The Newsletter Read by Graphic Arts Professionals Worldwide

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Five Years Ago in the Seybold Report: February 11, 2019

Five years ago this month in the Seybold Report newsletter we were discussing global print security, industry presence, and the continuing value of print. Below we have included a snippet from the lead article.

Quocirca Examines the Global Print Security Landscape


As we were going to press on this issue, Quocirca released news of its 
latest study on global print security. We found the theme of the report,
 Putting Print Security on the C-level Agenda, and the content of the report, very compelling. Print security is becoming a “greater concern,” as the report says, but, in the Joss Group’s opinion, graphic arts companies are not concerned enough about this matter, and there is much to be done to avoid crippling emergencies. Here we present a portion of the report along with Our Take and information on obtaining the full report.



Executive Summary


Data breaches are rarely out of the headlines and compliance pressure,
such as the introduction of GDPR, means security remains high on the
corporate agenda. Cyber threats and data breaches are no longer the
sole domain of the IT department, they must be considered at board level as the repercussions are simply too big to ignore.



Businesses of all sizes are potentially exposed to reputational, legal, and financial losses as the result of cyber attacks. Due to the increasing sophistication of attacks and the emergence of insider threats, businesses face a battleground to balance business productivity with the need for privacy and security. One area of the IT environment which is often overlooked is the print infrastructure. The majority of organizations rely on print to support business critical processes, meaning it can be the gateway to valuable, confidential, and sensitive information.



Quocirca’s Print Security 2019 report discusses how print security is becoming a greater concern to businesses with 59% reporting a print-related data loss in the past year. With only 27% classed as print security leaders, it is imperative businesses become more print security conscious, particularly as they look to close the paper to digital gap in their business processes. This [imperative] ultimately requires print security to move higher on the C-level agenda.

It’s Banned Book Week: Read Banned Books and Join Protests

October 1-7 is Banned Books Week. A coalition of organizations dedicated to free expression support this important effort to bring attention to attempts to ban books and repress freedom of the press.

The group includes American Booksellers for Free Expression, American Library Association, American Society of Journalists and Authors, Amnesty International USA, Association of University Presses, Authors Guild, Banned Books Week Sweden, Children’s Book Council, Comic Book Legal Defense Fund, Foundation for Individual Rights and Expression, Freedom to Read Foundation, GLAAD, Index on Censorship, Little Free Library, National Book Foundation, National Coalition Against Censorship, National Council of Teachers of English, PEN America, People For the American Way Foundation, PFLAG, and Project Censored. It is endorsed by the Center for the Book in the Library of Congress. Banned Books Week also receives generous support from HarperCollins Publishers and Penguin Random House.

This year LeVar Burton is the honorary chair. Burton has a long track record of advocating for books, publishing, and reading. In his statement for this year’s event he says, “Books bring us together. They teach us about the world and each other. The ability to read and access books is a fundamental right and a necessity for life-long success.”

He adds, “But books are under attack. They’re being removed from libraries and schools. Shelves have been emptied because of a small number of people and their misguided efforts toward censorship. Public advocacy campaigns like Banned Books Week are essential to helping people understand the scope of book censorship and what they can do to fight it. I’m honored to lead Banned Books Week 2023.”

Saturday, October 7, is Let Freedom Read Day, a day of action against censorship. You can take part: do at least one thing this week to defend the right to read and to speak on behalf of those who ensure access to information. And, of course, you could always buy and read or check-out and read (you have a library card, right?) one of the books the ALA reports people are challenging (asking them to remove); have a chat with a librarian or bookseller for recommendations. For information about ways to participate and resources, visit bannedbooksweek.org/let-freedom-read-day/. And, here’s more inspiration.

Remembering John Warnock and How PostScript Changed the World

On August 19, 2023 John Warnock, co-founder of Adobe died at age 82 of pancreatic cancer. Sadly and somewhat ironically, this is the same kind of cancer that robbed the world of Steve Jobs, Warnock’s fellow technology visionary, at the age of 56 in 2011.

The careers and accomplishments of these two men wove themselves in and out for decades from the early 1980s until Jobs’ death. The story of Jobs and Apple is legendary. The story of Warnock (and company co-founder Chuck Geschke) and Adobe is less known, but arguably much, much more revolutionary.

It was on January 22, 1984, during that year’s Super Bowl, the now-iconic and totally unforgettable Apple Computer advertisement aired. The commercial never showed the computer itself, but ended with this audio: “On January 24th, Apple Computer will introduce Macintosh. And you’ll see why 1984 won’t be like ‘1984.’”

It has long been my opinion the real reason 1984 was not like the book 1984 and one of the foundational reasons the entire world began to change so profoundly that year is because of the software that is PostScript and not hardware that was Macintosh. As a technology researcher, writer, and editor at National Software Testing Laboratories at the time, I watched the history of the software and the hardware unfold in real time, an experience which has never left me. 

To be sure, in 1984, the Macintosh was new and exciting. It got a lot of press in the tech world, but also captured the imagination of the world press. Having Jobs, a young, handsome, and charismatic wunderkind, as its pitchman helped.

Postscript, which Warnock and Geschke introduced in the same year, on the other hand, was, to most people, completely unknown. Even in the graphic arts community at the time, its birth was overlooked, and its potential unrecognized. 

