Here is an interesting piece from Dr. Joe of WhatTheyThink.com titled, “June 10 Economic Webinar Q&A.” This bit on the average number of employees at a printer and it’s potential relation to graphic designers taking on more of the role of prepress is what I wanted us to zoom in on here:

Q.  Is the average size of successful printing companies increasing or decreasing? Sales volume and or employee count as a measure.

A. Sales are down and our industry has a habit of calibrating itself by adding or shedding businesses as needed. The inflation-adjusted sales per employee is actually remarkably steady, which indicates this. The average size of a commercial printing business has been on a very slow decline for decades. It was around 26 employees in the late 1980s and was just above 19 by 2006. That says more about desktop publishing replacing prepress than it says about anything else.
Source: http://members.whattheythink.com/home/drjoe269.cfm  Read more... (460 words, estimated 1:50 mins reading time)

Wow — it has been over 15 years since I worked as a print production manager for a large advertising agency in California. Computer-To-Plate (CTP) was starting to garner industry buzz, and in my role, I had to best determine how to take digital creative files, produce them internally and ensure that once they were sent off to the printer or a publication, for example, they would work — meaning, they would render on press the way we expected them to and our clients, the advertisers, were pleased with the results.

Seemed like a simple enough challenge at the time, but what I soon discovered was that it was anything but.

It wasn’t as though the process was any more difficult than it was back in the “days of film.” At the agency, we had art directors who were mocking up layouts on boards that were turned over to me for recreation in QuarkXPress. After working with the art directors and others within the agency to make final tweaks to the ads, I then had to provide them with the assurance that what I was creating digitally would reproduce in the manner they expected, having the best print quality  and would result in quality image printing.  Read more... (1248 words, estimated 4:60 mins reading time)

“A revolution is waging in the design and publishing industries. Workflow responsibilities are shifting and graphic artists are wearing many more hats than a decade ago,” says Mary Gay Marchese, public relations director for Markzware, a Santa Ana-based company that provides a wide range of preflighting solutions.

“With the advent of CTP and an increasing demand to re-purpose content electronically to CDs or the web, for example, creative professionals find that they can no longer realistically focus on just design. Increasingly, they are being asked to take on additional technical challenges that once were the domain of the prepress group, like preflighting and preparing final content files for distribution to electronic media or print.

Unfortunately, many graphic artists are unfamiliar with the digital production process, particularly the newly-minted ones and education via the trial-by-fire method takes time. Instead of waiting to be told about problematic files, design shops are realizing the value of doing their own preflighting.

By preflighting files in the design stage, before submission to the printer or even prepress, a lot of problems can be avoided such as improper color space, missing fonts, missing images and too low image resolution.  Read more... (679 words, estimated 2:43 mins reading time)

With the advent of digital workflow, new responsibilities emerge for the newspaper publisher and the ad creator

Ask most newspaper sales executives, and they’ll tell you just how competitive the market place is these days — how tough of a sell it is when other media forms are drawing the interest of advertisers like never before.

Newspapers must be able to compete with these other vehicles, present compelling circulation numbers, and provide excellent customer service to the advertising client. They must be able to accept, position, produce and print the advertiser’s copy and images, with particular attention paid to reproduction quality.

In the cases of ads supplied by larger agencies and experienced design firms, digital content may come in by way of “prepress-ready” file formats, all the elements present and accounted for, all the specifications for print met. But not all ads come in from clients well-equipped to supply these types of files. As a result, plenty of bad files come in the door — files rife with font, resolution or color space problems. And these “bad files” must then be fixed before they can be placed in the imposition, which, of course, takes time and money.  Read more... (1320 words, estimated 5:17 mins reading time)