Les livres sont arrivés en bon état et sont magnifiques. Ils sont bien reçus et les gens me demandent qui est mon imprimeur. Je leur réponds que Friesens est une entreprise exceptionnelle et que c’était un plaisir de travailler avec vous tous.
Merci pour tout!
Lisa et Leslie Jones, Grant Morris Associates Ltd
Nous voulons simplement remercier Friesens de ses efforts en vue d’accommoder Grant Morris et l’équipe de rédaction responsable de la production du livre. L’équipe de rédaction a consacré énormément de temps et d’énergie à ce projet et, en tant que graphistes du projet, nous en sommes les témoins directs. Obtenir ces livres à temps pour le lancement était pour nous de la plus haute importance.
Votre entreprise nous avait déjà été fortement recommandée et comme nous participions aussi au processus de comparaison des imprimantes et des tarifs proposés, dès le premier entretien de Lisa avec vous, elle a pressenti que Friesens était l’entreprise qu’il nous fallait. Merci encore à votre équipe!
Nous voulons simplement remercier Friesens de ses efforts en vue d’accommoder Grant Morris et l’équipe de rédaction responsable de la production du livre. L’équipe de rédaction a consacré énormément de temps et d’énergie à ce projet et, en tant que graphistes du projet, nous en sommes les témoins directs.
Terry et Angelo Corrao, Colfax Press
Merci infiniment à Friesens d’avoir fait de notre album de photos FATHER DAUGHTER une première expérience d’impression inoubliable. Nous avons été impressionnés par tant d’aspects que nous avons dû les énumérer :
l’excellente communication du début à la fin;
le respect de l’échéancier;
une équipe d’impression très talentueuse et compétente;
une usine extrêmement propre et respectueuse de l’environnement;
une grande attention aux clients, notamment en prévoyant tous leurs besoins, tant techniques
un hébergement agréable offrant le confort d’un foyer.
Lila Strand, Luminescence Publishing
The Star Children
Je tiens à exprimer ma gratitude envers votre entreprise et les gens merveilleux qui offrent un service aussi fantastique. Merci de votre service à la clientèle exceptionnel : votre patience, votre courtoisie et votre serviabilité, sans oublier vos merveilleuses compétences techniques! Je vous remercie infiniment de votre volonté de redoubler d’efforts jusqu’à ce que tout soit parfait! En fait, je suis ravie du livre, de son apparence et de sa texture. Je ne pense pas que je pourrais en être plus heureuse. Je vous remercie tous du fond du cœur!
Milenda Lee, Columbia University Press
Man of Peace
Je viens d’avoir des nouvelles des personnes ayant reçu les exemplaires de prépublication. Steve Buccellato dit : « Noël est arrivé plus tôt que prévu, je viens de recevoir un exemplaire de Man of Peace! Je le trouve magnifique. » Une autre personne a dit : « Je pleurais littéralement de joie lorsque j’ai tenu le livre entre mes mains. »
Merci beaucoup, ce fut un plaisir pour nous aussi. Vous avez fait le bonheur de plusieurs personnes aujourd’hui.
Linda Hensellek, Winchester Galleries Ltd.
Nous venons de recevoir nos catalogues, merci beaucoup! Le catalogue est superbe! Encore une fois, nous vous remercions de votre aide et de votre attention. C’est un bonheur de travailler avec vous tous.
Elisa Gutierrez, Tradewind Books Ltd
Nous voulions vous faire savoir que nous sommes très satisfaits de la qualité du livre! Les couleurs, la garde (nous ADORONS le papier utilisé et la brillance des couleurs imprimées!), la finition, etc. Veuillez féliciter et remercier l’équipe de Friesens en notre nom pour ses efforts et son bon travail! Merci. Nous sommes impatients de collaborer de nouveau à d’autres projets.
Dan Johnson, High-Fishtrap-Rush Lake Association
Heaven on the Headwaters
Je voulais simplement vous dire que nous sommes ravis du produit final. Jusqu’à présent, pour ce qui est de la distribution limitée aux membres de l’Association, nous n’avons eu que des commentaires élogieux sur le contenu et la qualité du produit. Mon épouse, Jeffrey et moi-même recommandons Friesens sans hésitation à tout client éventuel. Nous avons tous beaucoup appris et si c’était à refaire, le processus serait beaucoup plus facile de notre côté. Scott était un excellent représentant à la clientèle, et il a été très serviable et réceptif.
