If you’re in Chicago on July 30, pop into The Green Movement: Influencing Print & Image Seminar, sponsored by Argus Press, at the East Bank Club. Lunch is at 11:30 AM and the presentation starts at 12:00 noon. Read more about it here>>
To RSVP to the event email or call (847)-647-7800. The East Bank Club is located at 500 North Kingsbury Street Chicago, IL 60610.
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The Designers Accord, a group with more than 22,000 members, is a global coalition of designers, educators, researchers, engineers, and corporate leaders, working together to create positive environmental and social impact. Design firms who want to be members are asked to do these things:To learn more about the Designers Accord, go here>>
The Green Marketing Coalition - launched in my backyard (Seattle) - offers these recommended guidelines:
To learn more about the Green Marketing Coalition, go here>>
Whether you join either of these groups or not, they both have some valuable resources on their websites.
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One of the best ways to understand your customers is to attend the trade events they attend. You’ll learn about the hot issues and challenges they face as well as hear their comments and responses. Print buyers have their “trade” events too, and one you’ll want to attend this one in the fall. Why?
While the entire event includes “Learning Labs,” 22 conference sessions, daily round table discussions where you’ll undoubtedly learn a lot from and about your print buyer customers, there are two sessions for those focused on “green” issues:
InfoTrends has a new “green” report out, but you wouldn’t know it by the title: Demand Drivers for Printing Paper.
Did you know, for example, that 56% of all paper consumed in the United States was recovered for recycling in 2007? Or that the goal for 2012 is 60%?
Here’s a bit more from the report:
The green movement has and will continue to affect the market for printing papers in several ways. First of all, improved environmental stewardship will most likely lead to a reduction in print volumes by eliminating “waste” by not printing e-mails, increasing duplex rates, adopting “do not mail” legislation, and other measures. These efforts are expected to have a major impact on how marketers, advertisers, and print buyers disseminate information to their customers.
In fact, digital print media may be perfectly suited toward the green movement and may drive the transition from analog. Shorter runs combined with custom, personalized messages deliver the right information to the right customer at the right time. Digital processes do away with the “spray and pray” approach to marketing, and the resulting source reduction helps the environment by eliminating unwanted and ineffective print pieces.
Recycling has been a prominent feature of the print and paper industry in the United States and Europe for the past 30 years, and it is still important today. The AF&PA, for instance, recently announced that 56% of all paper consumed in the United States was recovered for recycling in 2007. It has stated a recovery goal of 60% for 2012. While recovery rates in packaging grades and newsprint are impressive, many NGOs are pushing for improved collection rates of business and office papers that would be suitable for printing and writing grades.
Higher recovery goals, while laudable, raise extremely complex questions on incentives, policy options, collection systems, messaging, and investments in deinking capacity. One thing, however, is clear: there is currently not enough high-quality recovered paper collected to meet current and expected future demand for printing and office papers with ever-rising levels of post-consumer content. This will most likely result in rising prices of ledger and sorted office recycling grades and premiums for printing papers that possess high quantities of post-consumer content, at least in the short term. In addition, if China and India start purchasing higher quantities of these grades, there will be even more pressure on recovered paper supplies in the longer term.
Forest certification is another more recent aspect of the green movement. Forest certification involves a complex “accounting” of wood fiber resources used in the manufacturing of paper products. Increasingly, these systems involve chain-of-custody mechanisms that are able to trace the wood fiber back to the forest source it was harvested from. Forest certification schemes such as SFI, FSC, and PEFC [offer] assure the buyer that the papers they are using came from a sustainable source and were manufactured in accordance with green principles that extend to the harvesting techniques used, re-planting, use of riparian zones, adherence to water and air guidelines, respect for indigenous peoples, and set-asides for recreation and biodiversity, among other considerations.
The preceding is an excerpt from a report entitled Demand Drivers for Printing Paper. To learn more about this report, go to www.infotrends.com.
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SustainAble is a new book written with the graphic designer in mind. We asked Aaris Sherin, author, to tell us about the process that she went through to produce this unique book, things learned along the way, and her perspective on sustainable design.
Yesterday, in Part 1 of our interview, Aaris touched on her purpose and some of her discoveries during the research phase. Today, she takes a different tack and discusses philosophy of design and changing cultural issues.
Not only are the contents of this book terrific - and I’ve read it, so I can tell you that! - but the book is a prime example of ways you can use very different production processes.
For example, all the “make ready” and proof sheets were used to bind the book and as end pages.
And instead of a full paper jacket, a “demi-jacket” was created by printing on the reverse of more of the extra sheets that would have gone to waste. Take a look… very clever design!
WTT: Sustainability is an issue that needs to be addressed at many different levels, not the least of which is cultural change. How can we as individuals facilitate that change?
AS: I think people have a tendency to think that change has to happen at a marco level - big change, big companies and big government. While it is true that the sustainable revolution will require large changes, I absolutely believe that designers, printers and media buyers can and will have a huge effect by making small changes.
