One of the things I most enjoy is working with non-profit clients — it’s especially satisfying to do design that makes a difference. We specialize in this type of work and our clients include a range of organizations, from those who work with troubled youth, to those who provide food and services for the disadvantaged, to those that work with the disabled, and more. Each organization has different design needs, but there are some things that are almost always true when working with non-profits:

• They are underfunded

• They rely on part-time employees and volunteer workers

• The money that supports the organization comes from a combination of federal and state funding, grants and donations

• The programs and services each organization offers change (sometimes rapidly and repeatedly) as the funding grows, shrinks or disappears entirely

Over the years, we have developed some strategies that work within these constraints and keep an eye on the bottom-line. The most important of these is: design modularly.

We are currently working on a complete identity redesign for a local organization. Their previous collateral was created by a talented designer who made a beautiful and expensive, 16-page brochure for the organization. The individual programs and services all received full write-ups, with stats and contact information for each. The problem was that in the short time between the final design sign-off and the delivery of the printed pieces, some of the information had become dated. A program was cancelled, another renamed, and the address and phone number of one of the offices had changed. The brochures were useless, an expensive lesson was learned, and that designer was let go.

Our solution was to create a folder that is printed with the name, logo, and a brief organizational history. The folder is the most expensive piece to print, and this information won’t change. The folder has a standard horizontal pocket on the left side for letterhead with a slot in the folder pocket for a promotional CD. The right side of the folder has a vertical pocket to hold other 8½ x 11” material with a slot for a tri-fold brochure and a slot for a business card.

Each program has a separate brochure, which is printed digitally in short-runs. Because each digital brochure print run is relatively inexpensive, they only order 500-1,000 at a time and thus are able to avoid having thousands of obsolete printed pieces on hand, if (and when) the program changes. All of the different programs use the identity system and they customize it by including only the information they need.

The client is thrilled saying, “I appreciate your ability to bring some kind of sense to a really diverse group of various needs, perspectives etc.  I think the way you are envisioning the website, brochures and video all working in tandem in a very easy, user- friendly format is really brilliant!” The design of each piece relates to the others, so when viewed in its entirety, there is a cohesive identity, but each piece can also stand alone, so that it’s a totally flexible and customizable package. 

Summer vs. Winter:

Why do we have wavy paper in the summer?

Why do we have static in the winter?

Why do we fight curl year-round?

The answer: EQUILIBRIUM—the balance of moisture

First, let me provide you with some facts and definitions:

Moisture Content of Paper:

Typical fine paper is produced to an absolute moisture content between 4.0 and 6.0%, meaning 4 to 6% of the paper’s total weight is made up of water. So, the sheet is designed to be stable in a 45-55% relative humidity (RH) at 72°F environment.

Different Moisture Contents of Different Papers:

• Laser grades (4.5%) – Less moisture, less reaction to fuser heat
• Preprint grades (5.0%) – Less moisture, usually errors to laser grades
• Offset grades (5.5%) – Higher moisture, less reaction to fountain solution

The key: make sure you purchase the right paper for the right use.

Moisture Content of a Print Shop:

The moisture content of a print shop is measured as relative humidity, not to be confused with absolute humidity, which is the actual amount of water content in the air.

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• Absolute humidity (AH) is the amount of water in a volume of air, typically given in grams of water vapor per cubic meter of air. It is also the closest term related to the moisture content in paper.

• Relative humidity (RH) is the ratio of the amount of water in the air (AH) at a given temperature, expressed as a percent. Air at a given temperature can support only a certain amount of water and no more. This is referred as the saturation humidity point or dew point.

Ideal Pressroom Conditions:

Wausau Paper recommends the RH be between 40 and 55% at 72°F (50% is ideal). The further away from these standardized conditions, the more “paper problems” will be created.

So, to be clear, to achieve equilibrium, paper is recommended to be used in a 72°F room at 45% RH. For example, if the room temperature is 65°F then the RH should be adjusted to 60% to obtain the same amount of moisture in the air. If the room temperature is 80°F, the humidity should be adjusted to 40% RH. All of these adjustments will keep the same amount of water in the air and be compatible with the amount of water in the sheet.  Also, if a typical pallet of paper were to equilibrate to an atmosphere of 10% RH (72°F), the moisture loss would be about 80% or 9.6 gallons of water.

Other Factors:

• Acclimation is a process where the temperature of paper completely matches the temperature of the room so that the transfer of moisture is limited. DO NOT open the wrappings of paper until the paper is the same temperature as the room. For a full pallet, 10 hours for every 10 degrees is a good rule of thumb—otherwise, for a carton, about 24 hours should be adequate. Opening the carton and taking the individual reams out to warm up is okay.

