how the agency works

a process–manual

developed & written by ed burgoyne

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How the Agency Works Ed Burgoyne

Introduction

“How the agency works,” is a referencemanual that explains the basics of processwithin an advertising agency.

This process manual is meant to be used as a general concept guide, since agencieswill have different approaches to theirown workflow.

This book is several years old, and I amcurrently working on an updated version.

In later editions, the process manual willinclude an expanded process guide thatwill include web and broadcast projects.

© 2001, 2009 Edwin BurgoyneThis version has been customized for a medium sized agency and is based on process systems and procedures previously developed by Ed Burgoyne.

edwin burgoyne345 goffle roadridgewood, nj 07450v 201.444.1816c [email protected]

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Table of Contents

Agency Workflow Path . . . . . . . . .5

Basic Workflow Steps . . . . . . . . .28

Agency Basic Concepts . . . . . . . .35

The Account Group . . . . . . . . . .43

The Production Group . . . . . . . .63

The Production Studio . . . . . . . .78

The Creative Group . . . . . . . . . .95

Addendum 1 - OPI . . . . . . . . .100

agency–workflow

How work progresses

through an agency in detail

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The Agency Critical Path of a Project

The following steps detail the typical workflow in an agency.This version of the critical path is for smaller agencys and assumes thatthe agency does not have a seperate strategy department, nor an artbuyer, project management in this path is split between the junioraccount team and a production traffic department.

The main path steps are:

Client brief

Brand Positioning and Research

The Creative Brief

Work Initiation

Start Up Meeting

Begin to Concept, Revise and/or Plan the Media

Create the Creative

Schedule the Media

Produce

& Bill

Job Plan & Tactics

Start-Up Meeting

Begin Work

Revise Old Project

Schedule the Media

Produce

Bill

Create the Creative

Plan the MediaCreative ConceptingAudience Research, Refine if Necessary

Creative Brief

Research

The Brand PositioningAnalysis, Research and Positioning

Client Brief

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visors, the studio manager, thetraffic director, media, art buyer.

• Traffic will then begin it’s process.However, if necessary, the accountexecutive should meet with thecreative team to review and begintheir part in the process.

• See side bar information on,“filling out a status report.”

Traffic and/or Production,

• Traffic issues a job number.

• Traffic creates the master “jobbag” that is used to hold the creative or production historyhard copies for the entire lengthof the job.

• Internal work now begins (if creative costs are on a fee basis)but no out-of-pocket costs shouldbe incurred prior to an estimate generated and client approval.

• Although traffic should have dailyconversations and follow-up withdepartments that are involved in

their projects, once daily, a“WHAT’S HOT FOR TODAY”follow-up be e-mail the nightbefore (or at least that morning)to all participants, includingsupervisors, studio, production,art buyer (if applicable) and trafficdirector from the appropriate traffic person. Daily status reports help the other department managers and individuals in managing their workload for each client.

Workflow - Step 1 - Starting the Process,the Creative Brief & the Status ReportElement:

The client briefs the account plan-ner and the account managementteam on the project(s) at hand.

Actions:

The Client,

• The client is responsible for pro-viding the agency with a market-ing brief, an RFP, and/or as littleor as much information about aproject that they choose to give.It is up to the Account Team toask the client the right questions,to form the creative brief and toget the agency the informationthey need to get the project completed, on time, on budget and on strategy.

The Account Executive,

• The account planner & accountexecutive creates a creative briefdistilled from client information,prior background notes, focusgroups and research.

• The account executive fills out ajob number request and requests ajob number from the appropriatetraffic or production coordinator.

• Once the creative brief isapproved, a meeting with the creative, production, traffic andmedia team should take placedepending on the scope of theproject.

• The account executive updatestheir weekly client status report.The agency has weekly meetingsto review these status reports.Mandatory participants can betraffic, production and accountexecutives. The creative team isencouraged to either be present or be on call if questions arise.

• At the completion of the meeting,the account executives will revisethe report according to any com-ments made at the meeting andE-mail or send interoffice copiesto all participants and their super-

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ClientBriefs Agency

Account ExecutiveWrites creative brief

Agency StaffReviews creative brief

Account ExecutiveCreative brief approved

Internal Start Up MeetingTraffic or AE Gathers:

ClientReviews creative brief

Rev

ise

brie

f

Revise brief

Account ExecutiveUpdates Status Report(s)

Copywriter Art Director Traffic ProductionMedia

Begin PlanningStage If Necessary

Critical Path - Step 1 - Starting the Process,the Creative Brief & Status Report

Traffic / ProductionOpen job number / Creates Schedule

Workflow - Step 1 - The Status Report and OrganizingClient Project InformationElement:

Keep your client information up-to-date with status reports and your reference books.

Actions:

The Account Group,

• Review and construct a detailedJob Plan by utilizing the agencybackgrounder/start up questionnaire.

• With the traffic coordinator,maintain the client status report.Keep a detail record of what youraccount is doing, by creating anddistributing a client status report.Use the below fields for creatingyour report:

1. Project Name

2. Job #

3. Insertion date,due dates or end date

4. Ad sizes/colors

5. Components/elements/quantity

6. Status—last task completed

7. Next steps for that week

8. Responsibility of team,team assignments

9. Status of estimate:To be developed,In development,With Client or Clientapproved, Completed,To be billed,Estimate, etc.

• Organize and keep referencebooks for the following items:- Client Estimates- Media Schedules, Plans &

Insertion Orders

- Examples of each piece of creative in hard copy format.

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• Traffic gets all internal department approvals.

The Schedule:

1. Schedule(s) should never be pre-sented to the client without priorapprovals from all departmentsinvolved.

2. Schedule(s) should be generatedonly by the production/trafficdept.

3. Since the schedule(s) are some-times developed before conceptdevelopment, it is very importantto keep in mind that the schedulemay need to be revised as theproject unfolds.

4. If traffic is missing pertinentinformation, it will delay thedevelopment of the schedule(s).

5. If the client, themselves miss anymilestone dates, the account execswill be alerted to possible sched-ule changes. Account execs willneed to alert the client that theend date will be jeopardized.

6. It is the account exec’s responsi-bility to explain to the client thatrequesting changes at specific stages of the job canimpact the final end date.

7. Traffic will alert all participants ifthey are needed to stay late orcome in early for reviewing mate-rial. If that person is not avail-able, they must arrange coverageand inform traffic, so as not tohold up the routing process.

Workflow - Step 2 - Schedules, Estimates & Due Dates;Creating a Plan of ActionElement:

Create a client estimate and internal schedule.

Actions:


• Account executive briefs trafficand production of a desired cre-ative due date(s), insertiondate(s), print delivery date(s) orstart-to-mail date(s). A pre-pro(pre production) meeting willtake place to review the work.

• The AE is responsible for gettingclient approval of the estimatesand schedules.

Traffic and/or Production,

• Production will generate an esti-mate, using the agency templatebased on information provided bythe AE on the Job Plan.The esti-mate is then routed for internalreview.

• Upon initial approval, the esti-mate is then entered into theaccounting package. The final

formal estimate is then circulatedfor final signoff.

• The approved formal estimate isthen presented to the client forapproval.

• Traffic (and/or production) prepares the schedule taking intoconsideration the needs of cre-ative production and client needs.

• The schedule is then distributedto the AE to present to the client.Once the client has approved theestimate and schedule, work willthen begin.

• Traffic will then distribute theschedules internally.

• Each step of the job is to bescheduled, including time forclient to make internal reviewsand obtain legal approval. All ofthe client’s responsibilities shouldbe bolded on the schedule. Keepin mind that the client will mostlikely review any schedules forapproval. He/she could use theinternal schedule or a condensedmilestone version.

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Workflow - Step 3 - Beginning New Creative Work;the Job Order & Approved Media Schedule FormElement:

Client approves estimate,and pre-approves media buys.

Actions:


• Responsible for client approval of the estimate, a signedmedia schedule form, and the appropriate start work / job plan form(s).

• Initiate and hold internal start-upand planning meetings.

• The account executive should create and distribute the prelimi-nary media schedules.

Creative & Production

• In regards to all jobs not coveredunder a fee based arrangement,no jobs should be started withoutsignoff of an approved estimateand/or media schedule.

• Upon client concept approval,the art director discusses execu-tion options with production.

Traffic

• Traffic is responsible for trackingall work internally, making suredeadlines are met within in eachdepartment (creative or produc-tion) in order to accommodatethe master schedule.

• Traffic will work with the creativedirector to determine availabilityof the account’s assigned lead cre-ative team or assign alternativecreative team if necessary. Thecreative team consists of an artdirector and copywriter and mayinclude an online or offlinedesigner. If an alternate team isassigned, the lead creative teamshould still be involved in theproject to provide input even ifthey are not the assigned team.

• Traffic has it’s own work orderforms and spec sheets using theinformation found on the accountgroup’s job request form. If needed they will consult withproduction to fill in any missinginformation.

• Traffic will gather all vital infor-mation and hard copies neededfor work to begin. This informa-tion will be tracked and placedwithin a “job bag or jacket.” Eachround of changes will be tracked(in the job bag AND recordedinto the accounting software) andplaced back into the job bag so ajob “history” can be created. Thejob history is vital in traffickingand keeping track of job informa-tion through the agency.

• In addition to keeping job bagsfor individual accounts, the trafficdepartment should create a mas-ter reference book for each clientthat contains approved examplesof the creative.

• Traffic will create it’s own mediaflow chart with the publication(s),space closing, material closing,size(s), colors, pub contact name,phone number, extension datesand key codes if applicable fromthe media plan. Production

should review and approve allsizes. The flow chart should routewith the job. A combined mediaand print spec form can be created and used.

• Inconjunction with the mediaflow chart, a insertion order bookshould be kept for each client.It is also helpful to keep a publi-cation spec book that is updatedregularly with the most frequentlyused publications.

• Upon job completion, the trafficdepartment should distribute afinal hard copy example of thecreative to the appropriateaccount team.

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Workflow - Step 3 - The Copy Writing (or Manuscript) Stage

Element:

Client approves estimate,and copywriting begins.

Actions:


• Responsible for providing thecopywriter with client materials.

• Initiate and hold internal start-upand planning meetings.

• Responsible for issuing detailedclient change orders to traffic.

Copywriting

• Copy is developed by the copy-writer. Copy works with creativein defining project parametersand creative concepting.

• Proofreading and final commentsshould be routed before circulat-ing copy to client.

• Upon final approval, copy willgive text to the art department.

Traffic

• Traffic is responsible for circulat-ing copy between the AE, artdirector(s) and CD.

• Traffic will record all clientchanges with the accounting software as change orders.

• Upon manuscript completion,the traffic department should distribute a final hard copy example of the creative to theappropriate account team.

Internal Routing

Copywriter

Art Director

Proofreader

Traffic

Creative Director

Rev

ise

Account Executive

Client

Copy Approved

Client InputAE Gathers info and distributes:

Copywriter Art Director Traffic Production CD

Rev

ise

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Workflow - Step 4a - New Creative & Art Direction

Element:

Starting the creative engine.

Actions:


• The account team generates a creative brief distilled from client information, prior back-ground notes, research or accountplanning and presents it to thecreative team.

• The account group meets withthe team to discuss the creativebrief, the project, and to discussthe timelines.

• The account manager is responsi-ble for all client copy and artapprovals. The AE sends theclient the artwork for approvalkeeping in mind the client submission guidelines. The AEwill give to traffic a copy of whatwas presented to the client.

Creative & Art Direction,

• Once the manuscript process isunder way, the CD will direct the

staff to develop designs based oncreative brief and approved copy.

• Be able to review work with CDprior to client meeting.

• Provide Traffic with a copy of theall the creative presented for thejob bag.

• Meet with the production staffbefore presenting creative ideas,to confirm production costs willremain within budget.

Production & Traffic,

• Traffic will circulate the layoutwith the final copy manuscript asbackup.

• Production will review the layoutto determine if a revised estimateor production spec sheet is neces-sary.

• Traffic will work with the AR toprepare the client submission tothe client requirements.

Client Input

Account & Creative Team Start Up Meeting

Art Director

Copywriter / Editor

Account Executive

Proofreader

Creative Director

Rev

ise

ProductionReviews & Begins specs & Prod Est.

TrafficMakes file & client copies

Account Executive

Client

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Copywriter

Proofreader

Creative Director

Account Executive

Art Director

Rev

ise

Revise

Traffic

Rev

ise

Client

Account Executive

Studio Artist

Proofreader

Traffic

Creative Director

Art Director / Copywriter

Rev

ise

Revise

Traffic

Presentation to Client

Creative Changes Mechanical Changes

Workflow - Step 4b - Revising Existing Creative

Element:

Approval of additional charges (if any), client, media and internalschedules.

Actions:


• Responsible for client approval ofadditional costs, an accuratemedia schedule form, and theappropriate change order form(s).

• AE reviews client changes, makessure changes are clearly markedon the complete layout.

Copywriter and Art Director,

• When the creative is receivedfrom traffic, the copywriterreviews the changes and thengives the changes to the AD,who oversees the revisions.

• The changes are made by the artdepartment then given to trafficfor circulation.

Traffic & Production,

• Traffic will circulate the changesfrom the account exec. Traffic willensure all change orders areentered into the computer system.

• Revisions must be clearly indicated on the reader. The artdirector should clearly indicate onthe file the revision number.

Account Executive

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Copywriter

Proofreader

Creative Director

Account Executive

Art Director

Rev

ise

Revise

Traffic

Rev

ise

Client

Account Executive

Studio Artist

Proofreader

Traffic

Creative Director


Rev

ise

Revise

Traffic

Present to Client

Creative Changes Supervised Studio Changes

Workflow - Step 4 - Revising Existing Creative in the Production StudioElement:

Approval of additional charges (if any), client, media and internalschedules. Assumes work to bechanged in simple in nature andthe art director has overall creativeresponsibility

Actions:


• Responsible for client approval ofadditional costs, an accuratemedia schedule form, and theappropriate change order form(s).

• AE reviews client changes, makessure changes are clearly markedon the complete layout.

Copywriter and Art Director,Production Studio,

• When the creative is receivedfrom traffic, the copywriterreviews the changes and thengives the changes to the produc-tion department, the AD oversees the revisions.

• The changes are made by theproduction studio then given totraffic for circulation.


• Traffic will circulate the changesfrom the account exec. Traffic will ensure all change orders areentered into the computer system.

• Revisions must be clearly indicated on the reader. The artdirector should clearly indicate onthe file the revision number.

Account Executive

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and quantifying research estimat-ing audience size and characteris-tics of the media choices availableto the planners.

• The Media Plan will include:

1. Target Audiences

The definition of the bestprospects by demographics, geog-raphy, and lifestyle. This informa-tion is gathered early in the plan-ning process and is most likelycompiled through a syndicatedresearch vendor like MRI.

2. The Competitive Scene

Information on competitivespending and media usage bydirect competitors, typically puttogether by either the accountgroup or in some cases the mediadepartment.

3. Primary and SyndicatedStatistical Research

4. Brand’s Past History

Positioning of the brand in itscategory with historic data onvolume and share, together withuser profiles, both demographicand lifestyle.

5. Seasonality Requirements

Information on seasonal varia-tions in consumer consumptionhabits or purchase behavior. Thisshould also cover category tradi-tion (timing of new model intro-ductions, clearance sales, holidays,etc.).

6. Geographic Factors

The whole pattern of historic andcurrent variation in both categoryand brand development, by mar-ket and region, leading to adjust-ments in weight across the totalgeography involved.

Workflow - Step 4 - The Media Plan

Element:

Create the media plan.

Actions:


• The account exec will work withthe media department to preparethe media plan. The plan shouldbe presented to the client with aclear-cut set of objectives to beachieved by the media expendi-ture. The plan should include ahighlight summary of the strategyor strategies to fulfill those objec-tives.

• The account exec is responsible tobrief the media department withas much information as possiblebefore it is created.

• The account exec and media staffwill make all continue to evaluatethe performance of the mediaplan if needed.

• The account exec will producemedia scheduling forms based on

the approved media plan and dis-tribute to the creative and pro-duction staffs.

