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.
Working with Inserts, Foldouts, and Gatefolds
By Ralph Hamm, Customer Service Manager
Inserts have been a practical and efficient way for customers to include a smaller section or sections of photos in a book that is primarily text. We also see customers consolidate process images into an insert in titles where the pagination contains B&W images and text in order to lower the printing costs.
A quote from Friesens will state if the insert is bound between full signatures or in a specific location. The difference is important, as binding between full signatures allows us to use the perfect binder, or sewing machine, to mechanically place the insert in the correct spot. This is a quicker process and is more economical. Placing inserts in specific spots will be done after the book is bound. This requires handwork, which needs to be considered in the binding schedule.
Your CSR can assist you when planning a project with inserts, foldouts or gatefolds. They are able to provide you with the signature size and breakdown for your confirmed page count. You will need the complete page count, which includes a breakdown between preliminary (Romans) and numbered pages. With this information, your CSR will be able to determine how many signatures are in the book and where inserts could be placed mechanically.
It is important to consider and discuss what you want the final outcome to be before you submit the digital files for your project. How the final product will look after assembly is not an aspect that layout programs reflect accurately. These programs and the proofs do not show how much area is covered by the adhesive area, or express the limitations that can happen when trying to insert pages into a book that is already bound. The communication regarding placement should start in the page layout phase. Your CSR will draw upon the expertise of our planning department and bindery staff, and collectively they will respond with what is possible and how it will work. Many times, dummy books, or mock-ups are created so that you can physically see what the final outcome will be, They will be able to supply you with the correct dimensions when planning for foldouts, gatefolds or a roll fold insert, A diagram showing the various foldouts is included below.
Communicating what your intentions are, discussing our processes and capabilities, and finally seeing a sample of what can be done are critical steps to ensure that your project turns out as expected. Please feel free to contact your customer service representative if you require additional information or have questions related this topic.
by Brad Schmidt, Colour Technical Support Specialist
In the past few articles I have explored new software and its potential as an alternative to the more established programs. I have also looked at updates to our website and specifically the expansion of available ICC profiles on our website. I have already seen the fruits of this effort as I have directed customers to this expanded resource. In this article, rather than focusing on new, cutting-edge tools or techniques; I want to revisit one of the fundamental tools to discover some of the hidden features that have been there all along.
One of the most fundamental tools within InDesign is the ability to assign colours to objects. Even though this is one of the basic attributes that is assigned to text and images, it is still an area that we find requires adjustment after files are pre-flighted. Within the swatches palette there is a full range of options to make colour selections.
Within the Swatches there are four reserved colours differentiated by square brackets. These reserved colours [None], [Registration], [Paper], and [Black] are already enough options to create pre-flight issues. The most notorious and misunderstood colour in this list is [Registration]. On many occasions I have seen this colour selected and used for black text. Visually, both [Black] and [Registration] appear the same on screen. When printed on a composite printer such as an inkjet or a laser printer, the output of [Black] and [Registration] appear the same. This hides the fact these are fundamentally different colours. The purpose of the [Registration] colour is for use in marks such as fold lines or trim marks. For black text, [Black] should be used because it prints 100% black only. When [Registration] is used for text, it prints 100% Black, plus 100% Cyan, 100% Magenta, and 100% Yellow. This is especially noticeable if only part of a paragraph uses [Registration]. The [Registration] text stands out as looking bolder than the surrounding text and the excess ink can cause pages to stick together or ink to transfer to the facing page.
Another colour that often escapes people’s notice is the [Paper] colour. One of the lesser known features of the [Paper} colour is that you can actually change its colour. You will notice that there is no white colour in the list of colours in the Swatches. Most often we just assume that [Paper] in this list is white. But you can actually change the [Paper] colour so that if you are using a cream stock, you can add some yellow to the [Paper] colour and all your pages will have a cream appearance. This can be a real puzzle when you try to find the cream-coloured box but there is none to be found. The first time I encountered this it was quite a search before I discovered the source of the document’s mystery background colour. An interesting fact about altering the [Paper] definition is that it has no effect on the printing. It only alters the appearance in InDesign.
By taking a few extra steps at the beginning of a project, you can save a significant amount of work later in the process. Much like the way character and paragraph sheets define and standardize text, Swatches are a way to standardize colours. If colours are selected from the Swatches palette in the beginning, when a document is created, modifying or swapping colours can be accomplished easily.
One nice feature is the ability to delete a colour that you want to change. InDesign will ask you to select an alternate colour to use as a replacement. This works great for any custom colours you have added to the Swatches palette. If the colour you are trying to replace is one of the reserved colours, such as [Registration], this delete and replace feature will not work. You will be better served using the expanded Find/Change feature that allows for a colour Find/Change.