• Curl is caused by several factors; however, in this blog, I’m going to discuss wavy edges and tight edges, as they relate to relative humidity levels. As paper fibers lose moisture, they shrink in diameter—when they pick up moisture, they swell. The problem with open reams in higher humidity areas lies in the fact that only the edges that are exposed to the moist air will swell (or shrink in lower humidity areas) or only about the outer .5” will be affected, while the inner part of the paper stays the same size. As the outer edges swell (or shrink), the paper starts to distort in shape, creating wavy or tight edges—most consumers just call it curl.When excessively wavy paper is fed through a copier, jamming can occur—not because the paper was made wrong, but, instead, because it was in an unsuitable environment for paper.

• Static Electricity is an electrical charge that builds up on moving paper (plastic, hair, etc.). Typically, in moderate humidity conditions, the charge is easily released (discharged) and does not have an opportunity to build up enough to cause issues; however, in low humidity conditions, the dry air acts as an insulator and the charges build-up causing the paper to stick together. This is when operators will try to use tinsel or anti-static sprays as an outlet for the built-up charge.  These methods typically meet with limited success.  The air must have enough moisture in it to conduct electricity or the static will not dissipate, causing the sheets to stick together.

6 Simple Tips for Maintaining Proper Moisture Equilibrium:

1. Storage of product - Keeping the paper in the same room that it was manufactured in is the best way to prevent moisture swings because the paper will become better acclimated to the room’s temperature. Keep the paper wrapped and away from outside walls—I have seen pallets frosted tightly to an outside wall. Long-term storage of paper in a non-controlled environment is acceptable, provided adequate time is available for proper temperature acclimation prior to opening.

2. Acclimate the paper prior to opening - Before you remove the wrap, make sure that the paper is the same temperature as the surrounding air. If you bring in a cold skid (say <48°) into a 72°F room at 50% RH , moisture from the air will start to condense and, just like a cold glass of ice tea in the summertime, water may form on the wrap. If the same paper is unwrapped, the moisture will collect and make the sheets stick together.  Trust me, I know this stuff, I have been in the back of a truck with paper coming from northern Canada when it was raining in the springtime.

3. Keep your pressroom between 45 and 55% RH - I once worked at a place where the pressroom temperatures were around 70°F in the winter—the RH was about 45% and this worked well, with the exception of the times when we would run plastics, in which case we needed to raise the RH to 50%+.  This was done to prevent static issues!

4. Keep temperatures constant - Turning up or down the temperature in a room at night or over the weekend is a bad idea. It is often done to save money, but when paper issues arise, the related downtime adds up fast and the savings are lost. Watch the outside doors for moisture loss/gain, especially from loading docks; consider installing a second barrier door between the docks and production areas.

5. Acclimate the paper after the press - Heat-set webs, IR dryers, and laser printers all play a part in moisture-loss. If a sheet has been excessively dried out, it will become brittle.  As a result, the fibers will be crisp and tend to crack and split thereby separating. This moisture will comeback eventually, even if you do not want it to, causing the paper will grow. So, let the paper acclimate for a couple of days (at least hours) prior to binding, folding, shrink wrapping, etc. If the paper must be stored between processes in less than ideal conditions, cover it with plastic bags to help control the moisture pick-up/loss.

Storage of printed product - Shrink wrap is the best way to lock in the optimized moisture from your print shop.  But, remember: if the paper is dry or damp when it is wrapped, it will stay that way. Please help educate your customers on the importance of acclimation.

We’d love to both see and hear what’s happening in your studio. We welcome all digitally-printed projects, regardless of the paper they were produced on. You have the option of uploading photos, video or both.  Check out the recent video submitted by Larsen Design of Minneapolis. 

You could win your own HD digital camcorder just by showing us what’s happening in your studio.  The digital camcorder features simple user interface, flip-out USB arm, built-in editing and sharing software, and clear HD-quality video. Three prize winners will be selected by random drawing  from all entries submitted by midnight on April 30.  It’s quick and simple – submit your work here.

Everyone has talent – don’t keep yours hidden.  What are you waiting for?

It sounds like a game, but it’s serious business. Just changing a single number shows just how much even small, incremental changes can make.