The Media Department,

• The media planning staff will create a media plan that is specificand clearly states, but not limitedto, the following items: who themedia effort is intended to reach;whether broad reach or intensefrequency is of greater impor-tance; what seasonal factors mayshape timing and weight levelsacross the period of the mediabuy; geographic requirements;creative needs (print or broadcast,need for color, editorial enhance-ment, etc.).

• Typically, the media plan willinclude other important informa-tion such as, an update on currentadvertising activities for the prod-uct or brand, market trend infor-mation on the product or servicecategory involved, tracking data

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Client Input

Account GroupRequests Media Recommendations

Media PlannerMakes Recommendations

Account GroupReviews Media Plan

Production / TrafficReviews Media Plan if necessary

In House Approval

Rev

ise R

evise

Rev

ise

ClientReviews and Comments

Account GroupDistributes Approved Media Plan

Workflow - Step 4 - The Media Plan

Account GroupPresents Media Recommendations

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Typical Internal Proofing Sequences

Account ExecutiveWrites up changes

Traffic ManagerWrites up changes in System


Proofreader

Creative Director

Account Executive

Production / Traffic

Rev

ise

Revise

Traffic (file copy)R

evis

e

Client

Workflow - Step 4 - Internal Routing of Creative Comps or Production MechanicalsElement:

Routing internal creative,client or production changes.

Actions:


• For excessive creative changes, theaccount exec discusses themdirectly with the copywriter andart director in a meeting. Theappropriate creative or productiontraffic manager must be informedand present when comments arereceived.

• For simple copy changes, trafficcan go over comments on anexisting job with creative or thestudio staff if they are easy tounderstand and minimal.

• Mechanicals are not to beginwithout client approval of thecopy and layout. Changes must be encouraged at the initialcopy/layout stage since sequentialclient changes can easily escalateagency costs.

Traffic

• Creative changes and approvalsteps are repeated until final clientcopy/layout approval—at whichpoint the account exec will notifythe traffic manager, and theaccount exec will sign off andapprove going to the mechanicalstage.

• Traffic will organize “routing parties” when scheduling becomestight. However, the proofreadershould always be given time toreview the work on their own.

ClientCreative Changes

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Workflow - Step 4a,b,c - External Routing to the ClientElement:

Routing creative or media schedules to the client for approval.

Actions:

The Client,

• The client should be made awareof some important facts concern-ing their responsibilities inapproving creative or mediaschedules. That they are responsi-ble for approving the schedule,and will return the materials backto the agency in a timely manner.The agency shall remind theclient that if the materials are notreturned by a designated time,that the projects deadlines will bein jeopardy. The client should alsounderstand that the excessivechanges could cause the scheduleto be changed.

• The client must designate whowithin the organization may signapprovals and authorizations.Once an authorization has been

signed, changes can be made.

• All client comments and changesmust happen in a timely fashion.Otherwise it will effect changesin their schedules, due dates andcosts.


• Account executive is responsiblefor circulating the creative, layout,copy, artwork, storyboards,scriptsand media schedules directly tothe client and for gathering allinformation needed in order foradditional changes to be made, orto receive final approval.

• The account executive is alsoresponsible for getting thechanges back in a timely fashion,and to notify the client if thosechanges will effect the overallschedule, costs and due dates fortheir jobs.

• Although the account executivedoes get a “final signoff ” from theclient. The sign-off should not be

used as a way the agency isexempt for issues that arise afterthe client has signed off. Theaccount executive is responsiblefor ensuring that the client’schanges were made to the client’ssatisfaction.

Traffic,

• Client changes and approval stepsare repeated until final clientcopy/layout approval—at whichpoint the account staff will notifytraffic, and account exec will signthe “OK To Set/BeginMechanicals” stamp.

• All artwork, concepts and materi-als will be clearly marked to indi-cate to the client if the piece is inthe creative or mechanical stage,what revision number it is. Thisinformation should be recorded inthe mechanical (Quark) file nameas well.

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should indicate if art is stock sothat traffic will know what &when to return the art to theartist or what is to be filed awayin the central files.

• Retouched art will be reviewed ina “loose” matchprint or kodakapproval. The imager or produc-tion manager discusses the proofsdirectly with the art director andproduction. The creative directorshould also approve any majorcampaign creative work as well.Mechanicals, sizing for publica-tions, etc., should not be held upfor final art approval.

Workflow -Step 5 - Photoshoot & Art Creation

Element:

After client approves a creativeconcept, the art director makesfinal selects on execution style,photography and illustrations, ifany are to be used.

Actions:

Art, Design or Creative director,

• Art director selects the photogra-pher or artist. The art directorthen discusses with the produc-tion and account staff the costs ofthe artwork. I

• A photo schedule is then created.The Art Director must gothrough the production department for approval of alloutside costs.

• Art director, production and artbuyer coordinate schedule, costs,shoot(s) and/or illustration andinform traffic of status.

• Before the creative is presented tothe client, the art director shouldreview the work with the creativedirector for final approval.

• Account exec and/or art directorpresent final art selects/finalcomps to client for approval.

AE, Art Director, Production,

• Client approves art and trafficgives to production to beginretouching. If studio is handlingthe retouching, art director and/orproduction should discuss withthe imager together.

Production,

• Upon retouched art approval,production may release for filmand color proofs. The print production spec sheet should berevised as the artwork is beingcreated and completed.

• Production and/or studio returnsall art to traffic. The spec sheet

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Concept ApprovedPhotographer Selected

Estimate & PhotographerApproved

Pre-ProductionCasting, Location selection

Image ApprovalReview and Select Image

Client Approval of Selects

The ShootStudio or on Location

Image Proofing

Retouching Approval

Retouching

Workflow -Step 5 - Example of Production WorkflowStarting with Photography

Place Image in Mechanical

Composed Proof Approval

Rev

ise

Revise

Pre-Flight & Pre-Press

Produce Hi-Res PDF

Proof PDF file

Ship toPublication Printer

Continued above left

Bindery

Fulfillment

Mail

On-Press

Spot Check Mailing

Publication Prints

Check Ad in Publication

Continued

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• Inform the account staff andmedia department if the publication gives different information than what is on the media schedule.

• Include a copy of the releasedmaterials in the job jacket.

Workflow -Block 6 - Scheduling the Media

Element:

Client has approved the media plan - you can now create themedia schedule.

Actions:

Account Executive,

• Media Schedule Forms must befilled out with all complete infor-mation. Typical information onthe sheet includes the name ofthe creative, the publications thead is running, the size, the inser-tion date, the publication materialdue dates and indicate any specialinformation. Indicate if futureinsertions are pick up or new cre-ative. Missing information canmean missed deadlines.

• On odd media, the account staffshould meet with the creative andproduction teams to discuss theproduction issues.

• The media schedule should beupdated if the media buys changeduring the media plan.

• Insertion orders should bechecked against the media plan.

• It is the AE’s responsibility to fol-low up with the departments tomake sure you are meeting yourdeadlines. If the creative, copy orart materials come in late on yourtimelines, you must make surethat you change your mediaschedules to reflect a realisticdate to meet the publications’

closing dates.


• Review the media schedule andthe production timelines to con-firm that the media schedule isachievable.

• Call all publications to review ifthe media schedule is accurate,check for correct sizes, pub specsand deadlines.

• Follow up with the publication toensure that the materials havebeen received on time and will beinserted properly.

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• The mechanical will be circulatedto the AD, AE, Production, CDand Copy before it is submittedto the client for final review.

• Revisions to the mechanical willbe treated as with all client revi-sions and generate a client changeorder.

• Traffic alerts the art director ofthe “OK To begin mechanical”and requests that the final files bereleased to the production artist.It will be assumed for all projectsthat the studio will need torebuild the comp file unless theart director has already built it toproduction specifications and hasalerted traffic to this.

• Traffic hands over, in a routingfolder/sleeve, the signed “OK ToSet” stamped copy and layout,spec sheet, updated schedule, pur-chase order and folding dummy(for print) to the studio managerto begin creating electronic

mechanicals. If the job is com-plex, the art director may need tobe present as well.

• Routing is to the proofreader,copywriter, art director, creativedirector (if applicable), productionand to an account executive. Theaccount exec should always be lastso that all questions can beanswered. Mechanical reader,whether b&w or fiery, will haveart as FPO. Mechanicals shouldnever be held up for final art.

• Traffic repeats the above steps forany revisions or stamps themechanical with an “OK forDisk/Release to Production” or an“OK for Disk/Release to Pubs.”

• If the ad is sent as a pdf file tothe pub via email, a copy of theInsertion Oder (I.O.) should havebeen already faxed to pub(s). Iffilm is being sent directly topub(s), a copy of I.O. must beattached.

Workflow -Step 7 - Producing the Mechanical,Starting the Production ProcessElement:

Client approves the copy and layout and account executive alertstraffic that it is “O.K. to begin cre-ating mechanicals.”

Actions:

Account Executive,

• Revise your time schedules nowthat you can begin the mechanicalstage of your projects.

• The AE is responsible for provid-ing the traffic department with asigned off, client approved cre-ative.

• The account executive reviews thetime schedule and end dates.Communicates with the traffic &production department on anyscheduling changes needed.

• The account executive shall takeinto consideration the timeschedules of the art studio fortheir work and plan accordingly.

• All new work for mechanicalsmust go through traffic. This is to

ensure that the proper paperworkaccompanies the project and thatit will be logged in for billingpurposes. AE’s should not com-municate with the art studiounless traffic is informed.

• The AE is responsible for releas-ing internally approved mechani-cals to the client for final signoff.No mechanicals will be diskedreleased by the agency withoutfinal approval of mechanical.

• The AE provides the trafficdepartment with a signed off,client approved creative.

• The AE will present finishedmechanicals to the client forapproval. The AE will mark upthe Client comments and/orapproves on the mechanical(s).


• Traffic will circulate the mechani-cal to the studio artist, using thelatest back-up signed by theclient.

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Workflow -Step 7 - Producing the Mechanical,Starting the Production Process• There is a standard 2-day disk

(CD) release upon approval of aproject. If traffic is to give thedisk to production for release, stu-dio should provide traffic withtwo fiery printouts and prooffrom the disk. One can be givento traffic to route to proofreaderand account exec and then filed inthe traffic job jacket. The othershould be released to the printer(or client) with a copy of the diskdirectory and disk release form. Ifa folding dummy is required, itshould be included as well. B&Wis fine for the dummy. If the diskis released after hours, traffic willrun the output from the disk toproofreader and the account execfirst thing next morning to makesure that what was released wasindeed correct.

• Traffic keeps copies of backups,released mechanicals, disk direc-tory and disk release form in thetraffic job jacket.

Studio,

• The studio will not begin anywork before all pertinent info isgiven and there are no outstand-ing questions. Art directors mustlet traffic know where the filescan be easily retrieved, if theyhave not be given directly to theproduction artist.

• The production artist gives trafficprintout of mechanical(s) toroute. Mechanical should alwaysbe printed at 100% and on a lasernot a xerox copy. A “slug” indicat-ing the agency job number, studiojob #, pass #, file source, P.O.#and date must be on the reader.Traffic keeps the “OK To Set”copy and layout as the backup andattaches to the mechanical.Schedule and spec sheet areattached to the folder.

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Workflow -Step 7 - Final Review of Released Materials,

Element:

Film/Blueprints/MP review of finalreleased art for either a printedpiece or adwork for publication.

Actions:

Traffic/Production,

• After the disk is released for film(generally 3 working days) theproduction manager will reviewthe materials and submit them totraffic for agency circulation andapproval.

• Traffic circulates the materialswith the last client signed offmechanical hard copy.

• If the material is approved, thetraffic department makes a colorcopy of the material and thefilm/proof is sent to the client forfinal approval.

• The client must sign off on thematerial before printing or releaseto publication is possible.

• If the client or agency makes

changes, a change order is generated and materials are corrected if necessary.

• The production manager presentsthe materials to the agency (via traffic) for final review.

• Printed samples should be circulated within the agency for review.

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Workflow -Step 8 - Billing your Projects, Reconciling & Reviewing Account Profitability.Element:

The job is completed and needs tobe final billed.

Actions:


• Reviews the job edits, approvesover charges, signals undercharges and reviews with produc-tion to ensure all charges are inand job can be billed.

• Review the accounting report in atimely fashion to review whatnew jobs can be billed if possible.

• All Broadcast Production jobsshould be reviewed by theBroadcast Producer. All othersjobs including creative will go tothe Print Production Director.These departments review allcharges, make comments and signoff on all jobs.

• These accounting job jackets will then be returned to theAccounting Department.

• A copy of every invoice must goto the Account Group and to theProduction Director.

26


supervisors, the edits will then beplaced back into accounting foractions such as;Hold. Indicates job is still inprogress, hours are not over, donot bill, hold for next monthreview.Make Changes. Make changes asindicated on the bill. Adjust time,mark time that is not coded prop-erly, indicated adjustments inpreparation for final billing.Pull a report. Indicate foraccounting to pull a secondaryreport for reviewing outstandingpurchase orders or time.Close job to traffic. Indicatesthat there should be no furthertime placed onto this job, andthat by “closing the job to traffic”means that no further changeorders are allowed on this job.Ok to close & bill. Indicates thatthis job is ok to bill, no furthertime or expenses are going to bebilled to the job.Close & Kill. This indicates that

a job is no longer active, or wasonly opened for estimating pur-poses. A job can only be killed ifno time or expenses are on thejob. If there are expenses, thecosts must be marked as to wherethe costs should be transferred to.

• All changes to the “edits” will begroup reviewed and signed. Noparty should hold onto the editsfor more than 48 hours. Aprompt review process will allowtime for accounting to generatefinal bills for the month.

Monthly Billing ProcessBilling as a Team Responsibility

Element:

Monthly Billing Review. At thestart of each month, the accountingdepartment will distribute for rout-ing purposes a billing “edit” reportfor each individual job.

Actions:

The routing process:

• Do not close a media, broadcast,radio or print production job forbilling without confirming withthe appropriate department headif all costs are in. Jobs should notbe closed with outstanding costs.

• Within the first week of eachmonth, accounting will generate abilling summary sheet for eachindividual job, called an “edit,”they will then group them byproduct and client and distributethe “edits” for routing.

• Account Executives are responsi-ble for going through the reportsand marking each up each oneand passing the edits onto pro-duction. This must be done with-

in 2 working days of receiving theedits to ensure all jobs can bebilled by the end of the month.

• Production will have 48 hours toreview all charges, make com-ments and sign off on all jobs.The edits will then be returned tothe Accounting Department, whowill make the changes. This willleave time for a second round ofreview on any edits that need it.The Account Executive will thenhave 4 working days to approveany jobs in order to be billed thatmonth. They must sign theinvoices and return them to theAccounting Department.

• The Accounting Department willthen have the time to backup andcut final invoices, for final man-agement review to be mailed tothe client.

How edits should be marked;

• After the “edits” for the jobs com-plete their routing from theaccount group, production, and

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Pull a Report

Close job to Traffic

Ok to Close & Bill

Make Changes

Hold

Close & Kill

Review Job Billing “Edit”

Monthly Billing ProcessBilling as a Team Responsibility

AccountingPrints out edits

Account ExecutiveReviews Edits & Marks up

ProductionReviews Edits & Marks up

Reviews Edits & Marks up

AccountingProduces final invoices

Reviews and approves invoices

AccountingMakes changes or approves

Reviews and approves invoices

AccountingMails invoice

Rev

ise

To Client

AccountingReviews Comments

agency–workflow

and now the “short”

guide to how work

progresses in the agency...

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29

How an agency works © 2003 Ed Burgoyne

The Agency Workflow Pathand Condensed Workflow

Job Plan & Tactics

Start-Up Meeting

Begin Work

Revise Old Project

Schedule the Media

Produce

Bill

Create the Creative

Plan the MediaCreative ConceptingAudience Research, Refine if Necessary

Creative Brief

Market Research

The Brand PositioningAnalysis, Research and Positioning

Client Brief

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Workflow - Starting the Process & Information Flow

The client briefs the agency

• The account team creates andissues a meeting call report.

• Account begins to develop a creative brief.