Ben Bosah, Ben Boash Books
The Art of Nigerian Women
Je tiens à remercier chaleureusement la famille Friesens pour le travail qu’elle a fait pour mon dernier livre. Je suis très reconnaissant et je remercie les 500 employés de votre entreprise. Je suis amoureux de mon dernier bébé. J’ai le sourire aux lèvres. Merci à Glenda, à Paul, à Brad, à Scott, à Ralph et à tout le personnel chez Friesens. Je vous aime.
You’re a Yearbook Advisor! Now What?
Welcome back to school! Classes have begun and you’re preparing for your next yearbook. That’s awesome!
Here at Friesens we want to help, so here’s a list of some things you can do to make sure that you and your yearbook team have a wonderful year.
Start Taking Photos Right Away
You want to start taking pictures as early in the school year as possible – whether that’s your admin returning in the summer, your students first day of school, or even your graduates painting the pictures of their parking lots; these are all very important events that happen at the very start of your school year, and you don’t necessarily have the time to wait until your first yearbook meeting to start collecting those photos.
Meet With Your Print Consultant
Arrange your first meeting with your print consultant and your customer service representative. Your first meeting with your company team allows you to set up time for software as well as training and allowing you to arrange for the best methods of communication between you and your print facility.
Sign Your Contract
Review or sign your preliminary quote or contract from your print provider. Signing your quote or contract allows your printing company time to reserve paper, book press time, and in general make advance preparation for your yearbook to be printed eight months down the line. This really helps them ensure that you get your yearbook on time and get the materials that you need.
Get your yearbook set up for success! Make sure that you have an idea of what pages can be completed and submitted to your plant, and you’ll make sure that you never have to worry about late pages.
Assign Roles to Staff
Make sure everyone knows what they’re responsible for, whether that’s assigning equipment to your photographers, or allowing your writers to arrange time for interviews, as well as training for all your staff. You will want to make sure that you’ve got everyone assigned as early as possible so that they can hit the ground running.
Review Last Year’s Yearbook
Reviewing last year’s book with your team gives you the chance to see what went well, see what might need improvement, and tell you how you can make changes for this year’s project. Nobody wants to see it look the same as last year, and this is your best chance to go through and see what changes you personally would like to make.
Get A List of Events
Talking to your admin team about the events that they are hoping and expecting to happen throughout the school year can greatly impact your page ladder. We all know that at the beginning of the year events are possibly a little more fluid than they will be in a few weeks, but this is a really good basis for how you’re going to set up your yearbook.
Prepare a Page Ladder
Preparing your page ladder can tell you all sorts of things. From “oh no we missed this event last year” to “we actually need more pages than we thought we did.” So make sure that you’ve got your page ladder well organized and that way you are prepared later down the road – no one likes surprises!
Inspiration for photography and design exist everywhere from fashion to video games, to your local library, to even your old yearbooks! You’re going to find design ideas everywhere – make sure that you’ve got a good collection before you start building your yearbook.
Pick A Theme and Create Your Style Guide
Your theme and style guide are the foundation of your whole yearbook. From photography, to writing to layout and design; everything stems from that original setup, so make sure that you’ve got that well arranged.
Plan The Selling of Your Yearbook
Unless you’re a school that has included the yearbook in fees, you’re going to have to sell your yearbook. Working with your print consultant or customer service representative can give you many options on selling and advertising your book. Make sure that you are sending out as many copies as possible because that’s going to ensure the success of next year’s book.
Greetings from the world of Packaging to the world of books. In both worlds we share the common need to share messages from one product. We often express this as « helping our customers tell their story through the products we manufacture. » We’re here to do that through packaging!
Many of you relate to us as Friesens Packaging – through slipcases. About three years ago Friesens Packaging and think4D joined together. Both were producing packaging products and today they operate under one roof and one brand – think4D.
In addition to packaging products, for many years we’ve produced diploma holders for our school customers. We are in the middle of our last season after having produced these for several decades. This is a move to increase our focus on packaging only products. One of those packaging product lines is rigid boxes. There are three box styles that are ideal for preserving and preventing books – book boxes, clamshell boxes and slipcases. Examples of these can be seen on our website: www.think-4d.com/rigid box/ Please reach out to your Friesesn rep for all your presentation box needs. They can provide you with information and pricing.
We are particularly proud to share some recent examples of products produced for publishers.
You may recall that we opened think4D as a company that manufactured decorated thermoforms for consumer goods products. Over the last year, this too has grown into other print-related packaging products, in particular, labels. Many people think of stickers (pressure sensitive labels) when they think of labels, but the label market is much larger and also includes wrap around labels, shrink sleeves and in-mold labels.