For example, using Wausau Paper’s online environmental calculator (http://www.wausaupaper.com/environment/calculator.aspxb), I created a test project using 500 sheets of 24-lb. 8.5 x 11 text. According to the calculations, if I purchase paper with 10% postconsumer waste, I don’t save any trees at this volume, but I do save:

• 1.4 gallons of water flow (conserved)
• 0.1 lbs. of landfill waste (diverted)
• 0.3 lbs. of greenhouse gas emissions (eliminated)
• 944.8 BTUs of energy (conserved)

If I bump up my post-consumer waste content to 25%, the numbers go up considerably:

• 36.4 gallons of water flow (conserved)
• 2.2 lbs. landfill waste (diverted)
• 7.6 lbs. of greenhouse gas emissions (eliminated)
• 24,593.7 BTUs of energy (conserved)

On higher volume projects, the savings are more dramatic. Sticking with 24-lb. 8.5 x 11 text with 25% PCW content, at the higher volume of 10,000 sheets, look at the savings:

• 0.1 trees saved (not harvested)
• 70.0 gallons of water flow (conserved)
• 4.3 lbs. landfill waste (diverted)
• 14.5 lbs. of greenhouse gas emissions (eliminated)
• 47,242.1 BTUs of energy (conserved)

Imagine all the different ways you could play with the numbers. What if you print two up on 11 x 17” instead of 8.5 x 11”? What if you increase your PCW to 100%? What if . . .

It’s fun to play with the numbers, but there is a serious message here. There are important environmental consequences to even the most seemingly insignificant choices. Calculators like this really help us see — in hard, numeric terms — the implications.

I find that I enjoy reading a blog more when I have sense of the writer. So, here I am, in a nutshell:

1. I have been a graphic designer since 1993. My first job was at Random House in New York City.
2. City living is not for me. For the past 11 years, I have lived in a small town in Western Massachusetts.
3. The typeface Sand gives me heartburn.
4. Hans Teensma is my design mentor. I owe him a great deal and when I straighten out his computer problems I feel like at least I can give something back.
5. My website portfolio has not been updated in 2 years. Cobbler, kids, shoeless, etc.
6. I took Milton Glaser’s “Design and Personality” class when I lived in New York City. At that time, I did not know who he was. This remains one of the largest embarrassments of my professional life, one I hope never to top.
7. I’m familiar with ligatures, widows, orphans, old-style numbers and kerning—I would never hire a designer who isn’t.
8. I am a graduate of Colby College who studied English with a concentration in creative writing, although the only writing I’ve done in the past few years has been blog related.
9. Companies I have worked for include Simon & Schuster, Newsweek, Disney, LEGO, and Ferrari of North America. I remind myself of this as I make the eighth round of text corrections on a ¼ page newspaper ad.
10. I design everything from websites to books to logos.
11. My greatest strength as a designer is having the ability to get at the essence of a client’s needs while being able to balance aesthetics with functionality.
12. My greatest design passion is typography.
13. My greatest design weakness is color selection. I’m working on it.
14. I love to teach. Former students say I’m good at it—even after they received their final grade.
15. I have two kids who inspire, exhaust, and delight me.

Thanks for reading —I look forward to posting here. Now get me out of this nutshell.

I came up with three potential categories for the various people engaged on this Web site – the Creative, the Curious and the Connoisseur.  It sounds a little bit like a bad fairy tale or nursery rhyme, but who doesn’t love alliteration?  Humor me, please...

The Creative – This class of digital print stakeholders likes to experiment with digital print.  They could also be dubbed “the courageous” because they’re always fearlessly trying something new.  From novel ways to leverage variable print data to fresh design techniques for making images produced on a digital press pop, we look to these creative designers and printers for inspiration on how to make our next project even better.

The Curious – You might call these people “lurkers” or “dabblers.” They’re not fully engaged in digital print, but they’re certainly anxious to soak up the latest insights.  These are the graphic designers who have only produced a small number of projects on a digital press or the commercial printers who are still debating whether to invest in a digital press.  For those whose curiosity leads to action (think “Jack and the Beanstalk”), it’s paying off in many ways, including increased ROI on customized direct-response campaigns.

The Connoisseur – This term is typically used to describe one with discriminating taste for wine or the fine arts.  You might not think of this adjective first when describing an expert on digital printing, but I think the term is actually quite fitting.  From print trial experts at RIT to equipment manufacturers to print technicians working the press room, we have these many discerning judges of digital print to thank for paving the way for the brilliant technologies, substrates and projects that we all benefit from today. 

I left out the porridge, the gingerbread house and the famous red hood that would make this a true nursery rhyme on digital print, but there you have it: The Creative, the Curious and the Connoisseur. 

In the new age of digital print, printers now too can have it their way as well or the way their customers desire it. Think back not too long ago when mail arrived at your home or business addressed to “occupant” or your job title. In this new age of customization, communications arrive personalized, with unique copy and imagery and perhaps even direct you to your own personalized URL for you to go online to view your message. Most definitely this is a far cry from “To Whom This May Concern.”

Advertising and marketing agencies are just scratching the surface of the limitless ways to utilize these new digital printing technologies combined with much more accurate databases to reach their target audiences in the manner they want to be reached and with messages that are relevant, timely and action-oriented.  The days of static images and copy are coming to a close. Just check your inbox or mail box.

As a marketer, my mouth continues to water to take full advantage of the new age of communication much as it did when I ordered my burger…mustard and pickles only please!