• The account executive requests ajob number from traffic.

• Traffic issues a job number.

• Once the creative brief isapproved by all parties,a start-up meeting takes place.

• The account group requests anestimate from production.

• The estimate is routed &approved internally.

• The client approves the estimate,work begins.

Scheduling

• Traffic prepares the schedule andgets approval by the creative &production team before present-ing to the Account Group.

• The schedule is then approved by the AE and presented to theclient. Once the client hasapproved the estimate and schedule, work begins.

• Traffic then updates the masterschedule.

• Traffic is then responsible forupdating and maintaining theschedule.

The Weekly Status Meeting

• The account executive updatestheir weekly client status report.

• Weekly agency status meetingsare held to review client statusreports.

• Traffic updates master schedule toreflect changes given duringmeeting and distributes.

• Account team updates their statusreports.

Daily Hot List

• Traffic will distribute and main-tain a daily, “What’s Hot forToday” status email each morningto the agency. The night prior tothe day the hot list is issued, allteam participants, i.e. the accountteams, creative director, produc-tion, will provide input to thetraffic department with regard towork needed for the upcomingday.

• Although work is scheduled basedon the master status report, thehot list reflects any changes thatoccurs during the week. Teammembers can use it as a guide towhat work is being assigned tothem. If there is work that is noton the hotlist for that day, theaccount manager will be requiredto meet with the CSD andassigned traffic person beforework begins. No account management team member shall give out work without notifying traffic.

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Workflow - Work in Progress & Information Flow

Client approval of the estimate

• When the account group getsclient approval of the estimate or a signed media schedule accounting should be notified tobegin the invoicing process.

• The account group fills out a startwork - job plan form and initi-ates, if necessary an internal start-up planning meeting.

• Traffic will schedule all internalwork related meetings. An agencymaster calendar will be kept tomanage all meetings scheduled.

• Any jobs not covered under a feebased arrangement, should notbe started without signoff of anapproved estimate and/or mediaschedule.

• Signed estimates should be distributed to the production staff and the CSD.

Internal routing

• Traffic tracks all work internally,making sure deadlines are metwithin in each department (cre-ative or production) in order toaccommodate the master sched-ule.

• Traffic will work with the CD todetermine availability of theaccount’s assigned lead creativeteam or assign alternative creativeteam if necessary.

• Traffic will maintain a “job bag orjacket.” Each round of changeswill be tracked and placed backinto the job bag so a job “history”can be created.

• Upon job completion, the trafficdepartment should distribute afinal hard copy example of thecreative to the appropriateaccount team.

Internal approvals

When routing the agency work,please keep in mind that it takestime to circulate the work throughout the agency. If a key person isnot available to sign off on thework, notify the proper supervisoror account team to ensure thattheir is a replacement signature.

Key signatures for routing work:

Comps for internal presentation:• Art Director• Copywriter• CD

Comps for external presentation:• Art Director• Copywriter• CD• AE• Partner / VP

1st Mechanical or Preflight:• Studio Artist• Art Director• Copywriter• CD & or ACD’s • Production• Proofreading• Account Services

Revisions:• Studio• Art Director• Copywriter• CD & or ACD’s • Production• Proofreading• Account Services

Final Release:• Studio Artist• Art Director• Copywriter• CD & or ACD’s • Production• Proofreading• Account Services• Client

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Workflow - Work in Progress and the Creative Stages

The New Creative Stage

• The account group meets withthe team to discuss the creativebrief, the project, and to discussthe timelines if necessary.

• The AE is responsible for allclient copy and art approvals. TheAE sends the client the artworkfor approval keeping in mind theclient submission guidelines.Although work may be posted tothe agency FTP site, the AEmust view the posted work beforenotifying the client.

• Internal reviews are required priorto presenting work to the client.

• Traffic keeps a copy of all the creative presented for the job bag.

• Production meets with creativebefore presenting creative ideas,to confirm production costs willremain within budget. This canhappen at the creative reviewstage.

The Copy Stage

• The AE provides the copywriterwith client materials, holds astart-up meeting if necessary andnotifies traffic of client changes.

• Copy should be proofread and routed internally before circulating to the client.

• Upon approval, copy will providetext to traffic and will forward tothe art department.

Revising Existing Creative

• The account group is responsiblefor client approval of additionalcosts, an accurate media scheduleform, and the appropriate changeorder form(s).

• Prior to handing the changeorders to traffic, the AE reviewsthe client changes, makes surechanges are clearly marked.The account manager shouldreview their changes with thetraffic manager prior to the handoff. The traffic manager will makesure all corrections are under-standable before handing over tothe staff for changes.

Copywriter and Art Director,

• When the creative is receivedfrom traffic, the copywriterreviews the changes and thengives the changes to the AD,who oversees the revisions.

• The changes are made by the artdepartment then given to trafficfor circulation.

Routing to the Client

• The client should be made awareof some important facts concern-ing their responsibilities inapproving creative or mediaschedules. That they are responsi-ble for approving the schedule,and will return the materials backto the agency in a timely manner.The agency shall remind theclient that if the materials are notreturned by a designated time,that the projects deadlines will bein jeopardy. The client should alsounderstand that the excessivechanges could cause the scheduleto be changed.

• The account management staffmust get approval from the trafficmanager or CSD for changes thateffect the existing schedule. It isalways more prudent to get backto the client with a realistic dead-line than provide one that you areuncomfortable with.

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Workflow - Work in Progress - Creative to Mechanical

Client approval of creative

• The Account executive is respon-sible for circulating the creative,layout, copy, artwork, story-boards,scripts and media sched-ules directly to the client

• Although the account executivedoes get a “final signoff ” from theclient. The account executive isresponsible for ensuring that theclient’s changes were made to theclient’s satisfaction.

• Client changes and approval stepsare repeated until final clientcopy/layout approval—at whichpoint the account staff will notifytraffic to begin mechanical.

• A “prepro” or preproductionmeeting will be scheduled prior tothe layout being turned into amechanical.

Executing the creative

• After client approves a creativeconcept, the art director makesfinal selects on execution style,selects the photographer or artist.The art director then discusseswith the production and accountstaff the costs of the artwork.

• A photo schedule is then created.

• Art director, production and artbuyer coordinate schedule, costs,shoot(s) and/or illustration andinform traffic of status.

• Client approves additional costs ifnecessary.

• Photoshoot or stock art is pur-chased and retouching begins.

• Retouching is approved internallybefore presenting for lientapproval.

Scheduling the media

• The Media department producesthe media schedule based uponthe clients needs and theapproved internal schedule.

• It is the AE’s responsibility to fol-low up with the departments tomake sure you are meeting yourdeadlines. If the creative, copy orart materials come in late on yourtimelines, you must make surethat you change your mediaschedules to reflect a realisticdate to meet the publications’closing dates.

• Traffic will call all publications toreview if the media scheduleinformation is accurate.

• Traffic will follow up with thepublication to ensure that thematerials have been received ontime and will be inserted properly.

The mechanical Stage

• The AE gives traffic a signed offcopy of the creative and retouch-ing.

• Production produces the mechan-ical based on the production specsand the mechanical is circulatedinternally until all parties approvethe mechanical.

• The AE is responsible for releas-ing internally approved mechani-cals to the client for final signoff.No mechanicals will be diskedreleased by the agency withoutfinal approval of mechanical.

• Revisions to the mechanical willbe treated as with all client revi-sions and generate a client changeorder.

• The studio will not begin anywork before unless there is asigned production estimate.

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Workflow - Final Review and Approval

Final review of materials

• Traffic will circulate any finalproofs or materials with the lastclient signed off mechanical hardcopy.

• When the material is approved,the traffic department makes acolor copy of the material and thefilm/proof is sent to the client forfinal approval and shipped to thevendor.

• The client must sign off on thematerial before printing or releaseto publication.

• If the client or agency makeschanges, a change order is gener-ated and materials are corrected ifnecessary. If the agency is goingto incur additional cost, the clientmust be notified and the costsapproved by the client.

• Printed samples should be circu-lated within the agency for reviewbefore the materials are shippedto the client.

agency–workflow

general

agency concepts

b

36


Agency BasicsMeeting Types and Definitions

Project Start Meeting It is the very first internal meeting,where everyone is made aware of anew project. This is an informa-tional meeting where the team isbriefed of the project, staff mem-bers will work together to gathermaterials for the next two meet-ings. This meeting is often com-bined with the kickoff or Strategymeeting.

Strategy / Brainstorm MeetingAfter we’ve been briefed, we meetinternally to discuss the brief, ourpreliminary thoughts, potentialopportunities, etc. Discuss prelimi-nary schedules and budgets andassign estimating duties. Thismeeting may develop a communi-cations brief that will be presentedto a client.

Kick-Off MeetingAfter the Communications Briefhas been presented and approvedby the client, meet internally for ajob kick-off.

Media and Production MeetingsThese meetings occur throughoutthe concepting/planning stage.They are meant to encourage col-laboration and communicationbetween the media department andthe creative services department toensure the agency will meet budg-ets and deadlines.

Internal Approved Concept Presentation MeetingAfter the creative/media conceptshave been internally approved, theagency meets to share concepts andtalk about what needs to happenbefore we present those concepts tothe client. (i.e. revised estimates orpresentation strategy)

Internal Debrief of Presentation to ClientBecause all departments do notattend the client presentation, it’simperative that the team meetsafterwards to debrief everyone, andspecifically discuss next steps.

Pre-pro(duction) MeetingOnce the concept is approved, theteam meets to discuss the produc-tion strategy and issues on how theconcept will be executed. Based onthe discussion the mechanical stageof the project will begin.

Preflight MeetingPrior to the final mechanical beingcreative, the team comes togetherto discuss and review productionspecs or issues before the final filesare released.

Broadcast Traffic MeetingOnce the media buy and rough cutsare approved by the client, meet toreview the media buy, Guidelinesfor Broadcast Traffic, andBroadcast Traffic Instruction Forms internally.

Internal Project ReviewAt the end of a project, the teammeets internally to review theentire project. The team will reviewthe original strategy, the full cre-

ative campaign, media components,etc. Discuss the cultural relevanceand cultural impact of the cam-paign. This includes looking atresults; quantitative, qualitative oranecdotal evidence of the cam-paign’s impact. Some of theseresults may come from clientsales/share/ratings reports, whileother examples may be seen on thestreet or picked up organically bysit-coms, music, movies, etc. Wewill review the schedules, discussany problem areas, celebrate suc-cesses, and figure out what we cando better the next time around.

Internal Debrief of Client Project ReviewBecause all departments do notattend the client project review,the team will meet afterwards todebrief everyone.

37


• Make sure that you properlyrecord the correct job number andtask on the time sheet. Be awarethat the time you put on yourtimesheet becomes a record thatwill be used and in some cases,shown to the client.

• Avoid having the staff use any“fee” or “catch-all” job numbers, itis easier to justify and negotiateadditional costs with a client if aclearer record of how time isspent on individual jobs duringthe month. This can be an invalu-able tool for estimating futurejobs or reporting clear overs orunders to a fee based client.

• Time spent on meetings shouldbe applied to the jobs discussed.In some cases another projectnumber will be given to theagency for time spent on clientmeetings.

• Travel time to a client or forclient business is billable.

• Studio staff should have close to85-95% of their time as billable.

• Non-billable time would include,time spent working on new business plans, administrativetime, company meetings,company promotional projectsand time off, such as sick,personal and vacation time.

Agency Basics,The Dreaded, but Essential Time Sheet

Whether the agency works on a fee or project basis, the way theagency makes money is by calculating how many hours the job will take to complete the giventasks. The agency becomes prof-itable when a fair amount of hoursare estimated and a fair an accurateamount of time is used and billedto the client.

Although the agency can have aidea of how many hours a job maytake to complete, it is still an esti-mated amount of time. Therefore itis in the agency’s best interest to beaware of the amount of time beingaccrued to a job. Time sheets andtime/task recording are the funda-mental source of determining therevenue that the agency earns. Itprovides important financial,administrative and managerialinformation. Time entry can showand compute staff time charges foreach of the clients, ascertain indi-vidual or group utilization and to

analyze the profitability of clientrelationships.

Therefore, the agency should fol-low some simple guidelines forrecording and tracking their time:

• Time sheets should be done dailyand handed in at the end of theday (or entered into your agenciesaccounting system) before 10A.M. the next morning. Thesooner timesheets are done,the more accurate and fair they will be.

• Time sheets should record a setamount of billable time each day,minus the time for a lunch break.For each work day, a goal of 7.5hours of billable time should bemet. Bill in quarter hour units.

• If someone works early, late, or onthe weekend, the time should berecorded for the additional hoursworked for that day. If you work11 hours for one day, record thetime spent.

38


Agency Basics Keeping Track of Spending

Out-of-pocket or OOPs, areexpenses that come in two forms.One, where goods and services arebought outside of the agency forthe sole use of the client, andaccordingly, must be billed to theclient. Two, where goods and services are bought outside of theagency for use solely by the agency.

Both forms of expenses, however,should be tracked and approvedprior to purchasing. For ourclients, we are contractually obligated to have prior approval,and clients have the right to refusepayment if the costs exceed thepre-approved amount. For internalcosts, the agency needs to keeptrack of what it spends.

Approval of purchases starts byissuing a purchase order requestthat will initiate an approvalprocess and a generation of a purchase order. In many cases, theproduction/media manager for theagency can issue approval and

purchase orders on behalf of theclient/agency by confirming theagency has a signed agreement orestimate from the client the coversthe costs on the purchase orderrequest.

Costs for the agency should only be approved by the assigned supervisors and acquired by issuinga purchase order generated by theaccounting department.

39


Agency BasicsSetting Hourly Rates

In the past, traditional agencymanagement felt that their com-pensation for their company wouldbe higher if they convinced theirclients to hire them on a fee basis.

Recently their has been a trendtowards alternative agency/clientcompensation.

However, in most cases, agency’swill still use a fee system that iscomprised of an estimated cost thatcalculates X amount of hours at anhourly rate of Y. Although anagency fee might be comprised ofmultiple hourly rates for individualstaff members, one way to reduce,or discount the hourly rate, is totake the average hourly cost for thestaff (or what is often referred to asa “blended” rate) and apply thatcost to all of the estimated time.

Although the blended rate is oftenused, the agency will still set out todetermine the individual rates foreach staff member.

Agencies will often not have thesame internal calculated rates, sinceeach business will have it’s ownunique overhead and salary coststhat would apply to only that com-pany. However, agencies centeredin certain geographical locationsmay have rates that are comparable.

This standard for configuringagency/client fee agreements isoften based on the number ofFTE’s assigned to the client’saccount. One FTE stands for“fulltime employee equivalent.”

Billable Hours

Before we can review the formulas,we first need to determine thenumber of billable hours for yourstaff. We start with the number ofbillable hours in a year. In a normalwork week you have 40 hours.(However, if you discount one hourfor lunch you have 35 hours.)When you multiple the 40 hoursby 52 weeks a year you get 2080hours per year.

Now we adjust the total hours toarrive at the billable hours. Thiscompensates for the fact that someof the time we are sick or on vaca-tion or taking the day off for July4th or Christmas. Naturally, wewould still like to be paid for thosedays, even though we can't bill forthem. So we have to look at justthe number of billable hours wereally have. Traditionally, ad agen-cies have reduced 2080 to 1600 anduse a number between 1600 and1400 that will be used as the stan-dard number of billable hours.

Remember, the larger the numberof base hours, the longer it takesfullfill those hours. A higher hourlyrate and a low count can equal alower hourly rate with a highercount.

When calculating the total numberof billable hours, you may want toconsider what percentage of a par-ticular person’s time is billable.Although a creative or production

person may be 100% billable, anaccount executive working on newbusiness or administration personmay not be. Industry average ofbillable time seems to be around60% to 80% billable. However, Irecommend that you set a goal of1600, which is close to the 80%billable figure of 1664 hours.

