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| a. the raw material: copy and artwork • paper (OCR scanning) • mag-optical media • via e-mail • online sources • line art, graphs, charts • photography and halftones • conventional artwork • digital artwork • FPO (desktop ) scanning • high-end scanning |
e. preparation of image carriers • color space: CMYK vs. RGB • analog prep (mechanicals; film) • digital prep (RIPs, imagesetters) • conventional platemaking • computer-to-plate • computer-to-press • telecommunicating page files • preflighting • PostScript and PDF workflows |
| b. the raw material: ad copy • display ads (full/partial) • classifieds/listings • inserts (free-standing, ROP) • supplied film and proofs • conforming to SWOP • digital ads |
f. final proof and OK to print • why check proofs • blueprints for position • author's alterations • photomechanical color proofing • digital color proofing • "soft" proofing • the contract proof |
| c. text editing and typesetting • desktop typography "revolution" • editors as typesetters • edit in w/p vs. edit in layout |
g. the production press run • processes: offset and gravure • web and sheetfed printing • printing variables • paper, ink, and plates • press checks • heatset printing • over- and under-runs • waste and spoilage |
| d. issue makeup • determining issue size • thumbnails ("roadmaps") • imposition (ad placement) • digital "pasteup" (QuarkXPress) • image editing (Photoshop) • proofreading responsibility |
h. binding, mailing, and shipping • what happens in the bindery • perfect (glued) binding • mechanical (wire) binding • selective binding • multi-edition magazines • "personalized" magazines • computerized addressing • postal entry • other distribution |