But, Jobs needed Postscript to fuel a printer to go with the Macintosh: his LaserWriter. Without the LaserWriter and its Postscript-based print controller, the Macintosh could not have survived more than a few years after its birth. 

As cute as it was, the Mac was surrounded in the computer marketplace by some tough, older competition. As someone remarked to me at the time, nobody ever got fired for buying IBM. 

The LaserWriter, which premiered in 1985, was a game-changer for Apple and Adobe. For the rest of us, it was a world-changer. For the first time, thanks to the computer language living inside the printer, which some have called a “software printing press,” publishing could be done on the desktop. Ordinary people could plan, design, and print whatever they wanted.

And with that, desktop publishing was born, and it started its own revolution. As John Seybold, one of the founders of the Seybold Report newsletter (which I joined as an editor in 1988 and now own) dubbed it: WYSIWYG (“What You See Is What You Get”).

PostScript also made two more things possible that were also needed to make Apple and its Macintosh champions: device independence and digital fonts. Warnock and Geschke found a way to surmount both of these challenges as well.

A simple blog post does not permit further description of these particulars, but perhaps a quotation from John Warnock, part of a 2017 Computer History Museum oral history, will suffice, “We showed those to Jonathan Seybold, and he couldn’t believe his eyes. He said, “Really?” He said, “This—you have solved the problem,” okay, “For laser printers,” and then Seybold added, “This is revolutionary. This is going to change the world.” Jonathan Seybold is one of John Seybold’s children and founder of the now-defunct Seybold Seminars.

In December 2022 the Computer History Museum released a copy of PostScript source code dated late 1984 as part of its Art of Code Series. Warnock was enthusiastic about the release; he believed in innovation, and he knew the value of history. 

David C. Brock, director of curatorial affairs at the Computer History Museum, said at the time of the release, “The story of PostScript has many different facets. It is a story about profound changes in human literacy as well as a story of trade secrets within source code. It is a story about the importance of teams, and of geometry. And it is a story of the motivations and educations of engineer-entrepreneurs.”

Desktop publishing lives on today in the form of digital publishing, and Postscript lives on, too. Millions of people around the world use PostScript on a daily basis and do not know it: the ubiquitous Portable Document Format (PDF), which Adobe introduced in 1993, is based on PostScript. The software is also still used in multiple types of imaging devices around the world.

By Molly Joss

September 2023

New: the drupa 2024 next age Forum

Recently we spoke with Frank Tueckmantel, one of the people involved in designing and running the new drupa next age (dna) trend forum and program for drupa 2024. We talked about the initiative, what it offers, and how people can get involved.

Frank, who is working with Deborah Corn on this initiative, says dna came about because Messe Düsseldorf GmbH wanted to develop and offer a turn-key solution for potential drupa 2024 exhibitors who cannot afford the larger booths as well as a related presentation program. To help keep costs low for exhibitors, the drupa dna booths will be simple 10 x 10 square meter spaces and will be clustered in groups of four (see image below). Frank says the goal is to have (at most) 50 or so exhibitors for the dna section, and the company has already sold about half of these spaces.

In addition, Frank and Deborah are working on a slate of presentations, panel discussions, and interviews to take place on the dna Stage, which will be in the same exhibition area in Hall 7.0 as the dna exhibit area. The idea behind this forum, he explains, is to provide dna exhibitors and others a 20 minute span of time (per presentation) on stage to talk about their products, services, solutions, and so forth.

Frank adds there will be a strong emphasis on face-to-face interaction between exhibit area visitors, speakers, and exhibitors. “Face-to-face marketing is all about visibility and trust. Moreover, in-person interaction fosters engagement. For this reason I am honored and excited to work together with drupa on the 2024 drupa dna program, hopefully engaging with many of the attendees that will participate in the largest get together our industry has to offer.”

The themes for drupa dna exhibits and presentations include Additive Manufacturing, Artificial Intelligence, Business Intelligence, New Materials, Platform Economy, and Predictive Maintenance. Other dna themes include Printed Electronics, Remote Services, New Business Models and Process Design. Overall, the emphasis will be on showcasing what is new, upcoming, and transformative.

There is still time for interested companies to register for participation at the dna forum – and there are several ways to get involved as an exhibitor, sponsor or speaker. Company representatives interested in learning how their companies can take part in drupa dna as sponsors or exhibitors should contact Benedikt Salmen from the drupa team (SalmenB@messe-duesseldorf.de). Anyone interested in speaking should contact Deborah Corn (deborah@printmediacentr.com) or Frank Tueckmantel (tuecki@mac.com) as soon as possible.

Does Print Have a Branding Problem?

In a 2022 in review article, industry observer and crusader Deborah Corn makes two bold statements we wanted to highlight in this post:

  1. “We have a tremendous workforce development problem, that is swiftly moving toward a crisis.”
  2. “Since I don’t have a vested interest to attract people to a specific program, print organization, or company, I can see the bigger picture. In this case, PRINT has a serious branding issue.”

Corn makes several suggestions in her article about what print providers should do in 2023 to help bolster the Print’s brand. We suggest readers of this blog read her article and share with her and the Joss Group their reactions. We look forward to hearing from you.

The Joss Group says, “PRINT is vital!” Deborah Corn says, “Print has a serious branding issue.” Both statements are true, but there is more to the story. It is time for more than a few serious discussions. Let us get started!

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