Calculating Overhead

Next, we must look at the real costthat each person represent to thebusiness. That is, not just the per-son’s salary, but any associated over-head that the business incurs. Thiswould include some personnelrelated expenses such as employershare of payroll expenses or self-employment tax, health insurance,disability, life insurance, and other"non billable" expenses that arevital to the business. Other thingsin this category may include theprorated cost of computers, andother office equipment and fur-nishings as well as a prorated cost

40


Formula 1- Quick Overhead Calculation

A quick way of determining hourlyrates for staff members is by usingthe formula below. This formulaover-simplifies the calculation ofoverhead, by simply stating that thepart of the agency’s overheadassigned to the individual is equalto that person’s salary plus 20%.(Only use this percentage if it cov-ers your costs for the person’s bene-fits, insurance and annual bonuses.)

In order to figure out the hourlyrate, you first need to determinethe number of billable hours forthat person.

Next take the annual salary andadd 20% (for the cost of benefits),and double the costs for your over-head. Take that number and add 0-40% for your agency profit. Dividethe total number by the number ofbillable hours and you will get toyour hourly rate.

Example A:

Person’s salary is $50,000,multiply & add 20% = $60,000,multiply by 2 = $120,000,multiply & add 20% = $144,000divided by 1600 hours = $90 an hour.

Example B:

Person’s salary is $75,000,multiply & add 20% = $90,000,multiply by 2 = $180,000,multiply & add 20% = $216,000divided by 1600 hours = $135 an hour.

Formula 2- Hourly Rate By Factor

And even quicker formula is totake a person’s salary multiply it bya factor.

By multiplying a person’s salary by2.5you will get the cost of the per-son’s salary, benefits and overhead.Multiply it by a higher number toadd in your profit. For example if

Agency BasicsSetting Hourly Rates

you take the person’s salary andmultiply it by 3 you get the totalcosts plus a 20% profit ratio. Ormultiply by 3.5 to get to a 40%profit ratio.

Once you decide on your factormultiply that number to the salaryand divide the entire number bythe number of billable hours to getthe hourly rate.

Example A:

Person’s salary is $50,000,multiplied by 3 = $150,000,divided by 1600 hours = $93.75 an hour.

Example B:

Person’s salary is $75,000,multiplied by 3.5 = $262,500,divided by 1600 hours = $109 an hour.

Formula 3-Let your accountant help decide.

The quick and easy formulas havebeen used in agency’s for a longtime, however nothing beats havingyour accounting doing some home-work and actually calculating youroverhead so you can properly applyit in figuring your hourly rates.This is important, since all agencieswill have varying overhead costsdependent on their rent, leases,electric, administration costs and soon. Feel comfortable at night byhaving this done. It will give youthe most accurate basis for deter-mining which final formula youuse.

Finally - Calculate your AgencyBlended Rate for your client’s indi-vidual needs

41


Agency compensation is based on a formula that in general tries tocover the amount of time theagency is going to spend on theclient’s business. Although theagency may get commission onmedia or production purchasing, oreven additional income from thecreative services area, the fee is themain form of agency compensation.

Earlier we mentioned how theagency might figure out it’s hourlyrate and the amount of chargeablehours an employee is billable. Thisrate multiplied by the hours isequivalent to one agency FTE bill-able cost. (Keep in mind that theFTE doesn’t mean you are lockedinto a dedicated staff member, theFTE is used as a time equivalent.)

Here are some examples of feearrangements that vary hourly ratesand overall billable hours per FTE.

In some cases, it may be better tolower or raise your rate dependingon the amount of hours you thinkwill be billable to the client.

For example, if the agency thinksthat they will need 5 people on theaccount (5 FTE’s) for one year,then the cost would be figured outby the following:

Fee Formula:

Agency blended rate = $175 an hr.

Agency billable hours = 1400 hrs.

1 FTE = $245,000.

5 FTE’s = $1,225,000 yearly fee.

or about $102,000 a month,

or 7,000 billable hours a year.

Agency BasicsFTEs and Agency Fee Compensation

For example, if the agency thinksthat they will need 5 people on theaccount (5 FTE’s) for one year,then the cost would be figured outby the following:

Fee Formula:



1 FTE = $320,000.

5 FTE’s = $1,600,000 yearly fee.



For example, if the agency thinksthat they will need 10 people onthe account (10 FTE’s) for oneyear, then the cost would be figuredout by the following:

Fee Formula:



1 FTE = $320,000.

10 FTE’s = $3,200,000 yearly fee.



or the reverse,

Client’s budget is $3,000,000 yr.

1 FTE is equivalent of 1600 hours


1 FTE = $320,000

which equals 9.375 FTE’s.


42


In many cases additional forms ofcompensation will be made to theagency that is on top of the agencyfee. This compensation may be inthe form of commissions on production or media purchases,charges for the agency’s creativeservices department or other formsof agency charges.

Commission

Dramatic changes in agency com-pensation have occurred over theyears, “According to the 2004 ANAAgency Compensation survey, a mere10% of the 112 major advertisers surveyed said they still pay commis-sions, down from 21% in 2000.Nearly three quarters (74%) rely oneither fixed/hourly fees or a blendedcompensation model that includes fees and commissions (8%).”(Source ANA Press Release)

However, in the past, agencies have traditional been able to charge acommission on out-of-pocketclient costs in relation to media orproduction (print) purchasing.

Although there has been a trendaway from charging commission,agencies will strive to do what isfinancially in the best interest ofthemselves and their clients.

Some agencies increase their ratesto compensate for the loss of commission, where some agencieshave gone completely away fromcharging them.

In the past the traditional rate ofcommission on print or productionrelated purchasing was .17625%and varies from 0% to 20%.Production commission is traditional charged on outside vendor bills for items such as scans,art purchases, color house work,printing and manufacturing.

Media commission has also variedfrom 0%, 3%, 5%, and up to 15%.

Media commission is traditionalcharged on purchasing advertisingspace in print, out-of-home, broad-cast and other mediums.

Agency BasicsAlternate Forms of Compensation

Services not normally included in the fee.

Fee agreements should be very spe-cific about what types of servicesthe agency will provide, and addi-tional services not provided in thefee will then be estimated andbilled to the client on a project byproject basis. This may be typical of clients who originally asked for traditional ad campaigns, but notinternet related work or perhapsPR or research related projects.

Creative Services (Production &Studio Services compensation)

Traditionally, agency fee compensa-tion included all staff membersrelated to the clients work minusthe production studio. In someagencies, sperate production esti-mates will be created for the clientto include hourly or flat ratecharges for studio mechanicals,proofreading, color copies, final filecreation, final file releases, discs,programming and more.

And in a few circumstances, theproduction estimates may includeproduction management and traffic or project management.

Trends

There has also been a trend foragencies to bring traditional colorhouse related work inhouse. Thisenables the agency to charge forcolor house related items that itwould have normally passedthrough as out-of-pocket costs.These production services mayinclude high resolution scans,retouching, proofs and final filecreation and releasing.

To read more about trends inagency compensation, read the new2004 ANA Compensation report,available at the ANA bookstore at:www.ana.net

The AAAA also has a variety ofagency compensation related publi-cations available at www.aaaa.org

group-account

How to initiate,

track & bill your job.

b

44


The Account Group

Account Services, which includesthe a vp or account service director,account supervisors and accountexecutives, is the link between theAgency and its clients. AccountServices plays the lead role indeveloping strategic direction forall accounts/projects, in being theAgency’s advocate with our clientsand in being our clients’ advocate atthe Agency. Account Services alsohas P&L responsibility for allaccounts, as well as responsibilityfor forecasting revenue and meetingrevenue/profit goals.

Account management roles include:

Ongoing management of the account

• Brand stewardship, navigation,architecture.

• Project leadership• Day-to-day management

of the account• Budget management• Ongoing market / competitive

analysis

• Coordination, analysis and integration of research

Quarterly Client Reviews

• Business performance• Financial performance

Hours vs. retainerProduct budget recap

Relationship Performance

• Strategy• Creative• Media• Production• Research

Points of Client Contact

• Daily status update email/phone• Responsibility as point person

45


The Account GroupMeeting Call Reports

All client meetings/calls concerningmajor decisions, budget informa-tion, nextstep changes discussed,require written call reports to bedistributed within 48 hours afteryour meeting. Please distribute thenotes to all attendees & depart-ment heads; your production,media and creative teams. Thesereports should also be issued for allmajor client/agency discussions,and internal planning meetings.Without these reports the differentdepartments will work in oppositedirections.

It is the account groups’responsibility to make sure allagency and/or client parties areinformed.

The Account GroupStatus Reports

The Account Group is responsiblefor maintaining status reports oneach individual client.

They should reflect all of your openjobs, new work and work thatneeds to be billed.

Each status report should reflectthe following information on all ofyour jobs: Job # & Name, Status ofthe Job, Next Steps and Milestone(deadline) dates.

The status report should be updat-ed once a week. All account execu-tives will review major points ontheir status reports at the Mondaymorning status meetings.

If you are unavailable to attend, youmust have an account manager whois to represent your account at themeeting, prepared to go over youraccount status.

If your client’s work status haschanged during the week, it is yourresponsibility to inform the various

departments and individuals. Donot assume an e-mail is the bestformat to transfer important information. A verbal verificationensures understanding. ALL work-related changes should bereported on a Job Change Formand distributed.

If needed, you should call a separate meeting for jobs requirefurther detail.

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The Account GroupInitiating Work

All new projects and projectchanges must be recorded on aproject initiation form. To open ajob there must be written input.A face-to-face meeting meetingbetween AEs and the creative and production teams before starting any decent size projects is mandatory.

When communicating with theclient it is helpful to refer to theagency “backgrounder” question-naire to better help you ask all thequestions needed for starting aproject. This form can be sharedwith the client so that they knowwhat information the agency needsin order to get a job started.

Without the project initiationform, or job plan, no one will havea record of your changes or yourrequest for work. This form mustbe given to the appropriate produc-tion, media, creative team, andaccount planning (when it’sresearch-related).

E-mails are not the appropriatemedium for job changes.

No verbal job requests.

All work for your clients, research,new business, media, creative andproduction require this form to befilled out.

Work initiated for creative,Fill out all parts of the creativebrief on the form in order for yourjob to start. Meet face-to-face withthe creative person/team if possible.For all new or major revision jobs,you are required to have a start-upmeeting.

Work initiated for production,Upon approval of an ad or project,the Account Group is responsiblefor setting up a pre-productionmeeting with all parties involved.

A copy of the approved creativemust be stapled to the project initi-ation form and handed to produc-tion. It is important that theapproved version of the creative be

handed to production with signed-off approvals. This will avoid errorsin picking up wrong creative files.

Account Executives should nevercommit to a deadline without con-sulting with Creative & Productionfirst. Client deadlines have a directimpact on cost and quality.

All Project Initiation Forms mustcontain key due dates, budget,quantity, size, color, pub/site list,media recommendation/informa-tion (including contacts, if there areclient-dictated or non-standardpublications), technology informa-tion, specifications, shipping infor-mation, and any other importantpieces of information that wouldaffect the use of the final producedmaterials and how this would affectthe method of implementation.

The Account Group must alsoissue Media Schedule Forms toorder Media space.

It is vital to give Production andtraffic a copy of each approvedMedia Schedule Form.

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The Account GroupAE Internal/Client Status Report Example

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The Account GroupThe Project Initiation Form Example

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The Account GroupThe Media Plan

The media plan is a documentand/or presentation that starts witha clear-cut statement of objectivesto be achieved by the media expen-diture. Commonly, it includes ahighlight summary of the strategyor strategies to be employed to ful-fill those objectives. The plan isbased on an allocated budget for aspecific period of time.

The media plan is a specific, logicalstatement that clearly sets out anumber of factors, including, butnot limited to the following: whothe media effort is intended toreach; whether broad reach orintense frequency is of greaterimportance; what seasonal factorsmay shape timing and weight levelsacross the period of the media buy;geographic requirements; creativeneeds (print or broadcast, need forcolor, editorial enhancement, etc.).

Typically, the media plan common-ly calls on a considerable, in somecases extraordinary, range of infor-mation. This will include an update

on current advertising activities forthe product or brand, extensivemarket trend information on theproduct or service categoryinvolved, and a wealth of trackingdata and quantifying research esti-mating audience size and charac-teristics of many of the mediachoices available to planners.

For example, a comprehensivemedia plan will collect and analyzemany of the following:

The Competitive Scene

Information on recent tracking ofspending and media usage by directcompetitors and, if appropriate, sig-nificant indirect competitors. Agood media plan will give an over-all assessment of the competitivescene, as well as an analysis by keyprice points, geography and season-al segments.

Brand´s Past History

Positioning of the brand in its cate-gory with historic data on volumeand share, together with user pro-

files, both demographic andlifestyle. In many larger-scale con-sumer categories, sub-sets by fre-quency of purchase or volume ofusage are also included. If appro-priate, information on pricing,packaging, distribution, and othermarketing components are includedwhere they might be significant inshaping the media effort.

Target Audiences

The definition of the best prospectsby demographics, geography, andlifestyle. The unique characteristicsof heavy users and brand-loyalusers are important here as clues tosharpen targeting as accurately aspossible.

Primary and Syndicated Statistical Research

Market and media tracking statis-tics are used to provide numericaldetail for trend analysis and formatching up consumer profiles tomedia coverage patterns. Indexes ofconcentration are normally used

here to highlight differences amongthe choices.

Seasonality Requirements

Information on calendar variationsin consumer consumption habits orpurchase behavior. This should alsocover category tradition (timing ofnew model introductions, clearancesales, holidays, etc.) as well as thetiming of promotions beyond obvi-ous climactic conditions.

Geographic Factors

The whole pattern of historic andcurrent variation in both categoryand brand development, by marketand region, leading to adjustmentsin weight across the total territoryinvolved.

The culmination of the researchphase results in choosing specificspace units, frequency, demograph-ics and overall budgets. Media mayselect one publication versus anoth-er due only to a lower cost per pub,or they may schedule fewer publi-cations in a more costly publication

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that has a better reach in theclient’s market.

Once the plan is completed, themedia planner will create a mediagrid, that will translate each spaceunit into a dollar unit and total theestimated costs for each publicationon the plan, and a grand total forthe entire plan. This plan is thenpresented to the client.

The Account GroupThe Media Plan

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The Account GroupThe Insertion Order

The insertion order is the formthat the media department gener-ates to tell the publication that itmust schedule a specific advertise-ment, for a specific date, for a spe-cific size or unit. It will also specifythe ad’s position, and the subject orname of the creative. An ad num-ber, or job number must also beincluded on the form that matchesboth the creative proof guidelineand the insertion order ad number.

This form must accompany thepublication materials when they aresent to the publication. Withoutthis form, your pub materials willsometimes be ignored and you canmiss your run dates, since it takestime for communication to flowthrough the publication.

The insertion order should saywhich reproduction material isbeing sent. If you send a copy ofthe form via fax, you must always

send a proof of which ad is to run.The insertion order should alsocontain any notes should the mate-rial require special attention.

If the publication is picking up anold ad, you still need to send thepublication an insertion order. Thepublication should also be called tosee if they can still use the materialthat was sent previously. There is aset amount of time, that variesfrom publication to publication, inhow long they will hold advertisingmaterials.

The Account GroupMedia Schedule Forms

Media Schedule Forms must befilled out with all of the informa-tion on the sheet. If the media andproduction departments do nothave the full information filled outon the forms, your deadlines mightbe in jeopardy due to lack of infor-mation. It is your responsibility towork with the media department tomake sure that these forms matchthe media schedule. It is the AE’sresponsibility to follow up with thedepartments to make sure you aremeeting your deadlines. If the cre-ative, copy or art materials come inlate on your timelines, you mustmake sure that you change yourmedia schedules to reflect a realisticdate to meet the publications’ clos-ing dates.

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The Account GroupBilling

You cannot close a media, broad-cast, radio or print production jobfor billing without confirming withthe appropriate department head ifall costs are in. Jobs should not beclosed with costs still floatingaround.

The Accounting Department willissue a report on all open jobs toeach Account Executive within thefirst 3 working days of the month.

Account Executives are responsiblefor going through the reports andmarking which jobs can go to editor hold status, and return thisreport to the AccountingDepartment. This must be donewithin 2 working days to ensure alljobs can be billed by the end of themonth.