We are now manufacturing both shrink sleeves and in-mold labels. We want to continue expanding into products where decoration and shape are required. Both are unique skills in which our team has developed a lot of strength. Already this team has been given the challenge and opportunity to engage in creating some of the most challenging packages. If you would like to receive a package of these samples, let us know and we would be happy to ship them to you.
To conclude, I want to summarize think4D’s product lineup: various styles of rigid boxes, thermoforms, shrink sleeves, and in-mold labels. We are excited about our products and the solutions they offer brands and publishers.
At Friesens, we are trying to build a better business by increasing our collective understanding and action related to equity, diversity and inclusion.
When we learned of the tragic history of residential schools, and the damage caused to Indigenous communities, we realized that there is a lot we didn’t know and much we need to do.
As a result, we began a journey in 2021 to increase our understanding. It began with basic equity, diversity and inclusion (EDI) training for all leaders and employees. This year we also introduced a Diversity Scholarship which is available to any employees that come from a marginalized group and want to pursue further education. Several employees qualified for scholarships and some of the first recipients are just now graduating from their programs. It’s exciting to see these investments paying off in new career paths being opened for people.
In 2022, our training advanced and we are gaining a more specific understanding of Indigenous culture, history, and perspective. Our guide on this journey was an award-winning Manitoba author (and Friesens customer) named David Robertson. Our entire leadership group spent time with David as he shared perspectives, context, tools and stories. This was invaluable and allows us to take our EDI training and now apply it to a very significant reality to our surrounding community.
There is so much more work to be done, but we are proud to be expanding our understanding and acceptance of others.
We don’t have all the answers, nor have we done all that we can. We embrace the broader definition of success in business to include not only financial KPIs but strong social KPIs as well. Thank you for supporting us in this endeavour!
A topic that has, until recently been relatively stable, has a change coming that is bound to shake everything up again. From my earliest experiences working at Friesens preparing files for print, fonts have always been a topic of interest. When dealing with a particular font that was difficult to output, one of the first checks would be if the font was PostScript or TrueType. Both font technologies could be used for printing but there was a strong preference for PostScript fonts. I can remember even from our early Publisher’s Seminars the emphasis was always to use PostScript fonts and avoid TrueType. I recall the switchover from direct PostScript output to the process where we standardized on a PDF based workflow. With the introduction of PDF, there was a softening toward our relationship with TrueType fonts. Today we are at the point where the font technology used is rarely considered a factor for printing unless a specific print issue arises.
Although PostScript fonts were better for printing, they were a little more cumbersome to use. Since PostScript fonts came in two pieces, it was inevitable that fonts would be provided with half the font missing. PostScript consisted of a screen font file for on-screen preview and a printer font file which was used for final print output. It was quite common to preflight a project for printing only to find that the screen fonts were provided and the printer fonts were absent.
With more modern software, a new font came on the scene promising all the print advantages of PostScript with the convenience of a single font file like TrueType. OpenType was this new font type, which slowly became the new preferred option for fonts. One of the key advantages was that these fonts were cross platform compatible and could be used on Macintosh or Windows. This was unlike PostScript, which required a completely different set of font files for the Macintosh and Windows platforms. Designers may have appreciated that OpenType has larger character sets, robust handling of hinting and ligatures as key features, but the cross platform compatibility and the reliability of printing is what won me over.
Adobe Typekit was another development in the way we use and interact with fonts. There was a learning curve in getting familiar with having this other option from where to access fonts. I recall having projects on hold until it was revealed that the book was using Typekit fonts, and all we needed to do was leverage our Creative Cloud subscription to activate the required fonts. Adobe integrated Typekit so smoothly that using Typekit fonts was just like using local fonts until packaging the files for print. Typekit fonts required the print provider to have a Creative Cloud subscription rather than bundling the fonts in the package.
Adobe continues to have a strong push toward moving assets online and transitioning customers to the subscription model. I recall the change from Adobe Creative Suite 6 to the Creative Cloud version, marking the end to an era where you could own your desktop publishing software. There were many that held onto their version of CS6, refusing to upgrade. For those who always upgraded for every version Adobe released, the new model was similar in cost to the ownership model. For those who waited longer between upgrades, often skipping versions until major features warranted an upgrade, the new model marked a cost increase.
I am wondering if this dropping of support for PostScript fonts will have a similar effect where designers hold off on upgrading to maintain compatibility with PostScript fonts. From reading the adobe information online, it appears that this move away from PostScript fonts is primarily driven by a desire to better support online web technologies. This does not appear to be specifically needed for print, but the benefits of using OpenType will of course be highlighted. I would not have expected TrueType support to outlast support for Postscript, but here we are.