Talking to ones clients and encouraging them to adopt more environmentally responsible print production may seem like a drop in the bucket compared with the impact that a large fortune 500 company has globally, however data shows that once a company buys into change (and while this has to include the CEO and top management, it equally should include employees at lower levels) they usually opt to voluntarily raise their environmental performance. There is a great section in the book where designer, Cheryl Heller, gives practical advice on how and why to talk to clients about their impact on the environment and social systems.
WTT: Would you address Design (big D) vs design (little d); i.e. design from the concept of product design, graphic design, architectural design?
AS: I really believe that design has a crucial role to play as we move toward the cultural shift that will need to happen in order to become more sustainable. This means both design with the big D and all of its sub-disciplines.
Over the winter I was at Eco-Products (in Tokyo) the largest tradeshow for environmentally friendly products and services in the world. I saw some amazingly innovative new products and processes, yet without good communication design/info design, it was difficult to understand what value that these services brought to market and/or to differentiate between brands and similar types of products.
I left thinking that many of these product designers would have benefited from spending more time with graphic designers and vise-versa; product designers have an understanding of materials that graphic designers rarely process. In my opinion the power of design comes with collaboration.
Tricycle Inc. out of Chattanooga Tennessee is a living example of this concept. Tricycle is a sustainable design company; it employs graphic designers, programmers, and product designers. And, the company partners with interior designers, all with the goal of encouraging the carpet industry towards reducing their environmental impact. Their success over the last several years has been stunning and Tricycle’s model suggests that collaboration produces outcomes greater than could be achieved by each sub-discipline individually.
WTT: Where to you see the most creative ideas and applications being implemented? In Europe? Asia?
AS: There isn’t one place where the best ideas in sustainable design are coming from. In different places around the world there are individuals making inspiring and innovative work that rethinks the use of materials and/or conceptually challenges an audience to change behavior.
That being said, regulations and interest by many governments in Japan and many EU countries exceed what I see happening in the U.S. I would like to see more incentive based programs that would encourage innovation and new applications and I also think that design education has a role to play in preparing the next generation of designers to help solve sustainable challenges.
About Aaris Sherin
Aaris Sherin is an educator, writer and designer. She is currently assistant professor of graphic design at St. John’s University in Queens, New York, where she teaches both history and studio classes. She holds a BFA from The School of the Art Institute of Chicago and an MFA from Rochester Institute of Technology.
]]>SustainAble is a new book written with the graphic designer in mind. As your clients continue to adapt to and provide environmental solutions with their own products, they are demanding it from you, their creative partners.
We asked Aaris Sherin, author, to tell us about the process that she went through to produce this unique - and very readable - book, things learned along the way, and her perspective on sustainable design.
Today, in Part 1 of our interview, Aaris touches on her purpose and some of her discoveries during the research phase. Tomorrow read Part 2, when she will take a different tack and discuss cultural issues and a bit of philosophy.
WTT: You combine the perspective of an artist and an academician and certainly look at the issue of sustainability from many directions. Where did the idea of this book come from? What questions were you trying to answer?
AS: SustainAble is a handbook for designers, media buyers, publishers, and people working in related professions who are interested in practical approaches to working more sustainably. It is part of Rockport Publisher’s Design Field Guide Series, which tries to make complex topics accessible to readers. Sustainable design was a perfect topic for the series because its complexity means that designers are often overwhelmed when they think about how to move to more responsible production or change their practice.
The book covers topics that include sustainable forestry, basic history and theory, as well as practical information about eco-friendly production materials and techniques. The second half of the book is devoted to case studies that trace how designers approached specific projects with the environment and social systems in mind. The idea was to make a sort of one-stop reference for those interested in the topic.
WTT: You were both a freelance and staff graphic designer on your way to becoming a professor at St. John’s University. Is this what makes you an “expert” on sustainability in design? How do you combine the ivory tower with the design studio?
AS: This book is the culmination of over a year and a half of work - talking to experts, visiting facilities and really learning what a designer needs to know about sustainable design. My background in both journalistic style research and understanding of the importance of scholarly rigor allowed me to be objective and really dive into the topic of green design.
I found that my experience as a professional designer gave me an immediate framework with which to approach the questions and issues that come up when graphic designers want to work more responsibly. For each chapter, I tried to imagine what I would have wanted to know and how that information could be put structured so that it would be easily accessible for a busy designer.
WTT: During your research what were some of the new things you discovered?
AS: One of the interesting things that I found interviewing scores of people for the book was that there tends to be two levels of knowledge when it come to eco-friendly design and production. First there are people who have been early adopters. They have been working towards reducing their footprint and specing environmentally preferable production for years.
However the vast majority of designers fall into a second group, they are interested in sustainable design but have no idea where to start making changes. I hope that the book will be a bridge between these experts and the lay public, those who are inspired and excited to change their practice but just don’t know where to start.
WTT: You must have learned a lot about inks and papers and printing processes. What other things did you uncover?
AS: Something that a lot of people seem not to know is that the benefits of soy-based inks are largely exaggerated. It is true that vegetable-oil based inks are better than those made primarily with petroleum products, however soy is no better than inks made with cottonseed or linseed and some environmental groups discourage the use of soy based inks because soybeans are the crop most often planted when rainforests are cut down.