The Accounting Department willissue edits for those jobs AE’srequest and attach job jackets forapproval. All Broadcast Production

jackets will go to the BroadcastProducer. All others will go to theProduction Director. These depart-ments will have a week to reviewall charges, make comments andsign off on all jobs. These jacketswill then be returned to theAccounting Department, who willthen arrange jackets by client andgive these to the AccountExecutive responsible. AccountExecutives have 4 working days toapprove any job in order to bebilled that month. They must signthe invoices and return them to theAccounting Department.

The Accounting Department willthen have 1 week to backup andcut final invoices to be mailed tothe client. A copy of every invoicemust go to the Account Group andto the Production Director.

The Account GroupEstimates

Estimates are based on the infor-mation you provide. You areresponsible for getting all pertinentinformation to the production,media or broadcast department sothey can generate your estimate.

Every production estimate must besigned by yourself, the productionand account directors.

Please be wary of job cancellationson your projects. If a job gets can-celled, please review your costs tosee what charges (internal or exter-nal) if any, can be billed to theclient.

The estimates may include suchitems as photography/illustrationfees and expenses, model fees, sets,styling, photo lab work, retouchingor color separations, duplicatematerial, quantity proofing, as wellas miscellaneous productionexpenses. Some of these estimatefigures may come from vendors’

price lists; others may constituteestablished agency experience aver-ages; still others may represent theresults of supplier estimates orcompetitive bids.

For print collateral work, that theagency is not producing, it is theagency’s practice to pull at least oneset of digital proofs (KodakApprovals) before going to the finalfilm stage. This digital proof isthen marked up and sent to theprinter along with the artwork onyour disk. Your collateral jobsshould reflect this charge.

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Start of creative work May 28Layout and copy approval date June 8Preproduction / Bidding / Estimate June 12Illustration / Photography Start June 17Illustration / Photography Finish June 30Selects / Art Approval July 2Start Retouching date July 3Start First Mechanical date July 5Retouched artwork and mechanical finish date July 9Final client art approval (if needed) July 12Preflight / Prepress Mechanical July 13First proofs / Mechanicals ready to ship July 16Duplicate publications’ mechanicals started (if needed) July 17Additional Approvals July 21Shipping date of all publication materials July 28

For a color advertisement, scheduled to appear in several magazines closingon August 1, such a plan might look like the following example. (Note thatnot all calendar days are working days.)

timespan, which usually results incostly overtime payments to suppli-ers, besides creating quality prob-lems. In the labor-intensive graphicarts field, time truly meansmoney—our clients’ money.

Magazine closing dates are nor-mally 6-10 weeks prior to the issuedate, while newspaper supplementsclose 4-6 weeks before publication.Daily newspapers have closings of1-3 days. Frequently, an entire pro-duction schedule will have to bepressed into a shorter-than-normal

The Account GroupTypical Timeline

closing date from the publication,and help to create a smooth work-flow.

So that creative and productionsteps may be executed with preci-sion, a time schedule must beplanned at the outset. It shouldwork backwards from the closingor final delivery date when allmaterial must arrive at the publica-tion, or printed pieces arrived tothe client.

The next major steps in the pro-duction of a print ad, collateral ordirect mail are the estimating, bid-ding (if applicable), scheduling, andordering of photographic or illus-trative artwork and its preparationfor reproduction.

Decisions on who who will bedoing the retouching and scanningare just two areas that requirecooperation between your creativeand production groups that caninfluence effectiveness.

Planning your project:Print production estimates are bestprepared after your client hasapproved the layout and copy concept of an advertisement or anentire ad campaign, collateral ordirect mail.

Be mindful of your deadlines. Ifyou know a job milestone is goingto be missed, please make everyoneaware. With such tight deadlines,each missed date means that theagency can very easily not make amedia deadline.

The continuous liaison betweenProduction and Traffic (or ProjectManagement) is one of the prerequisites of cost-effective printproduction. After the original pro-duction timing schedule has beenestablished, your print producerwill cooperate with your trafficcoordinator. Together they will pre-pare revised estimates, obtain nec-essary extensions of the material

The Account GroupSchedules and Project Planning

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Start of creative work 1Layout and copy development 2-3Internal Approval 1Internal Changes 1-3Client approval of creative 1-2Revisions to creative 2-5Final creative sign-off 1-2Photoshoot 5-15Selects chosen & approvals 2-3Retouching 2-7Create Mechanicals 2-5Internal Proofing 1Client approval of composed ad 1-2Last Minute Client Revisions (if necessary) 1-?Produce Film/MP, or pdf files for pubs 2-3Ship 1

For a color advertisement, scheduled to appear in several magazines,depending on the complexity will require 2-8 weeks. The following is aguide in working days. An average a 3-6 week schedule is used, dependingon what final steps are needed.

The Account GroupStandard Timeline in Working Days for a Stand Alone, Non-Integrated Print Ad

Creative Work 2Layout and copy development 2Internal approval 1Production Cost Estimates 2Agency Presentation to Client & Client Approval 2Artwork creation (stock photo, illustration etc.) 5-15Create Mechanical & Layout 2Internal Proofing 1Client approval of composed ad 1Produce Film/MP, or pdf files for pubs 2-3Ship 1

A typical Newspaper or Magazine ad, done in 20-22 working days.

Note the quick client turnaround time. Add additional time if new photography is needed.

The Account Group4-Week Timeline for a Stand Alone,Non-Integrated Print Ad with no Photoshoot

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Total timelines to launch an integrated campaign can vary greatly. Therecan be a tremendous amount of difference in just deciding how muchresearch and brand analysis is going to take place. A larger ad budget canmean more expensive and extensive production, and even the client’s abilityto commit to an idea can play into the time it takes to produce a campaign.

The 3 main parts of Launching a campaign are:

Market Analysis & Research

Creative Development

and Execution & Production.

Examples of Lengths to Completion from time of initial client input:

Express Quick Average Extensive

Market Analysis/Research 0 3 6 8Creative Development 0 3 5 6Execution & Production 0 3 5 7In Market 1 1 2 2Total weeks 1 10 18 23

Every agency and every client will be different. There are plenty of timesthat we all bang out an ad in a couple of hours, days or weeks. However, to produce a campaign that is relevant and effective you must apply the properamount of time your agency needs to produce the campaign.

The Account GroupThe Integrated Campaign

Start up meeting 1Estimate 2-3Research 2-7Questionnaire / Positioning / Discussion Guide development 5-10Statement internal review 2Initial client presentation 1Copy due internally 5-10Copy to client 2Client comments & approval process 2-5Recruitment and/or Translations (if needed) 3-5Moderator Briefing 1Focus Group Research 3-15 Moderator’s report and analysis 3-5Topline findings and strategic recommendations development 3-7Research and strategy presentation to client 1Approval of brand strategy and communications platform 1-5Final Bill 5

Typical deadlines:As short as a 7-8 week schedule to as long as 16 weeks.

This is a typical schedule step form for providing market research for a newclient or product.

Note that market research timing can vary greatly, depending on what typeof material is being researched and to whom with.

The Account GroupTypical Steps & Timeline for Market Research

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Start up meeting 1Estimate 2-3Concept development 10-20Concept internal review 2Client Presentation 1Copy due internally 5-10Copy to client 2Client comments & approval process 2-5

If needed...Additional Rounds of Concepting & Approval 3-7

If testing...Focus Group Research 3-15 Moderator’s report and analysis 3-5Topline findings and strategic recommendations development 3-7Research and strategy presentation to client 1Approval of creative concept 1-5

Final Bill 5

Typical deadlines:As short as a 5 week schedule (additional time for testing) to as long as 12weeks.

Typically creative development surrounds concepting (3-5 ideas) of onepiece of the campaign, i.e. a journal ad. Please note that some creativedevelopment jobs may include additional rounds of concepting or marketresearch that tests the concepts. Creative Development jobs do not typicallyinclude time or costs for producing art or materials.

The Account GroupTimeline for the Creative Development for a Print Ad in a Integrated Campaign

Start up meeting 1Estimate 2-3Concept internal review 2Copy development 5-10Copy to client 2Client comments & approval process 2-5Layout development 3Photoshoot (if needed) 5-15Select shots / approvals 3-5Retouching 3-10Layout to client & client comments 3-5 Mechanical development to client 5Final client approval & final changes 4Disk release 2Review proofs 2Produce mechanicals for publications (if needed) 3-10Ship 2Final Bill 5

Typical deadlines:As short as a 5 week schedule to as long as 10 weeks.

After the creative concepting part of the job is completed and the client hasapproved the concept, the agency will develop a production estimate forproducing the ad.

The Account GroupTimeline for the Production & Execution for a Print Ad in a Integrated Campaign

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Start up meeting 1Estimate 2-3Concept internal review 2Copy development 5-10Copy to client 2Client comments & approval process 2-5Layout development 3Photoshoot (if needed) 5-15Select shots / approvals 3-5Retouching 3-10Layout to client & client comments 3-5 Mechanical development to client 5Final client approval & final changes 4Disk release 3Review proofs 2Printing 3-10Mail House 3-7Mail 2Final Bill 5


A typical collateral or direct mail execution, done in 20-22 working days.

Note the quick client turnaround time. Add additional time if new photography is needed.

The Account GroupTypical Steps & Timeline for Direct Mail to First Mail Drop

Creative Work (Up to 16 pages) 4Layout and copy development 3-5Internal approval 1Production Cost Estimates 2Agency Presentation to Client & Client Approval 2Artwork creation (stock photo, illustration etc.) 5-15Retouching 2-10Create Mechanical & Layout 4Internal Proofing 1Client approval of composed ad 1Printer Pre-press 2Print on Press 3Bindery (if needed) 2Fullfilment and mail 2-3Final Bill 5


A typical 4-16 page brochure, done in 30-35 working days.

Note the quick client turnaround time. Some of these steps may be condensed when work continues simultaneously.

The Account Group6 Week Timeline for aTypical 4-16 page Brochure with Printing

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Creative brief development 5Concept development 5 - 10Internal approval 1 - 2Client approval 3 - 5Begin network clearanceRevisions 3 -5Final client approval 3 -5Bidding (including music and talent negotiations) 10 - 15Director and budget approvals 5Pre production 10 -15Shoot 5 - 10Post Production 10 - 15(Add two weeks if CGI or animation needed) (10 - 15)Final network clearance and trafficking 10Final Bill 5

Typical deadlines:As short as a 12 weeks as long as 5 months.

For three broadcast spots done in 3 to 5 months.

Note the quick client turnaround time. Some of these steps may be condensed when work continues simultaneously.

The Account GroupBroadcast Campaign1 to 3 spots (with typical :30s, :60s)

Start up meeting 1Estimate 2-3Concept internal review 2Copy development 5-10Copy to client 2Client comments & approval process 2-5Layout development 3Photoshoot (if needed) 5-15Select shots and approvals 3-5Retouching 3-10Layout to client & client comments 3-5 Mechanical development to client 5Final client approval & final changes 4Disk release 2Review proofs 2Produce mechanicals for various medium 3-10Ship 2Posting 5 days (prior to posting start date)Final Bill 5


After the creative concepting part of the job is completed and the client hasapproved the concept, the agency will develop a production estimate forproducing the ad.

The Account GroupTimeline for the Production & Execution of an Out-of-Home Campaign

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The Account GroupLast note on deadlines

Take charge of your clients andtheir deadlines. Be mindful thataccuracy does require a minimumamount of time to achieve.

For example, type changes, ifbrought in to the studio by 11AM,will be made by 5PM that evening.If brought in after 11AM, changeswill be made by noon the followingday.

Any jobs or projects requiringfaster turnaround must be approvedby the production director and possibly your client for necessaryovertime.

If your work is leaving the officelate, it is your responsibility tomake sure either yourself or some-one from account services is avail-able to approve your jobs.

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Internal ChargesIn-house billable items

Depending on the capabilities ofthe in-house production and creative department, there are anumber of products that can besold directly to the client in a production estimate.

The following is a list of items that are considered chargeable.

In-house color copies

Materials that the client requestsfor their internal meetings, i.e.,posters/mounting, leave behinds,etc.

Discs that are used to transfer filesto the client or vendor

The creation of .pdf files for publication use

Internal transfer of files electronically, via adsend, or ftp

Downloading of client requested files to disc

Internal color proofs, matchprintsveloxs, etc.

Internal scans

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Account Team MembersResponsibilities and Roles

The Account Supervisor

While the account executives andaccount coordinators have much ofthe day-to-day contact with theclient, the account supervisor isresponsible for the relationshipbetween the agency and the client.The account supervisor’s main goalis to review all strategic and mediadecisions formulated by the variousagency departments before deliveryto the client and to review the cre-ative concepts as to whether theymeet the creative brief and thestrategic goals and marketing planof the client.

The account supervisor manages allof the assigned account executivesand account coordinators/assistantsto their accounts.

From a client view, the accountsupervisor analyzes the client’srequests and marketing plan toproduce a coherent, focused andmost cost-effective/value-addedcommunications plan that the

agency can provide. This includesgathering client or agency preparedresearch, competitive analysis andexisting marketing plans or a struc-ture client/agency Q & A sessionand staying on top of products andmarkets in which the client oper-ates.

From an agency viewpoint, theaccount supervisor acts as the mainspokesperson for the agency,overseeing the execution of theapproved communication pro-grams, while identifying new business opportunities with theexisting clients.

Other duties can include;

Presents and sells agency recom-mended communication plans, cre-ative concepts and media plans tothe client.

Maintaining direct, day-to-dayclient contact.

Receive client briefs.

Inconjunction with the account

executives briefs creative, media,PR staff.

Provide clients with budgets andestimate updates.

Assists in client billing process andaccount receivables.

Writes client contact reports.

Prepares monthly revenue forecasts.

Account Executives

Team members have the primaryclient contact the “day-to-day”project management of theassigned accounts. The work withall of the agency departments tomove projects through the agency.For example, they may meet withthe creative director to review thecreative issues, with the pr directorconcerning publicity, with the traf-fic department concerning schedul-ing and traffic.

They are responsible for gatheringinformation on clients, products,and competition needed for theagency backgrounders and start-up

meetings.

Duties will include;

Updating information pertinent tothe status of all jobs, producing theclient status report.

Produce timely contact reports.

Produce and distribute job requestsand change orders.

Makes sure the sign-off of variousagency documents including cre-ative blueprints & estimates.

Meet with the senior managementgroup to inform them of all clientactivities.

Account Coordinator or Assistant Account Executives

The account coordinators provideadministrative support and back-upfor account services.

They are responsible for supportingthe account group which mayinclude;

Setting up meetings.

Setting up or conducting research.

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Account Team MembersResponsibilities and Roles

Developing presentations frommaterials provided

Following up on jobs and projectsinternally and externally whenrequested.

Make travel arrangements,provide shipping instructions.

Set up internal and external meetings.

group-production

The role

of production.

b

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The Production DepartmentResponsibilities

The Production Department isresponsible for coordinating all in-house and outside preparation of materials, whether the mediumis printed, electronic or digital.

Traffic and Production

Estimates

The Purchase Order

Purchasing

Schedules

Job Bags & Histories

Client Artwork Policy

Workflow & the Studio

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The Production DepartmentThe Production Manager

The production manager is respon-sible for estimating all agency jobs,including all creative or productionservices and for external out-of-pocket costs from outside vendors.

The production department isresponsible for creating the esti-mates and pricing for all agencyservices, this includes internalhours, in-house charges and estimates/pricing from outside vendors.

The production manager issues allpurchase orders for the agency,reviews all vendor invoices and toensure that the price quoted to theclient matches the final billing.

The production manager maintainsand develops relationships withvendors, always seeking out thebest possible service and price.

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The Production DepartmentEstimates

Production prepares each estimatebased on the Project Request Formand/or the media schedule. Anyinformation not supplied on thisform will delay or alter the prepara-tion of an estimate.

Estimates take 3 days for standardjobs, and 5 days for jobs that needvendor bids.

Based on Production Manageravailability and AE input, generalapproximate budgetary numbersmay take less time.

