It must have been payback for all of my ranting about the end of elegant design (see the last post If Counterfeiters are dinosaurs . . .). I had received a call from a perfectly normal sounding professional type person a couple of days before. He was starting a new operation in Macon and needed “the package” – letterhead, envelopes, business cards, etc. These kinds of calls are usually good news for a printer. If you get the first batch of business, you usually get the reorders and maybe a brochure and some other stuff. All of the layouts were done, he’d have his designer get in touch with the specs.
Shortly thereafter, the specifications appeared by email, including all of the usual stuff with a request for estimates on 2 color and 3 color versions of everything. It could have been the request for 3 color envelopes that caused my printer’s antennae to elevate or maybe it was something in the look or the language of the request. I don’t know, but I put the request down with the intent of calling the designer to get a look at the art before I put together numbers.
Designer is a very broad and general descriptive term, you must understand. It’s definition can encompass the entire scope between Joe and his color crayons and Andy Warhol. Anyone can call themselves a graphic designer, but few earn the title; and even fewer really understand the technical aspects of design. And despite the assertions (and tuitions) of the best art institutes, Poor Richard asserts that great designers are not really trained. They’re born with it. The best ones have an innate sense of artistic balance and color and they soak up the technical stuff like a sponge.
I received the art with a request for samples of work that we had done. The antennae went up a little further. When I opened the .pdf file, the yellow warning lights at the end of the antennae began to flash. It’s not that the art wasn’t good . . . actually the design was elegant and clean. But the color combination was two grays and a red. This was a designer who was busily spending his clients’ money, because he could get away with it.
Offset printing of three spot colors is really one of the least efficient things that occurs in a printshop. The printer has a couple of options. If the registration between the colors is not tight, the printer may choose to run two passes on a 2 color press. The colors that register will run on the first pass, followed by the single color that does not. Alternately, the printer may choose to load up mixed ink on a 4 color press. Digital printing is not an option for letterhead, which is likely to be run again through a laser printer or a toner device. Reheating the toner on the letterhead can make a terrific mess. And envelopes are another problem. Most small presses will run envelopes and register 2 colors. If all three colors register, either the envelopes must be printed on a special press or the sheets are printed before the envelope is manufactured (or “converted” in printereze).
Take as an example, this less than skillfully conceived logo for Impending Disaster Design Group:
If three colors are needed, this is the economical way to do it. This logo will require two passes through a press, but only the light blue and the teal register. The gold can be added in in a second pass. Most printers will even be able to print an envelope with this logo. The lightning bolt is likely to misregister just a little bit, but it won’t be noticeable to the mail recipient, who, after all is only seeing one envelope at a time.
This version of the logo is a little more problematic. Because the light blue, the teal, and the gold all register (touch), it’s going to be nearly impossible to run this logo on a small 2 color press. The best option for this version is to run it on a 4 color press, but that means incurring more expense in setup and cleanup before and after the job. Most printers are reluctant to run 500 sheets of letterhead on a larger press, so the price for small quantities is going to be a little steep.
Another option is to convert the logo to process color. Even though process color adds an ink, this may be a more economical option. The printer is probably running process inks on his larger press (or on a DI press), so special setup and washup may be unnecessary. There is a but here, though. Converting the colors from spot to CMYK means a loss of color integrity. Because process color combines screens from 4 inks to give the impression of color (see Color Separation . . . Whadd’ya Mean?), it will differ from mixed (i.e. spot) inks where the color comes from the ink pigments themselves.
The art I received from the elegant designer was more like this. The logo was admittedly a lot less garish, and actually only 2 colors registered, but the net effect was the same. The designer used two grays – one “warm” and one “cool.” The grays are actually mixed inks, with formulas in every printer’s Pantone book. Without exception, press operators hate these colors. The gray is achieved by mixing several inks (usually a heavy load of white ink with dabs of black and either a red or blue). The measurements must be very exact to achieve the correct color. It’s not easy to mix the colors correctly the first time and if you miss the first time, it’s almost impossible to get them to match when it’s time to run the project again. Succinctly put, the PITA factor for this job is high, and the customer will pay extra for it.
Now, it is not often that Poor Richard is encouraged by his customers to charge more for a job that can be done a better way. The same logo could be produced in 2 colors (gold and black or gold and a mixed gray), using different screens of the black or gray to produce nearly the same effect. True, it would be more difficult to differentiate between the “cool” gray and the “warm” gray, but the cost would be much less and the job more easy to replicate when the reprint comes around.
Admittedly, printers tend to be of a practical bent. Poor Richard is totally unqualified to weigh the aesthetic value of a logo that uses two gray inks against one with only one gray ink. I can see it very clearly in economic terms, though, and say without reservation that approximately exactly 97.644 percent of the recipients of the letterhead and envelopes will never notice a difference. In other words, there is no “bang for the buck.”
I’m playing along for now. We’ve done some pretty elegant printing over the years for some very fine designers. I’ve even sent a few samples by mail. Somehow, though, I’m just not sure that I want to pass muster. Some jobs just have the smell of trouble, and this one is a little fragrant.