While reading the Adobe information online, I discovered that Adobe had already dropped support for PostScript fonts in Photoshop 23. I have been using version 23 for some time already, and had not noticed any change. To be fair, fonts in Photoshop are not the main focus when using this program. Since discovering this change, I tested it by trying to use a PostScript font that was active in my system with Photoshop. Unless actually looking for a PostScript font, the lack of PostScript font in the list is likely to go unnoticed.
Since Photoshop has already implemented this change, I was curious to see how Illustrator was handling Postscript fonts. Using PostScript fonts within Illustrator still worked, so I expect Illustrator will follow the InDesign lead and drop this support at the end of this year.
I suspect that despite the low impact of this change in Photoshop, the impact will be felt more for InDesign. This will especially be the case for companies that have a history of using PostScript fonts for their projects. For Friesens, the greatest impact will be for reprint projects. Often when a project reprints, there are small changes that are requested. I expect going forward we will need to evaluate change requests to verify that the requested changes can be made even for InDesign projects. This is not a totally new process for us, as we often need to verify that changes can be made when we reprint a project that we only have PDF files for.
I really hope that we do not have projects in mid-production when this deadline occurs. The same would apply for designers that have projects where the design is in active development. It would be good to already start the process of switching fonts away from PostScript so we would avoid any trouble when the deadline arrives. Adobe recommends using Adobe Creative Cloud fonts that are available with your subscription. For those that prefer using fonts that have a perpetual license, Adobe is directing customers to Fontspring to purchase the required fonts in an OpenType format. https://www.fontspring.com
Dropping support for PostScript appears to be strictly an Adobe policy at the moment . Checking out competing products such as QuarkXPress and Affinity Publisher, I found they are still working fine with PostScript fonts without any indication that they are dropping support. Being the first one to drop a technology can make your company look like the progressive one, but it can also have the effect of encouraging an evaluation of alternative products. Will this help to fuel the transition to other products like Affinity Publisher? If the subscription model is providing appropriate value, then this new change in font policy will likely not change your publishing strategy.
Once Adobe has dropped support for PostScript fonts, I expect that operating systems such as macOS and Windows will follow suit. Once this happens, the other programs will naturally fall in line and drop support too.
While working on this article, I loaded one of my past articles, only to be greeted by the Type 1 font warning message. Fortunately this publication recently went through a design change, and in the process the fonts have been upgraded. We also recently retired our old Adobe font library with a host of PostScript fonts. I expect we will more frequently use Typekit fonts, as they are easily accessible and already come bundled with our Creative Cloud subscription.
As long as you are proactive in selecting OpenType fonts for projects or are fully embracing the Creative Cloud and using Typekit fonts, this deadline should pass with little disruption in your workflow. I expect that challenges will arise mostly from repurposing older documents or when making changes for reprints. Hopefully the fonts you need can easily be replaced with a similar OpenType alternative.
Every year, employee-owners at Friesens Corporation have a chance to vote for their favorite charity, and the voting process determines what percentage of funds are donated to each organization. An employee-owner then presents the donation to the recipient charity.
This year, we decided to combine the media releases to better highlight the various charities and organizations that have benefited from the Employee Directed Giving Campaign over the years. Some of them are new recipients, while others have benefited on an ongoing basis from year to year.
So, on behalf of the Employee-Owners of Friesens Corporation, we are pleased to inform you that we have made the following donations:
1. The Rhineland Food Bank …………………$8,036
2. Altona Fire Department ……………………. $7,143
3. Youth for Christ/Station ……………………. $6,101
4. Kiddie Sunshine Centre ……………………$5,208
5. Blue Sky Opportunities……………………. $4,464
6. Winkler Bible Camp ……………… ………. $4,464
7. Furever Friends ………………………………$4,167
8. Katie Cares ………………………………… $3,720
9. Genesis House ………………………………$2,530
10. Special Olympics/Altona Panthers ……… $2,232
11. Altona Community Gardens ……………….. $1,339
12. Big Brothers Big Sisters ……………………. $ 595
CEO Chad Friesen said, “As an Employee-Owned organization, it is important for us to have employees influence our charitable giving. For 115 years the employees of Friesens Corporation have played a major role in the community, and we continue to play that role today.”
One of our core values is to help build a stronger community. We invest in the community through both cash donations and by supporting our employees as coaches, youth leaders, fundraisers, and many other important volunteer roles.
This is not the only time of the year that Friesens acts as a sponsor and mentor in the community, but we are proud to support numerous initiatives throughout the year from the local level to the national level. We focus on literacy, culture, education, environment, history, care, and recreation.