The Production Departmentshould obtain at least 3 competitivebids on all projects. Although thefinal choice of vendors may weighin each vendor’s ability to meet thequality standards and timelinesneeded for the particular job.

Estimates must always be approvedby the Account Executive,Production Manager, the Accountand Production Director.

All changes to an estimate must be approved by the AccountExecutive, Production Manager,Account Director and ProductionDirector.

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The Production DepartmentCreative Purchases

All outside purchasing must beaccompanied by a purchase order.

The Creative Department andAccount Staff may not buy artwork,photography, or creative serviceswithout approval from the produc-tion department. The productiondepartment will generate a P.O. forall outside art purchases.

The Production DepartmentThe Purchase Order

Purchase Orders must be filled outfor all items and services ordered.

The Purchase Orders are generatedusing the accounting computer sys-tem. The Purchase Order mustnote the client, job number, date,date of delivery, corresponding linenumber for the Accounting system(see Production for a list of numbers). Also be sure to includewhether the purchase is taxable ornon-taxable and an estimated cost.

A copy of the Purchase Ordershould be sent to the vendor, withinstructions to attach a copy to theinvoice they submit. Keep a copyfor your records. One copy goes inthe po book and two copies go toaccounting.

Entering Purchase Orders into thesystem has a dual purpose: 1) to besure we do not receive more thanone invoice for the job and 2) toensure a job is not billed out untilall invoices are in.

The person responsible for fillingout the P.O. must sign the invoiceupon receipt and forward toaccounting. When signing invoicesyou must initial, with the date ofapproval, job number and account-ing line number.

If an invoice is over estimate by$1,000, or more than ten percentover the estimated amount, it mustbe co-signed by the responsibleAccount Executive.

The Accounting Departmentshould not enter any invoiceswhich have not followed the procedures listed above.

In addition, the AccountingDepartment should not pay anyvendor invoice over $1,000 unlesswe have: a) been paid by the clientor at the very least b) billed theclient for this expense.

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The Production DepartmentThe Traffic Manager

The traffic manager is responsiblefor scheduling work throughout theagency. Once a job has beenopened, whether through the trafficor production person, a step-by-step schedule and due dates shouldbe created, with each step assigned.

Every day the traffic manager willprepare a status report of all activejobs in the agency, giving each job astatus. This report should be sentto everyone within the agency.

The traffic manager keeps track ofand moves jobs from one complet-ed step to the next.

As changes in timing occur,whether client, production or inter-nal creative, the traffic managershould be informed so an accurateschedule can be created.

In cases where there is a conflict ofschedules, the traffic manager willalert the management team as tothe problem or conflict and allowthe management team to make adecision.

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The Production DepartmentTraffic & Schedules

Typical Rules

It normally takes 1-3 days for aprint production schedule to begenerated on long term projects.

All type changes, if brought in by11AM to a production studio,should be made by 5 PM thatevening. If brought in after 11AM, changes will be made by noon the following day.

NO work should be accepted after 3:30 p.m. to be released the same day. This is extremely impor-tant as agencies moves towardsreleasing materials directly to publications.

Any jobs or projects requiringfaster turnaround must be approvedby the Client in writing for necessary overtime, and is basedupon staff availability.

Upon final approval, the produc-tion department needs 1-2 days toprep (or pre-flight) an electronicfile. On final sign-off of the

mechanical from the client, a diskwill be shipped to the printer or afile sent to the publication withintwo working days.

The Production DepartmentTraffic & routing Work

When routing the agency work,please keep in mind that it takestime to circulate the work throughout the agency. It is the trafficmanager’s responsibility to makesure that the work is routed proper-ly. If a key person is not available tosign off on the work, you mustnotify the proper supervisor oraccount team to ensure that their isa replacement signature.

Key signatures for routing work:

Comps for internal presentation:• Art Director• Copywriter• CD

Comps for external presentation:• Art Director• Copywriter• CD• AE• Partner / VP

1st Mechanical:• Studio• Art Director• Copywriter• Creative Director• Production• Account Services

Revisions:• Studio• Art Director• Copywriter• Creative Director• Production• Account Services

Final Mechanical:• Studio• Art Director• Copywriter• Creative Director• Production• Account Services• Client

Note that both the account teamand the creative team need tocheck in with the traffic depart-ment before leaving for the day. Ifsomeone is not available to stay tosign off on the project in whichthey are responsible for, they mustlet their supervisor and key person-nel on the project know. It is theindividual’s responsibility to briefthe designated person on the project.

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The Production DepartmentClient Artwork Policy

Without an Art Buyer

Upon receipt of client or outsidevendor artwork it will be loggedwith the Traffic Department andlabeled. The Traffic Departmentwill fill out an art informationsheet for the artwork. This willinclude client, job used, rightsusage, copyright info, originalsource, return address and artworkreturn instructions. Artwork notbeing used should always be heldwith the Traffic Department.No one should have misc. chromes,slides or original art in their possession.

Unless otherwise noted,Production will file all artworkupon completion of a job in the art files.

With an Art Buyer

Upon receipt of client or outsidevendor artwork it will be loggedwith the Art Buyer and labeled.The Art Buyer will fill out an artinformation sheet for the artwork.This will include client, job used,rights usage, copyright info, origi-nal source, return address and art-work return instructions. Artworknot being used should always beheld with the Art Buyer. No oneshould have misc. chromes, slidesor original art in their possession.

Unless otherwise requested to bereturned, the art buyer will file allartwork upon completion of a jobin the art files.

The Production DepartmentJob Bag & Histories

Traffic keeps the main “history” ofthe actual job, while, productionhistories are the responsibility ofthe Production Department. TheStudio is also in charge of theirown job bags (for billing purposes).They are not to be moved from theindividual areas. Traffic is responsi-ble for maintaining all type andproof histories in job jackets. If aperson needs anything from a jack-et, they should make a copy of itand return the original back to traffic immediately. Do not removea job bag from its respective area.

It is the responsibility of the studio artists and/or freelancers toreturn all job bags to the TrafficDepartment upon completion ofthe job cycle.

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The following process occurs afterclient concept and layout approval hastaken place and an official job hasbeen opened:

1. Pre-Production Meeting

Objectives: Review layouts in preparation for photoshoot/illustra-tion, discuss production schedulingwith regard to timing of photo-shoot and doing hi-res colorworkin-house, make decision to/or notto do in-house with preferencealways to do in-house

Attendees: Print production man-ager (responsible for calling meet-ing), Digital retoucher, art buyer,studio manager, art director, projectmanager and AE if needed

• After discussion of timing, projectmanager to develop productionschedule and distribute

2. Estimating

• Project Manager or media to supply an initial list of pubs andmaterial closes to PPM/studiomanager.

• PPM to discuss image color/retouching needs of job (based ondirection of art director and/orclient) with digital retoucher todetermine estimate of hours andnumber of proofs required.

• Studio manager to provide anestimate to print production manager for studio services,production manager completesout-of-pocket costs and distrib-utes estimate for approval prior tosending to client.

• Production estimate signed byclient.

3. Initial Color Review Meeting

Objectives: Review 1st round ofloose-color proofs to determinecolor/image corrections andcreation from initial scans

Attendees: Print production manager, art director, digitalretoucher, studio manager

• Corrections and direction forimages should be documented on proof by PPM or digitalretoucher.

4. Color Image Work Begins

• Print production manager to provide digital retoucher a jobjacket with the following:

1) Estimate of hi-res hours and number of proofs allotted for the job to the digital retoucher.

2) A printed spec sheet, copy deck (if text is part of hi-res photo-shop file) and final approved pdffile of comp to digital retoucher.

3) High resolution select scans on CD (if done out-of-house).A loose-color proof shouldaccompany any image/scan to bereviewed at initial color meeting.

• Digital retoucher will make printproduction manager aware ofissues, changes made by art director, etc. as they arise.

• Digital retoucher is responsiblefor communicating to PPM whenthey anticipate files will be sentout for proofing (if done out-of-house) and a summary of changesbeing made if needed.

Retouching WorkflowWorkflow defined for in-house retouching and proofing services.

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5. Proofing Color

• Digital retoucher sends hi-resfiles to colorhouse or makes proofinternally. If possible art directorshould approve file onscreenbefore sending out for proof.

Files to Colorhouse:Print production manager will let digital retoucher know whetherfiles should be ftp’d or sent out on disk. If by disk, digital retoucherwill deliver disk to PPM. If ftp’d,digital retoucher will email PPMwhen files have been sent. Theywill also make sure files sent to col-orhouse have been received and inworking order before leaving forthe day. PPM to communicatewhen they expect proof will beavailable for review.

OR

Files sent to internal Proofer:Digital retoucher will email PPMwhen files are sent to internal proofer and when proof will be available for review.

6. Review of Proofs (Loose Color):

Proofs from Colorhouse:Print production manager willinform digital retoucher, studiomanager, that proofs are ready forreview. Loose color will bereviewed to determine if proof isacceptable and can be shown tocreatives. (Creatives should notlook at any retouching job untilPPM and digital retoucher havegiven their ok).

OR Internal proofs:Digital retoucher will inform PPM,studio manager, that proofs areready for review. Loose color willbe reviewed to determine if proof isacceptable and can be shown tocreatives. If loose color is ready tobe proofed and needs to be proofedin mechanical (“composed”), digitalretoucher will inform PPM andstudio artist/studio manager thatthey will provide hi-res files to stu-dio artist to put into mechanical.Studio artist is responsible for out-put of proof and informing PPM,studio manager that proof is readyfor review.

7. Creative review of loose color

Attendees for creative review:Art director, PPM, digital retouch-er, studio manager Art director and digital retoucher to review loosecolor proof. Color revisions, proofcreation and review will continueuntil image is approved by artdirector (and if necessary by client).If timing is to be discussed, a project manager should be present.

• Corrections and directions forimages should be documented onall proofs

• Most current loose proof to bestapled to front of previous looseproof and dated

If needed to determine type legibil-ity, cropping, etc., loose color maybe dropped into mechanical formprior to all final signatures on lasermechanical. If so, it should beclearly communicated by PPM todigital retoucher, studio artist/stu-dio manager, PM, AD that filebeing sent is for intermediateproofing and is NOT finalapproved mechanical.

To avoid unnecessary proofing, the

art director can sit with digitalretoucher to go over changes on-screen.It is digital retoucher’s responsibili-ty to inform PPM if they foreseedevelopment of timing and costsissues. PPM is responsible for com-municating this to studio manager,art director and project manager.


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8. Composed Proofing

• PPM will notify digital retoucher,studio manager when all color isapproved. Digital retoucher will provide low-res approvedcolor files to studio artist forplacement in mechanical.

• Final laser mechanical with finallow-res approved color in place isrouted and all approvals/signa-tures are received.

• PPM notifies studio artist/studiomanager/digital retoucher thatapproved mechanicals can beT1’d, sent out on disk or proofedto internal proofer.

Proofs from Colorhouse:Digital retoucher will copy final hi-res files the appropriate art folder.Studio artist is responsible for plac-ing hi-res files within job folder sothat all files associated with jobreside in same folder. Artwork is collected andthen sent to colorhouse.

OR

Internal Proofs:Digital retoucher supplies studioartist with hi-res files to bedropped into mechanicals forproofing. Studio artist is responsi-ble for replacing low-res files withhi-res files and making proof.

• Studio artist emails TM andPPM when files have been sentwith a PDF of mechanical(s)attached. They will also make surethat files sent to colorhouse havebeen received and in workingorder before leaving for the day.

9. Composed Proof Review

• Project manager routes proof withcopy of final laser mechanicalattached. Revisions, proof creationand review will continue until allapprovals are obtained.

Proofs from Colorhouse:PPM will first distribute to studiomanager, studio artist, digitalretoucher. Studio manager will giveto PRJM for further routing.

Internal Proofs:If proof is made in-house, studioartist will give to PPM forapproval, PPM will attach approvedlaser mechanicals and routingstickers to proof and route to studioartist, studio manager and digitalretoucher, studio manager toPRJM, who will complete routingprocess.

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The Production DepartmentOld Skool - Traditional Production Process

Pre-FlightThe production department & stu-dio are responsible for “pre-flight-ing,” the checking of final prepressfiles before creating them andsending them out on disk. Thisinsures that the digital file is cor-rectly set up for the appropriatemedium before going to a servicebureau, printer or directly to a pub-lication or via the internet. In addi-tion, we advise all outside vendorsto double check our files for correctspecs, file problems, d-max andtrapping.

Pre-Press & the Service BureauWhen your production or studiodepartments gather all the neededelectronic files & artwork on adisks, it may or not be sent to a aservice bureau to generate the finalfilm or output. The agency will beproducing the final files that will begiven to the publications.

All service bureaus are required todo a final check of the computerfiles. This step is the first step inthe process called pre-press, andcould encompass checking the filefor the correct size, bleed, trim,image density, color and mostimportantly the trapping of yourfiles. Although these items areproofed and corrected before anyfile leaves the agency.

Conventional & Digital ProofsThe service bureau will always pro-duce a digital proof before “goingto film or file” on all ads of a cam-paign. Previously, your print pro-ducer’s first proof was made withfilm & a matchprint or colorkey.They might have even received“progressive proofs” of the filmconverted to plates, showing allcolors singly and in combinations,and actually running the plates onan offset press. Now you we sendkodak approvals of a file to should

the way the ad will be reproduced.

If you do not like the way the artwork looks, please speak up andthe department will evaluate theissue.

Marking a ProofWhen examining a proof andmarking it up for corrections, bedescriptive and leave nothing tochance.

• Use clear, concise instructions.

• Circle the area or element inquestion.

• Describe the differences betweenwhat you see and what you wantto see, and try not to refer to theoriginal.

SeparationsMost color printing is produced byproducing or “separating” the origi-nal full-color artwork into yellow,magenta, cyan and black. Whenyou hear the term “four-color sepa-rations,” they are referring to the

production of four pieces of film,one for each individual color.

Your print job might also include“spot colors,” colors that are speci-fied to match a particular color thatcannot be produced accurately withfour-color process separation. Inconventional print production, thefilm & matchprint is then sent tothe printer for producing plates andthen final printing.

Printing PlateOne printing plate is producedfrom each of the four separationfilms. When these plates are inkedin the four process colors andprinted onto paper, a full-color image results.

It’s important to remember thatthis is not the time or place to bemaking changes to the creativepiece. It can be very expensive toredo files, film or plates at thisstage.

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The Production DepartmentOld Skool - Traditional Production Process

Off to The PrinterOn all outside service projectsabove $5,000, a minimum of twobids will be required. Competitivebidding among three suppliers isrequired for jobs over $20,000.Bidding will take into considera-tion a vendor’s ability to meet yourdeadlines, and quality.

The Press CheckYour production manager will goon press on all local initial printruns where the client pays for anon-press person. All other instancesof on-press supervision is at thediscretion of the production director.

The only way to ensure that yourprinted piece is printed the way youintended is to go to the press andcheck the results. On very large orexpensive press runs, the clientshould have the option of beingasked to go on press. Although it is appropriate to ask, they might

typically decline. However, if theyintend to be on press, an accountexecutive, art director and a repre-sentative of the production depart-ment will attend.

Once your job is up and running,the printer will pull a press sheetfor examination. You will eithersign off on it or ask to make a fewadjustments. It is important toremember that changes made tothe art, beyond achievable colorchanges will be very expensive. Theprinter will have to then makechanges to the electronic file, pro-duce new film and then a printingplate. If you ask for an adjustment,a few more sheets will run, and theprocess continues until you are sat-isfied with your project. Once yousign off, the presses will be broughtup to speed and your job will con-tinue to run. In some larger printruns, your print job might require amuch longer time to run, requiring

multiple press runs.

Running Multiple Ad SizesSince it is relatively infrequent thatthe client’s ad is to run in a singlepublication, material must usuallybe prepared for all magazines orlnewspapers or on your media list.

However, to ensure the best execu-tion of a design, the agency willalways produce a digital mechanicalfor each individual size.

Ads in NewspapersFor newspaper insertions,your agency’s print productiondepartment probably providesnewspapers with pdf files, film orveloxes. 99% of newspapers acrossthe country are accepting files sentto them on disk or electronically.This is the preferred method ofsending black and white ads tonewspapers.