Another area of interest in the Swatches palette is the creation of spot colours. Spot colours are easy to identify because of the square icon with the dot in the middle. In the Swatches palette earlier in the article there are two PANTONE 526 colours. Note that one is darker and the other is lighter. The ink recipe for each of these spot colours is identical. The reason that PANTONE 526 U appears lighter than PANTONE 526 C is that ‘C’ represents coated paper and the ‘U’ represents uncoated paper. Since the ink is identical, InDesign is showing the visual difference that printing on coated and uncoated paper will have.
There is also a special colour option within the Swatches palette that allows for mixing of inks. If you have printed a duotone project, you will be familiar with images that are printing with a combination of two inks. For duotones, this is often the combination of black and a spot colour. The relationship between these two colours is defined by the duotone curve in each image. To create a background colour that is a combination of the black and the spot colour, you could create some type of duotone and place it as a background colour, but there is also a way to create this type of colour in InDesign. From the Swatches menu, select ‘New Mixed Ink Swatch.’ Here the ink combinations along with the percentage of each ink can be specified, The new mixed ink will be listed in the Swatches where it can be applied to objects such as a box for background colour.
I hope you discover that these less common features of a familiar tool will be helpful in improving your file creation. Designers I have the opportunity to work with often introduce me to new areas of InDesign, because they use the program in ways that I would not even have considered. Thanks for always keeping my job interesting.
By Elizabeth Cleveland, Midwest Sales Representative
Hello! As a continuation of this series in our newsletter, I’m thrilled to be writing from Minneapolis during a period in history we will look back on as « the one when we were (nearly) set free. » What a year! 2020 brought many challenges for sure, but also a few silver linings and valuable lessons. Nonetheless, seeing it in the rearview mirror is a sight to behold.
Friesens’ Midwest territory is comprised of MN, WI, ND, SD, IA, NE, and MO, and it holds claim as Friesens’ first company-based territory in the US. It started by dipping a toe into Minnesota and expanding from there to what has grown into a nationwide ten-person sales team, and accounts for at least half of the company’s division sales. I’m proud to call myself the employee-owner of a region with this auspicious beginning!
My role began at the end of 2005 when I became the second ever US sales employee for Friesens.. With it came my first and so far only, WFH format (we all know this acronym by now, but just in case: Work From Home). So, while most of the world had to punt quickly in March of 2020, managing all new ways of working through a pandemic, my home office life continued as per usual.
Geographically, the territory is fairly diverse, offering a Great Lake (the largest of the lot!), plenty of open fields for farming, the Driftless Area, Mount Rushmore, a very famous arch (the « Gateway to the West »). and the burbling beginnings of Ole Miss, to name a few. Almost as diverse as the customer base here; Minnesota alone hosts many well-regarded players in the publishing landscape. Roughly ten of those are nonprofits, with the three having the unique distinction of literary nonprofit presses, which (last I checked) is the highest concentration in the nation. The territory as a whole boasts a university press in all but one of the states. It includes the distinguished Gallup Inc. with its own press, for whom we’ve printed many, many books. And Wisconsin is the birthplace of the Little Free Library! The evidence of value and quality placed on good books is immeasurable in this sleeper of a sales region.
Back to the silver linings gifted to us by 2020: at the top of our list is that the printed book is back, and it is the « new black! » This is what I tell everyone in my life who, at one time when e-books were all anyone talked about, with a sad expression asked if I would have a job much longer. If anyone reading this is trying to buy printing these days, you know how hard it is to get anything quickly. Our industry is experiencing a boom like nothing I’ve seen since my start in the nineties, and the pandemic played no small part in this resurgence. With nowhere to go for an unforeseen timeframe, the general public turned to books as one of the rediscovered « stay at home » forms of entertainment.
On a more personal note regarding the last year, my home/office is located very close to Lake Street in Minneapolis. The protests and civil unrest in the wake of George Floyd’s death stirred emotions in me I never imagined I’d experience as a privileged American. The mixed bag of empathy, fear and surge of « mama bear » protectiveness of my city and neighborhood was a combination of emotions I couldn’t have anticipated. For a week or so, my neighbors and I found ourselves pulling out hoses and pulling in anything flammable. With city-mandated curfews, there I was, dashing to the store for groceries only to keep driving until I found one open, then realizing I needed gas, but no open gas station was in sight – a stark perspective on how cushy and safe « normal life » usually is, even a few months into a pandemic lockdown. How does this all tie in to my territory? Minneapolis is on the global map in the wake of that event, and for good reasons that need a spotlight. I have no doubt the wealth of quality book publishing here and in the greater Midwest territory will honor all that needs to be shared to help inform and educate, and I will always feel blessed and proud to play any small role in that.
