkjet could be fully capable of printing at high-coverage and high-speed on commodity coated stocks, then the benefits of inkjet print would expand into other applications. This would bring digital print benefits such as customization, personalization, and just-in-time manufacturing into high-volume segments that to date are primarily printed using traditional methods such as offset printing.

So it’s important to know that new systems and techniques that have been introduced recently are beginning to address high quality and cost-competitive inkjet printing at very high speeds on coated stocks. These systems, from companies like Canon, HP, Kodak, Ricoh, and Screen, will begin to tip the balance in favor of some print applications that have not been economically feasible so far.

Any method of manufacturing documents is judged by the

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competing factors of quality, productivity, and cost. Let’s look at this from an inkjet perspective: Quality | Print resolution and droplet size are important quality factors for inkjet. Fairly high-speed color inkjet printing systems existed as far back as 2000, but they were relatively low in resolution and the output was not acceptable for many applications.

Today, high-speed inkjet print resolution has soared well beyond 600 dots per inch, and now many devices are capable of 1,200to 2,400-dot-per-inch print resolution at very high speed. Perhaps more important is that the smallest drop size has also been reduced dramatically. If you run your home inkjet printer in draft mode, you can easily see the coarse graininess of the resulting dots. Next-generation high-speed inkjet heads now produce droplets as small as two or three picoliters. (A picoliter is a trillionth of a liter, and a droplet of this size produces an extremely small mark on the paper.)

Productivity | Digital print products have sometimes been belittled because of their slow speed. Inkjet is challenging that misconception. Inkjet printhead resolution and speed have been on a steady rise. Today, high-speed inkjet heads can be mounted on offset presses and run at speeds in the hundreds of feet per minute. Hitting this speed level was very important in getting production sites to acknowledge inkjet’s capability. Full inkjet systems today can run as fast as 500 or 1,000 feet per minute. At these productivity levels, they can produce millions of color pages per month. In fact, the productivity levels are so overwhelming that

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adver isers

page

Appvion www.appvion.com 19

Full inkjet systems today can run as fast as 500 or 1,000 feet per minute. At these productivity levels, they can produce millions of color pages per month. In fact, the productivity levels are so overwhelming that some system manufacturers are creating smaller, less productive systems to allow smaller shops to get in the mix.

Boise Paper www.BoisePaper.com 2/39 Domtar www.domtar.com 47 Georgia Pacific www.georgiapacificpaper.com 21/31 Glatfelter www.glatfelter.com 33/51 International Paper www.internationalpaper.com 9 Mohawk www.mohawkconnects.com 15

some system manufacturers are creating smaller, less productive systems to allow smaller shops to get in the mix.

Neenah Paper www.neenahpaper.com 7/27/52

Cost | Cost is perhaps the most demanding aspect facing inkjet

printing because much of the technology cost is embedded in the inks. They are not cheap, and the cost of a page increases as more ink is laid down: the more ink, the higher the cost. Yet systems have developed methods to minimize ink use while maintaining quality. Other factors must also be taken into account. To print on coated papers, most inkjet systems required pre-treated papers designed for inkjet. These tend to be expensive. Inkjet systems that can print on commodity stocks have an advantage.

New ink formulations and in-line coating methods are being used to make it possible to print on commodity coated papers. These are the systems that hold the greatest opportunity for publication and catalog printing.

The next frontier for high-speed color inkjet will be high-coverage work on lightweight glossy stocks for applications like books, magazines and catalogs. These will benefit from inkjet’s productivity, its ability to manufacture significant quantities cost effectively (and in a just-in-time fashion), and its mass customization capabilities.

In general, commercial print environments, promotional applications like brochures and inserts will also gain ground. These are all fertile areas for next generation print that is segmented, customized or fully personalized. PW!

Port Hawkesbury Paper www.porthawkesburypaper.com 35 Sappi www.sappi.com/na 13 Schumann Printers Inc. www.spiweb.com 41 Verso corporation www.versoco.com 25 West Linn Paper

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Jim Hamilton is group director of InfoTrends.