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The Production DepartmentJob Descriptions

Project Manager / Traffic Manager

Coordinates assigned client's print creative and production projects.

Responsibilities:

Coordinates and schedules allassigned agency projects, from cre-ative through to production andcompletion.

Act as diplomatic liaison betweencreative, production and accountmanagement.

Enforce agency procedures whilemaintaining the highest standards.

Maintain a daily “master schedule”for all clients works, projects & time-lines into one master schedule andhanded out daily.

Traffics all assigned work.

Report status of projects on jobs on adaily basis, via a daily “hot list”

Updates master status sheet on aweekly basis. Distributes at depart-mental meetings.

Ensure that only properly speced creative is trafficked

Creates “Weekly Traffic Reports” anddistributes to account, creative andproduction staff.

Prioritizes current proofreadingassignments.

Routes approved concepts throughagency.

Prioritizes all schedules in conjunc-tion department managers..

Reviews work to ensure projectdirections are being met.

Checks all proofs for approvals and changes.

Insures mechanicals are approved byproofreading, creative, productionand account services and any changesare issued to the studio.

Final accountability for returningproject materials to appropriate staffduring project and once project iscompleted.

Daily Project tasks include:

Open job number/job file folder,maintains job bag and job histories.

Writes up job spec and job order/request forms

Manages all publication specs anddeliverable (shipping) sheets and distributes to production and the studio.

Contributes to agency master publi-cation spec sheets.

Sends out adwork materials to publi-cations. Calls to make sure thatmaterials were received.

Routes estimates.

Ensures appropriate proofing.

Ensures projects are delivered ontime.

Delivers clean job file folder tobilling when job completeness aremet.

Distributes P.O.s and copies of esti-mates.

Prepares cost analysis sheet, qualitycontrol forms

Updates production log and projectestimates and billing binders.

To obtain deadline extensions frompublications, when needed.

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Production Manager

Supervise assigned client's print production projects.

Responsibilities:

Coordinates production activitybetween project, account and creativegroups during job development.

Maintains contact with various print-ing vendors (Sheet, Digital, Web,Form, In-Line, PromotionalMaterial, Dimensional)

Maintains detailed project records,from spec sheets to estimates to pur-chase orders.

Supplies specifications for vendorestimates

Reconcile all assigned project billing.

Reviews and supervises all produc-tion materials generated from theirassigned projects.

Acts as advisor for the creative andaccount members of the team duringcreative development to meet thebudgetary requirements of the pro-duction process.

Maintains ownership of all projectsin their group.

Issues POs on a timely basis.

Checks all vendor invoices againstboth POs and estimates before sign-ing off. Signs off on bills in a timelybasis.

Maintains and keeps up-to-date onall aspects for printing, productionand postal requirements.

Advise their team of the best formatsand efficiencies.

Gives creative solutions.

Provides quotes to AccountStaff/Clients

Requesting quotes from suppliers

Negotiating prices with suppliers

Scheduling of print jobs betweensuppliers

Order and production related materials.

Press approvals

Help coordinate with the studio, traf-fic managers, and suppliers to ensureall deadlines are met.

Proofs incoming materials for con-formance to specifications and moni-tors delivery schedules; maintainscontrol of projects.

Maintains an adequate proofs andcollateral file system.

Adheres to the agency's operationaland financial policies and practices.

To develop a close working relation-ship with the Creative Departmentconferring with Art Directors so asto obtain artwork suitable for goodreproduction, iron out any problems,and receive specific instructions.

To suggest to Art Directors revisionsin finished art that might facilitateproduction or reduce its costs, orimprove final reproduction in specificmedia.


group-studio

The production studio

& artwork creation.

b

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The Production Studio Responsibilities

The Production Studio is responsi-ble for the preparation of all in-house and outside mechanicalmaterials, whether the medium isprinted, electronic or digital.

Starting Work & Routing

Artwork Creation Procedures

Artwork Naming Procedures

Artwork Filing Procedures

Typefaces

Guidelines & Mechanicals

Freelance Artists

Outside Board Artists

Releasing to Disk

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The Production Studio Artwork Creation Procedures

All files are on the Client Server byalphabetical order. Within thesehard drives there are folders foreach client. Under each client arefolders for each job number. Eachjob number contains folders forcommon art, media, copy and jobs.The “jobs” folder holds the client’sjobs by job number.

No one is to work off of their localhard drive for any reason.

Save your work as you go along.

Depending on agency standards,the files maybe set up with crops,trim, bleed, color bars and slugs.

For print jobs, it is still appropriateto do rule outs or call outs. Inmany cases, a set of separationsshould still be printed (on laserpaper) from the file prior to releasing).

The Production Studio Starting Work & Routing Work

Starting Your Work

The job jacket is your friend.Do not start any work without ajob ticket and job bag. Only thetraffic or production people cangenerate job tickets from theAccount Executive’s project initia-tion form.

Do not accept work initially ordirectly from an account executiveor art director. Make sure yourproject and studio manager knowabout all requests. Once you havea job ticket and a deadline, the artdirector can interact with the stu-dio for as long as needed.

Upon completion of the work order(job ticket), please return yourrevised printouts, disk, or requestedproject with the job jacket. The JobBag must be accompanied by theactual printed job at all times.

Routing Your Work

All job histories submitted forchanges should be clearly marked.Upon making the changes, do thefollowing: update the revisionnumber and date, add your timespent to the time listed in theguideline, spellcheck the documentand save the file. After spellcheck-ing, sign off on the laser proof thatthe document has been spellchecked.

When handed a project or ad, notewhether original file is to beworked on or if the file is to becalled up and “SAVED AS” undera new job number description.

Do not add or change colors in afile without approval.

Use templates where applicable.Templates should be set up forcommon jobs for major clients.

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The Production Studio Artwork Creation ProceduresThe Slug & Fpo images• Slugger is a program that

creates a job slug for each quarkmechanical. Fill the slug informa-tion out as completely as possibleand use it as part of every printout.

• In the Art Production Librarythere is an FPO flag:

• The FPO flag shown below isused to alert the staff that thestudio is missing the final art-work from its files. As theseimages are created the studiowill be supplied with the newimage name and its documentpath.

• All FPO elements e.g., die-cut,photo, lasered type, etc. are to beindicated using the custom color“~FPO/Do not print.”

• Create FPO page trim.

FPO

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The Production Studio Artwork Creation ProceduresFile Preparation ChecklistThe file provided by the art direc-tor is to be utilized primarily as ablueprint for the final layoutmechanical. Files from the creativedepartment should be rebuiltentirely or checked completely ifutilized as the final mechanical.

If there is anything that is not clearor needs to be resolved in regardsto recreating or rebuilding the fileproperly, note on the printout sothat it can be addressed before thenext proofing pass.

The primary function of studio isto prepare electronic artwork andpre-press files to the highest stan-dards both from a typographic andpre-press stand point.

The following is a checklist thatshould be used to ensure qualitycontrol.

• Replace all art and photos withrepro-quality images located onthe “Art_FINAL” folder in theappropriate job file. Any art not

found in this folder is to be con-sidered FPO and noted as suchuntil indicated otherwise. In nocase should any art be introducedto this folder without priorapproval. All art must be placedin and linked to the appropriate“Production Servers”.

• Open the picture boxes to therequired bleed. Be sure to indicateif an image has been rotated or ifany additional retouching isrequired to accommodate thebleed.

• Check font usage dialog box toensure that no fonts have beenaltered by using the stylizedattributes, as in “B Helvetica«Plain»,” not “Helvetica «Bold».”

• Check the document’s colors toensure it matches the print pro-duction specifications. Thisincludes indicating:

• The proper color models,CMYK, Pantone, etc.

• Spot color(s) and/or process sep-aration.

• Check that the color model’s def-initions and values are consistentwith the encapsulated files and/orany other companion pieces.

• All drop shadows and gradatedart must be replaced by art creat-ed in PhotoShop.

• All fonts in an embedded EPSfile you’ve created must be con-verted to outline, please remem-ber to save an original version ofthe file for later editting.

• In Illustrator both the documentsetup>print & export and theattributes should be set to an out-put resolution of 1200 d.p.i.

• All Truetype fonts must be con-verted to postscript.

• Check typography for excessivetracking and/or horizontal/verti-cal scale (+/– 3 should be consid-ered the ideal maximum).

• When possible keep type atwhole or half point size units toavoid excessive rip time with highend output devices.

• Check either for an attractive ragor a good reading break, addresskerning, especially at headlinesizes, consistent paragraph spacesand proper formatting.

• Use a single hard return to indi-cate proper paragraphs and asoft return (shift + return) tobreak lines.

• Proper quotes (’98, “”) via smartquotes in Quark,prime marks ( 8¢ 3¢¢), createdwith in Symbol w/option + 4,not hash marks (' ").

• Use of rule above/below. Chartsmust be rebuilt correctly to facil-itate fast revisions and ensureexact spacing and formatting.

• Use the feature called “IndentHere” to quickly align text from

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The Production Studio Artwork Creation ProceduresFile Preparation Checklist

where you place your cursor. theremainder of the paragraph willbe indented at that point. TheKeyboard shortcut is command-backslash. It works great for bul-leted items (Is in this short arti-cle)

• Use hanging punctuation.

The Production Studio Opening Files in Quark & Flightcheck

In Quark,

When opening an existing docu-ment, always select use custompreferences.

Never adjust an existing H&J defi-nition without renaming the copy.

In Flightcheck,

Use the Agency’s customFlightCheck Preferences and Ground Controls.

It is very important that the properpreferences are in place when per-forming a flightcheck to a docu-ment. These settings are set forhow we pre-flight our jobs.

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The Creative DepartmentThe Style Guide

The “Style Guide” is the agency’stypographical guide on how type istreated on the printed page. Allagency’s have their own unique setof rules to follow on how type islayed out into a mechanical format.Although it is recommended thatthe agency style guide be followedfrom the initial client presentationof the layout, it is sometimes notnecessary. However, it should benoted that unless specific requestsare made, all print files are changedat the mechanical stage to matchthe agency style guide to createconsistency. There may even besome client specific mandatories orexclusion’s that are followed inaddition to the agency guide.

It should be noted that the guide isintended to follow typographicrules, rather than word processingones.

For example, a copywriter mightuse an underscore in manuscripts to

indicate the use of italic in the finalpiece, i.e., to always set a book titleor publication in italic. Overallunderscores are always replacedwith italic.

• Correct use of a hyphen (-), endash (–, represents the word “to”,“through” or “from” as in 9–5;never “and”) or em dash (—, forparenthetical observations). Thestyle is for no spaces before orafter any hyphens or dashes.

• No double spaces after punctua-tion. No double dashes, use an emdash instead.

• Always use nonjustifying spacesor “command backslash” to aligncharacters.

Use an en space (when StandardEm Space is off ) to align single-and double-digit numbers.

• Do not use the Zapf Dingbats “n”( nn ) character styled with anoutline to create a ballot box, it

will not print correctly on somehigh-resolution output devices.Instead use the font UniversalNews with Commercial Pi fontand use its “h, M or N” characters

( h, M , N ) which are true openballet boxes. You may have toadjust its size or apply a baselineshift value to align them properlywith the text.

• Center type by centering optically. If necessary, hang punctuation as with justified orflush right text.

• Type set in initial caps, as used inheadlines or subheads should beset without a period at the end.

• Ellipsis is three periods...with nospaces on either side. It does notneed to get an extra period at theend of a sentence. If using a prop-er ellipsis with additional punctu-ation, be sure to add a slight space

(periods..., with) after the ellipsisand a full space after the second-ary punctuation.

• Dashes and hyphens—have nospaces on either side. Adjustmanual kerning, if necessary toequalize the space on either sideof dashes and hyphens, especiallywhen used with numerals, i.e.,1-800-70 / 1-800-70

• When using dashes with numer-als or all cap letters, adjusted tocenter vertically.

• The appearance and readability ofconsecutive capital letters ornumerals of three or more in textcan often be improved by addingadditional tracking and reducingtheir size 97–90%. e.g., frombetween one-quarter to one pointat a 10 point size. When possiblereplace stylized small caps withthe proper font and adjust foradditional tracking.

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The Creative DepartmentThe Style Guide

• The copyright symbol (©) should not be followed by aspaceband; in a properly masteredfont it will have a built-in “shoul-der” and should be followedimmediately by the date.e.g., ©2001 TD Waterhouse

• All punctuation, dashes andspaces should have the same style, color and format as theword preceding it; e.g.,Panasonic®, our voice acti...

• All punctuation should be placedinside quotation marks. This rulecan be broken to ensure clarity.

• These style standards have beenincorporated within can be placedinto custom XPress Preferences,these include Small Caps, super-script, subscript and superior.

• There should be no spacing separating an asterisk and word in the text; in the footnote below,

however, an asterisk should befollowed by a space.

* Footnote style: Footnotes are separatedfrom the text block either by a space,never smaller than the general linespacing of the text of the text area,or by a thin rule.

• Avoid using a typeface in whichyou use excessive tracking or hori-zontal/vertical scaling is used. (+/-3 should be considered maximumfor tracking). It’s always better tofind and use a typeface that isdesigned with the attributes youwant rather than distorting one.

• Use the agency Font Database,contact your production managerfor additional font additions ormodifying existing faces.

Quark Shortcuts

Nonbreaking spaceband Command + space

En space/figure space Option + space

Nonbreaking en space Command + option + space

Flex space at 100%(as defined in preferences) Option + shift + space

Nonbreaking flex space Command + option + shift + space

Discretionary hyphen Command + hyphen

En dash (number ranges) Option + hyphen

Em dash (parenthetical) Option + shift + hyphen

Opening quotation mark Option + [

Closing quotation mark Option + shift + [

Opening single quotation mark Option + ]

Closing single quotation mark or apostrophe Option + shift + ]

Flush right Option + tab

New paragraph Return

New line Shift + return

Discretionary new line Command + return

New column Enter

New box Option + enter

The StudioThe quick guide

Starting Work:

The Studio does not accept work that:

1.) Has no job number, deadline, orwork order.

2.) Without the ProjectCoordinator’s knowledge.Get a job number!

Two days before client presentations:

Reach out to the traffic and productiondepartment, let them know if / whenyou need extra help, mounting, etc.

1.) Make sure an extra set of whatis presented goes to the trafficdepartment.

2.) If your layouts need to beproofed, let the traffic dept.know ahead of time!

Buying artwork, stock-art,photography, or hiring outsidecomp artists:

Do not purchase or hire anything orsomeone without pre-approval by thebroadcast art buying or print produc-tion department and a purchase orderis issued.

1.) When the art does come in,please notify/give it to the trafficdepartment to keep track of.

Client approval:When your layout has final approval,hand it off to the traffic person.

1.) Print out a copy of the layoutwith the file name on top.

2.) Mark up the hard copy with anycomments. Mark any text or artthat is FPO as FPO. Any ques-tions for production or the ae?Write it down.

3.) Printout a disk directory as towhere your file is located.

4.) Please be aware of the entireprocess of your job. Turningyour layout into a mechanicaltakes time.

Routing:

Once the studio makes a layout into amechanical it will be routed to you.

1.) Please take the time to get agood look at the layout. Thingsmight have changed from yourinitial layout do to productionadjustments.

2.) If you want to make any adjust-ments yourself, talk to the pro-duction/studio staff and thenget a copy of the file from thestudio. DO NOT pick up amechanical file from the serverand make the change yourself.Feel free to meet with the pro-duction staff to go over changesthat are difficult to explain inwritten form.

Style Guide:All of your layouts will be adjusted tofit into the agency style guide for con-sistency. We have provided the styleguide for reference.

1.) If you want to differ from thestyle guide on a particular job,please meet with the studio andproduction manager.

For Creativces,Save your work on the Server:

Do not save your work on your localharddrive.

1.) Use the Server called “ELVIS”and the volume called “CreativeA-Z” to save your work. Saveyour work in the client folderwithin a folder that has a jobnumber. Refer to the attachedsheet.

2.) Never write over an old job fileto begin a new job. Make a copyof the file using a new name.Always save your work usingthe agency naming convention.