Toshiba has created a laser-toner product called “disappearing ink” that allows paper to be recycled up to 9 times. Unfortunately it is only available in Japan. If there was more of a market for this type of product or if regulation mandated more efficiency, Toshiba might be able to market “disappearing ink” in the U.S.
Waterless printing has made significant inroads in Japan and Europe and yet is rarely used in the U.S. Additionally there are misconceptions about what items can be printed using this process. Waterless printing is environmentally preferable, efficient, cost effective (in the long run) and is appropriate for anything that is currently being produced with traditional offset printing. For more information visit the Waterless Printing Association at www.waterless.org.
WTT: Research can turn over lots of stones. What did you discover that surprised you?
AS: I was really surprised how freely people were willing to share and give me information. I say in the introduction of the book, that this is one of the most generous communities that I have ever met, and it’s true. If you take on this topic and look for ways of changing your work or the production of your work you can look forward to becoming part of a vibrant and active community of like minded professionals.
WTT: On the other hand, what did you discover that disappointed you?
AS: There are so many people (many of whom were early adopters) who have created their own resources, libraries, and community groups for teaching and practicing sustainable design. This is both very encouraging and also a little discouraging because as I talked to people I realized that a lot of them are duplicating each others’ work. We really need more resources and more sharing of information so that the next generation isn’t tasked with replicating our work.
About Aaris Sherin
Aaris Sherin is an educator, writer and designer. She is currently assistant professor of graphic design at St. John’s University in Queens, New York, where she teaches both history and studio classes. She holds a BFA from The School of the Art Institute of Chicago and an MFA from Rochester Institute of Technology.
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No one should make Richard give up his Muppet albums, but I agree - let’s ditch the phrase “It’s not easy being green!”
Richard starts off his thoughtful commentary with:
“… unless you’ve been trapped in an underwater pyramid for the past 18 months, you know that so-called “green” initiatives—that is, environmentally responsible and sustainable business practices—are becoming ever more crucial for consumers and, ergo, businesses, and the printing industry (which we could argue has been green for decades) is no exception.”
Read his Green Thoughts on PrintCEO blog here>>
(Would you take anything Muppet-related away from this man?)
]]>Environmental Claims: A Guide for Industry and Advertisers, from the Canadian Competition Bureau, addresses a number of commonly used green claims and provides examples of best practices on how such claims can be used by Canadian businesses to comply with the false or misleading provisions of the laws enforced by the Competition Bureau. Among other practices, the Guide states that:
Guidance about the use of environmental marketing claims applies to eight different types of claims:
Because both the Canadian and the US governments can prosecute companies who make false or misleading advertising claims, now is a good time to think about your own marketing efforts. These guides are helpful to ensure that your wording is clear and accurate.
]]>I have heard that paper vellums are inherently environmentally un-friendly because of the process by which they are made. However, I’ve been looking around, trying to find something to back up that claim, and I can’t find a thing!
Sabine Lenz, PaperSpecs, provided the answer for me.
Transparent papers – or vellums – are basically made from the same fibers as opaque sheets. In the case of translucents, the fibers are more fibrillated, creating a net of fiber that is more loosely bonded than your average paper fiber. Also, no fillers are added, which the paper needs to become opaque.
In the “naturally translucent” sheets, the air pockets in the paper are “pressed” out and what remains is a very tightly packed web of cellulose fibers. These papers are as easily recyclable as any other paper and some are FSC-certified or contain recycled fiber.
Having said this, there are also translucent sheets that are “chemically transparentized.” This means that they are first manufactured as opaque papers and then treated with petrol-chemically-based resins to make the paper translucent (almost like the effect of spilling cooking oil on a white shirt). This process tends to make the fibers more brittle and, due to the added resins, the paper is not recyclable.
How can you tell the difference?
Most mills call out if their paper is naturally transparent and recyclable. But another easy way to tell one from the other is by looking at the product items being offered. Chemically transparentized sheets are more brittle and do not fold without cracking. So, they are not recommended for folding and saddle stitching and you won’t find readily made envelopes.
Most, but not all, of the transparent papers available in the U.S. market are naturally transparent and thus, more friendly to the environment.
Thanks, Sabine!
]]>Consider WTT Going Green the place you need to go to find out what’s happening in the Graphic Arts industry. Here are two sets of upcoming webinars that you should be aware of.
All About: Sustainability; a free webinar series sponsored by Target Marketing Group and Printing Impressions Group. For more information and registration, click here>>
Environmental Sustainability in the Premedia Arena; a webinar series from the IPA for strategic decision makers looking to reduce costs and win business through their knowledge of sustainability. For more information, registration, and pricing click here>>
If you missed the last WTT “green” webinar - Sustainability is the New Green - you can always get the slide deck and an MP3 file to enjoy the archived event, which was broadcast on June 25. Files are available for download here>>
Rick Mazur, from Kodak’s Graphic Communications Group, outlined the four components of a Sustainability Plan and recommended ways to do a “self assessment” on:
Don’t be late for class!
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