The most exciting aspects about having the opportunity to work in prepress all these years is how we use technology and how our work continues to evolve. There is always another opportunity awaiting us around the corner!
One of our goals in prepress this year is to build a plan for direct communication between prepress operators and our customers on file related issues. We would like to take our service to the next level and have our knowledgeable staff work with you to resolve file issues. In the past, when file issues were discovered, we contacted your project specialist to communicate file issues. Although the project specialists do a great job, they are not necessarily file experts. Often, they need to coordinate with prepress to get help in properly relaying the issues. In this cycle there is often a delay in providing the required information. If our tech support staff are busy, there may be a longer delay in getting a response. With our prepress staff communicating directly with you, we anticipate resolving file-related issues more efficiently. This will also allow our project specialists to focus on the other details of your project production.
Our prepress staff do great work; however they do not have a significant amount of customer service experience. In pre-COVID-19 days we often hosted customers at the plant for a press check. At times this would include spending time in prepress with an operator, working through file alterations. These were good experiences, but few and far between. In February and March of this year, we enrolled our staff in a customer training course to help prepare them for this transition. We feel confident that this initiative will be successful based on the twenty-five plus years of experience each staff member brings to finding solutions to preflight issues.
On June 7, we launched phase one of our new workflow. When our operators preflight your project and issues are found, you will receive a call to review and resolve the issues. We will incorporate the solutions and proceed with proofing your project. In the event that we are unable to connect with you, an email will be sent with details and the proof will carry on without delay. The issues found can be addressed when you receive the proof. If at any time you have questions regarding the files for the project, you can reach out to the operator via phone or email at email@example.com.
In phase two, we hope to include directly contacting you on all file-related concerns for corrections after you have reviewed the first proof. In phase three, we expect to include any file issues that we may have caught at our virtual proofing station. Virtual proofing is where we have dedicated operators reviewing your files one last time before we go to press. They ensure everything is as it should be, and that you will receive the product you are expecting. We also plan to expand operator training to include quote details to deal with any specification-related changes in conjunction with the project specialist.
As we begin this journey, one of three operators will be contacting you. They are: Liza Breyfogle, Wendy Thiessen, and Derril Braun. We look forward to serving you in this way, and would appreciate any feedback that will help us improve your experience. Feel free to reach out to your sales rep, project specialist, or myself at: firstname.lastname@example.org.
Years ago, Friesens used PUR (Polyurethane reactive glue) to bind their softcover books when requested. The result at the time was not significantly better than the regular hot melt glue we also used. It was costlier, so we went away from using it. Over time, suppliers improved PUR glue significantly making it a user-friendly and more reliable product to work with,
Our new Muller Martini Bolero Perfect Binder has the option to use a regular hot melt glue or PUR glue. When we run coated stock jobs on our perfect binder with our regular hot melt glue, we can run into difficulties whereby the glue does not flow nicely into the sections and contact all the pages of the book. If we cannot get the glue to contact all the pages, the pages can fall out of the book more easily. Therefore, at times we have had to grind the spine down slightly to allow better flow of the glue to each page of the book. If we grind too much, and the pages of the book become single sheets, the hot melt glue is not aggressive enough to bite and hold the sheets of coated stock and create a high quality bond. In some instances, that makes it easier for the single page sheets. It is a constant battle between grinding too much and getting glue to contact each page.
Using PUR glue is a great solution to the problem surrounding the perfect binding of coated stock books. Here are some qualities and details that PUR glue offers:
PUR glue is an aggressive glue that bites nicely into all types of materials, especially coated stocks.
PUR glue is very flexible when applying a thin layer (if you apply too thick of a layer it becomes rigid).
PUR glue requires us to grind the sections to single pages and allows us to apply the thinnest layer of glue possible and ensure the glue touches every page of the book.
PUR glue takes longer to cure than hot melts. It uses the moisture in the air for curing and takes twenty-four hours to fully cure when a thin layer is used. We cannot use PUR glue for notch-bound books, as the PUR glue layer would be too thick and the glue may not fully cure. It also would create a very stiff book.
In the past we recommended a coated stock job be sewn instead of perfect bound for the most flexibility and strength. While we still believe sewing is the strongest and the most flexible method, we also believe PUR glue binding to be a close second and gives our customers a quality product.