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Prin endures a m e s s a g e f r o m t h e e d i t o r i a l d i r e c t o r f o r b e d f o r d fa l l s c o m m u n i c at i o n s

Print continues to find its niche

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“Some people and publications, however, seem to be ahead of the game when it comes to figuring out where they fit in a world that is growing more digital by the minute. Thumb through this issue of Print Works!, and you’ll see what I mean.”

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aving come from the newspaper world, I’m used to deflecting and responding to claims that print is dying.

To be honest, it wasn’t always easy, given that newspaper print circulation has steadily declined since shortly after the turn of the century and ad revenue has fallen with it. Through it all, though, I staunchly defended the value of print newspapers, and I had many readers in my camp when I left the business earlier this year.

There is something about print, I would say, and the devotees would nod their heads and add their voices to the chorus. They like the feel of holding a newspaper in their hands. Settling down with the paper is a personal experience that offers a quiet and satisfying respite. The layout of a paper attracts them to topics and stories they wouldn’t have learned about otherwise – I call that the serendipity effect.

Unfortunately, most of the big fans of newspapers are older folks. Surveys show it, and my conversations and anecdotal evidence confirm it. Every day, I’d scan the obituaries and see the ranks of our most loyal readers thinning.

That doesn’t bode terribly well for the future of newspapers. Like all print publications, they have been forced to re-examine their missions and find their niches. The days of being all things to all people are gone.

Newspapers are refining their content and doing all they can to secure a stable, albeit less pervasive, future.

Some people and publications, however, seem to be ahead of the game when it comes to figuring out where they fit in a world that is growing more digital by the minute. Thumb through this issue of Print Works! , and you’ll see what I mean.

Yes, the right kind of print has a strong present and a promising future, and it’s impossible not to share in the enthusiasm and optimism of people such as LouAnn Haaf, editor in chief of the award-winning Cambria Style magazine.

Cambria, one of the world’s top producers of quartz countertops, is no slouch when it comes to promoting itself online and through social media, but it believes print is its most effective vehicle.

“Quite honestly, the print piece is where we see our biggest return right now,” Haaf says in the article about Cambria Style that starts on page 10. “Given that Cambria is a luxury product, it kind of goes hand in hand. To be able to really share the Cambria experience and show them in this piece that this is it, this is the experience.”

The most critical element to print success, Haaf stresses, is quality. Cambria Style is a beautiful publication that features fabulous lifestyle content with understated product placements. Cambria obviously believes the substantial investment in the biannual magazine is worth every penny.

In an article originally published by Sparksheet, Luxury Brands Editor Natasha Mekhail echoes Haaf’s statements that luxury and print are made for each other. Mekhail is responsible for creating custom-published travel and lifestyle magazines for clients such as Mercedes-Benz, Bombardier Business Aircraft and Fairmont Hotels & Resorts.

“Not only did luxury brands undauntedly launch lifestyle magazines last year, their glossy books are becoming a hub of their companies’ marketing programs,” Mekhail says in the article, which begins on page 36.

“There’s a natural fit between print and luxury: The quality and craftsmanship that goes into a magazine is much like the quality and craftsmanship that goes into a refined product.”

IKEA, another top company in the home-furnishing business, offers an especially creative approach to show its commitment to print with its “bookbook” campaign, which takes a good-natured poke at Apple’s over-the-top ads promoting its digital products. Read about it in Leah Wheeler’s article starting on page 32.

And if you need further proof, take a gander at the photo package on pages 4, 5 and 6, showing the wide variety of people who still enjoy print. The pictures are by Pulitzer Prize-winning photographer Gary Porter, who retired recently after more than 30 years with the Milwaukee Journal Sentinel.

No, print isn’t all that it once was, but it’s still finding a place in the hands and hearts of many, many people.

Scott W. Angus www.gonpta.com

• editorial director for Bedford Falls Communications •

scottangus47@gmail.com

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