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The agency requires that everyonefollow a common artwork namingconvention. The following are somegeneral rules and examples.

• Always Identify the File. Beginwith the Client, Product, JobNumber. i.e. ESPCORPXXX

• A Short Description or PageNumber for an Artfile isExtremely Helpful.i.e. pg2photo1

• Do Not Use the FollowingCharacters when Naming a File:&, %, /, \, :, ;, ?, +, [, ], (, ), *, @.

The Production Studio Artwork Naming Procedures

The Production Studio Artwork Filing Procedures

If your in the production depart-ment, use the server called“ELVIS” and the volumes labeled“Production A-E, F-M, T-Z” tosave your work. Never save yourartwork or files on your local desk-top.

In this server there are hard drives(volumes) with individual “client”folders in alphabetical order.

Each of these client folders con-tains: folders for the master logos,individual job folders and a folderfor client web access. The “jobs”folder holds the client’s jobs by jobnumber. Never write over an oldjob file to begin a new job. Alwayssave your work using the agencynaming convention.

Each job on the production serversare separated into two folders:

The Production folder.This is the folder where the pro-duction department begins theirjob. Only start new creative jobs

when the appropriate creative/art/design director places all of yourfiles in the “PRODDROP” harddrive on Elvis. Or an existing andapproved mechanical exists in theProduction volumes.

When a comp is to be made into amechanical, the studio should gothrough the following procedure:

a.) Directing the comp images intothe production folder. If you pickup files from the “CREATIVE A-Z” volume, make sure you DONOT LOSE the original set offiles in the “CREATIVE A-Z” vol-ume. Leave the original comp filesintact! You are making a new copyof the files to be converted into amechanical.

c.) Sort the files you just collectedinto the appropriate folders in theproduction mechanical. Make sureyou place the vector art (i.e. adobeillustrator files) and the hi-res artinto the Art_Final folder.

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Collected Folder

This is the place where we storethe final artwork that was eitherreleased to the vendor, “collectedfor output,” or received from thevendor. Do not touch or alter anymaterial in this folder.

Remember to save all work as yougo along.

Quark Mechanical Versions

Each time a job is routed, pleaseadd the revision # to the end of thejob file name to indicate the newversion. Please keep your “old” ver-sions in the “OLD” folder.

New Job Labeling Syntax000AAA999_NYT_Description_01

Job Number Pub† Revision #

New Art Labeling Syntax000AAA999_Description_01

Job Number Revision #


CLIENT“Collected” Folder:Should ONLY contain entire

collected files that were sent topress or to client which includes

PDF’s

“Production” Folder:Should ONLY contain

Production Quark Files and2 ART folders

“Art_FINAL” Contains all Art that iscomplete and ready for press

“Art_WORKING” Containsall Art that is not Finished or

is Lores.i.e.”work inprogress”also your psd files

Place OLD QuarkFiles Here.

“Logos_MASTER”Is where ALL Finished logos are kept.NO Client Logos Should Be in either

ART Folder Unless they are Job

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The Production Studio Freelance Artists & Outside Board Artists

All freelancers must fill out atimesheet and hand them in weeklywith a proper invoice listing name,social security number, total hoursmultiplied by the hourly/day rateand a total amount due.

All invoices submitted for paymentwill be paid within two weeks.

The agency offers no medical ben-efits, vacation or personal time forfreelance workers.

To optimize printing time andschedules, check with everyone inthe area prior to printing a largefile.

We ask that all freelancers be con-scientious in regard to conservingpaper and supplies.

There is a phone located in theelectronic studio for emergency andimportant phone calls. No personalphone calls are to be made or takenon this phone.

Do not move any equipment.

Do not upload or download anysoftware.

Do not put your own fonts on thecomputer.

Do not replace the desktop pattern.

Do not change, update or deletesoftware on your machine.

The Production Studio Typefaces

Work off of fonts on your localhard drive only. If you need atypeface that isn’t on your localdrive, copy over the typeface fromthe “fonts” folder located in the“Clients Server.”

Only open typefaces from yourlocal hard drives “Font Library.”

Use the agency recommendedPURCHASED Adobe TypeSelection, and keep all named fontsselected from within one companybrand’s library. If you use a typefacethat we don’t own, let us know andwe will work it into an estimate.

Do not use fonts that were notpurchased by the agency.

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The Production Studio Releasing to Disk

Once a job is OK’d to be releasedto disk, please follow the belowprocedure:

Open the mechanical and checkfor:

- Correct size, colors & bleed

- Updated guidelines

- All gradations are in Photoshop

- Proper logos and trademarks

- All artwork and logos are reproduction quality

- All colorized Tiff files (used inQuark) are correctly translated toEPS Duotones.

- Photos are scaled in photoshop towithin 10% of the actual size inQuark.

Run Flightcheck &Collect for Output:

- Check RGB vs. CMYK

- Proper resolution

- Correct artwork files

- Read flightcheck report for prob-lems to solve

Collect Job to Disk

- Place a copy of collected files in“Final Mechanical Folder”

- Collect to CD-Rom or Zip

- Label Zip or CD-Rom

- Print a copy of the mechanical in color to size (If possible)FROM THE DISK.

- Print a copy for the job bag

- If 4 C, print separations.

- Attach Pantone color chips toMechanical if appropriate.

- Mark all color breaks, FPOS,PMS Colors, varnishes, trimmarks and/or print a copy of thelayout if needed.

- SIGN the Approval Form.

- RETURN DISK WITHPRINTOUTS AND JOBHISTORY TO TRAFFIC.

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Studio Manager,(Lead Studio Production Artist)This position can be billed hourly.

The Studio Manager acts as the mainstudio point person for all mechanicalmaterials related to a particular client ofthe agency. They manage the creation ofall studio work and supervise other pro-duction or freelance artists. All ques-tions, regarding internal projects, newbusiness, etc., will funnel through thestudio manager.

Responsibilities

Responsible for all mechanical mate-rials released from the agency

Supervise the creation of all artmechanicals for assigned clients,through comp to final disk releasefor the agency.

Track all misc. studio requests foreach assigned client.

Act as lead studio production artistand quality control person for all assigned projects.

Manage studio production artists andfreelancers in completion of the individual assignments.

Schedule daily studio workload,manage work changes.

Work with project managers/production staff to accomplish allinternal studio work.

Provide design and new businesssupport as needed.

Track usage & maintenance of allstudio devices; computers, printers,scanners and digital cameras, etc.

Maintain a clean studio and surrounding environment.

Estimate and invoice studio servicescharges for assigned clients(i.e. colorcopies, poster prints, discs, cd-roms,new business materials, etc.).

Review studio/production timeschedules and estimates where needed.

Track and train all assistant and freelance studio staff in all relevantskill areas.

Contact, hire & supervise all agencystudio freelancers for assigned proj-ects(inhouse/outside).

Maintain agency archiving and filingsystems.

Track supply inventories for studio -work with agency purchaser for allconsumables.


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Studio Production Artist

This position should be billed hourly.

Responsible for producing mechanicalsfrom layout or spec sheets for final pro-duction. Produces materials for creativepresentations, new business and internalprojects. Create and ensure the deliveryof correctly prepared, complete, accurateartwork to printers and manufacturers.

Responsibilities:

Review assignments directly with theStudio supervisor to determine thebest method of execution.

Produce computer mechanicals basedon the creative concept layout andmaintain the creative integrity of theoriginal concept.

Review prepress file specificationsprior to producing files and maintainconsistent file preparation suitable foroutputting by publications or ven-dors.

Assist the studio manager in developing methods to create andmaintain consistent studio file preparation.

Work with the Studio Manager indeveloping color calibration tech-niques that produce consistent fileresults between the comp, layout andfinal mechanical.


Maintain a clean studio and

surrounding environment.

Work with staff to produce reproduc-tion artwork for design, advertising,and other projects.

Ensure the quality and accuracy offiles that are created or sent to printpublications or vendors.

Communicate as necessary with stu-dio or project manager to eliminateand prevent errors and problems

Check artwork for completeness andassure adherence to standards

Monitor art preparation guidelines.Recommend technical and procedur-al updates and changes as needed

Assist in the collection and distribu-tion of assets for preparation of pro-duction artwork as necessary

Assist in organizing, monitoring,archiving, and maintaining files onthe server

The Production StudioJob Descriptions

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Studio Production Prepress Artist

This position should be billed hourly.

Responsible for producing mechanicalsfrom layout or spec sheets for final pro-duction. Lead responsibility for produc-ing files for publication and press.Produces materials for creative presenta-tions, new business and internal proj-ects. Create and ensure the delivery ofcorrectly prepared, complete, accurateartwork to printers and manufacturers.

Responsibilities:

Lead production artist in the finalproduction of all prepress files.

Trains and reviews prepress filepreparation with other studio artiststo maintain accurate and consistentfiles.

Acts as main studio person to review,monitor and maintain all studio out-put devices.

Review assignments directly with theStudio supervisor to determine thebest method of execution.

Produce computer mechanicals basedon the creative concept layout andmaintain the creative integrity of theoriginal concept.

Review prepress file specificationsprior to producing files and maintainconsistent file preparation suitable foroutputting by publications or ven-dors.

Assist the studio manager in developing methods to create andmaintain consistent studio file

preparation.

Work with the Studio Manager indeveloping color calibration tech-niques that produce consistent fileresults between the comp, layout andfinal mechanical.


Maintain a clean studio and surrounding environment.

Work with staff to produce reproduc-tion artwork for design, advertising,and other projects.

Ensure the quality and accuracy offiles that are created or sent to printpublications or vendors.

Communicate as necessary with stu-dio or project manager to eliminateand prevent errors and problems.

Check artwork for completeness andassure adherence to standards.

Monitor art preparation guidelines.Recommend technical and procedur-al updates and changes as needed.

Assist in the collection and distribu-tion of assets for preparation of pro-duction artwork as necessary .

Assist in organizing, monitoring,archiving, and maintaining files onthe server.


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Studio Imaging Artist(Retoucher)This position should be billed hourly.

Provides scanning, color correction andretouching on assigned projects. Dutiesalso include prepress and studio relatedprojects.

Responsibilities:

Scans and retouches all artworkaccording to the creative and production specifications.

Works with the StudioManager(SM), Production Manager(PM), all Production Staff andassigned AD/CD’s to achieve desired results.

In conjunction with SM, PM & PD,works with vendors to coordinate,scans, digital output, outside color correction and outside retouching.

Advises creative on best way toachieve approved concept viascan/illustration/scanning/retouch-ing/pre-press techniques.

Prepares proofs (black and whitelaser output or specified color outputper project budget).

Discusses final art with assigned ArtDirector/CD/PM for each project.

Confirms all production deadlineswith Studio Manager/TrafficManager.

Acts as production artist where necessary or specifically requested to do so.

Discusses outside production ele-ments required for job with variousvendors in conjunction withTM/PM/CD.

Reviews all work for errors/omissionswith Studio Manager prior to turn-ing in work for Creative/AE/Clientapproval.

Makes all requested changes/correc-tions promptly and correctly.

Preflights, check all artwork for correct press or usage.

Act as Technical advisor to juniorstaff.

May be called upon to maintain pro-duction/pre-press related computerequipment, including but not limitedto scanning equipment, outputdevices, servers, web related software,software and all related hardware.

Evaluate and scan original artwork toachieve acceptable reproduction qual-ity output.

Work with the Studio Manager indeveloping color calibration tech-niques that produce consistent coloroutput from scanner to monitor tooutput device.


group-creative

The creative guide to

artwork creation.

b

96


The Creative DepartmentResponsibilities

The Creative Department isresponsible for execution of theclient brand and creative briefs.

Starting Work & the Job Jacket

Artwork Purchasing

Artwork Handling & Retouching

Creating a Comp or Mechanical

How to Name and Save Your Files

See Production Studio for:

Artwork Naming Procedures

Artwork Filing Procedures

Typefaces

Style Guide

Guidelines & Mechanicals

Freelancers artists & Outside Board Artists

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The Creative DepartmentArtwork Purchasing

The Creative Department isresponsible for initiating all print-ing spec sheets. All specs must bereviewed with the ProductionDepartment prior to releasing toclient or obtaining bids. Onceapproved, no one will change specsat the release of a project withoutprior production notification andclient approval.

Upon approval to order art,Creative should check with theProduction Department to ensureart is reproducible for the particularad or piece, and that all the art-work’s uses are taken into consideration. It is the combinedeffort of the AE, Creative andProduction teams to ensure thatthe artwork purchased meets all ofthe client’s requirements.

You must have prior approval fromthe Production Department to buyphotography, art, or creative servic-es. Production will fill out aPurchase Order, listing the usageand amount agreed upon.

The Creative Department will alsosign off on all art vendor invoices.In the case of an overage, the per-son must write a brief explanationof the additional charges on theinvoice.

The Creative DepartmentStarting Work & the Job Jacket

The Creative Department shouldnot accept any work directly fromthe Account Group without theTraffic Department’s knowledge.All changes to existing projectsshould be run through the Traffic/Production Department as well.

Do not start a job without the project initiation form, without aBrand/Creative Brief, or a job number.

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The Creative DepartmentCreating a Comp or Mechanical

Any files which contain mock art-work or low-res scans not intendedfor reproduction must be visiblymarked “FPO”. We have an FPOtag in the Guidelines master page(in the EP Folder under‘Guidelines’.) FPO must also bemarked in bold type next to theGuideline.

All files should use the agency filenaming system.

All files should be sized using thedocument setup for page size.

All agency guidelines are to be setin standard format, which can becopied from the Guidelines masterpage set up in the “EP” Folderunder “Guidelines.”

All jobs must be placed in the“JOBS” folder by respectiveaccount. See the Artwork FilingProcedure in the Studio section ofthis book.

The Creative Department is not toset any electronic files using fabri-cated or customized colors. Choosecolors from the Pantone MatchingSystem instead. Remember thatthese colors may be simulated if thead or project is running in 4/Cprocess. Note all colors used in theguideline.

Any stock photo used in compsmust be labeled at the bottom ofthe file next to the guideline. Thelisting must include the stockphoto house and the photo number.

The Creative DepartmentArtwork Handling & Retouching

Upon receipt of client or outsidevendor artwork it will be loggedwith the Traffic Department andlabeled.

However, all purchased art is theresponsibility of the CreativeDepartment when it is in theagency’s possession. Any artwork orphotography to be returned mustbe labeled as such prior to handingover to the ProductionDepartment.

Please follow the artwork log inprocedures with your traffic or production person.

All conventional artwork orderedby Creative must be in “scanable”form (able to wrap around a drumscanner). Any artwork not on flexi-ble board runs the risk of beingdamaged when it’s wrapped. If supplied artwork is not in scanableform, Production will shoot atransparency to scan with the loss

of one generation, affecting thequality of reproduction.

No outside retouching of any art-work is allowed without prior per-mission and communication withthe Production Department.

The Production Department willmaintain awareness of the final art-work’s use so that any retouching isdone in the correct color space andresolution. This information is vitalto the successful completion ofyour artwork.

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Artwork generated by the artdepartment.

For position only artwork.

The Creative DepartmentHow to Name and Save Your Files (con’t)

New Job Labeling Syntax000AAA999_NYT_Description_01

Job Number Pub† Revision #

New Art Labeling Syntax000AAA999_Description_01

Job Number Revision #

The Creative DepartmentHow to Name and Save Your Files

Use the Server called “ELVIS” andthe volume called “Creative A-Z”to save your work. Never save yourartwork or files on your local desk-top.

In this server there are folders foreach client in alphabetical order.Under each “client” folder there isfolder for each job #.

Each of these client folders containfolders for individual jobs. The“jobs” folder holds the client’s jobsby job number.

Using the template on the“Creative A_Z” to start a new job.Remember to start a new job youmust have the correct job numberand use it to save your work. Neverwrite over an old job file to begin anew job. If you need to make acopy of the file using a new name.Always save your work using theagency naming convention.

The job folderThis is the folder where the artdepartment begins a job. All compartwork should remain in this fold-er. Only low-res or comp workshould be placed in this folder. Ifany hi-res art comes in during thecomp stage it should be placed inthe production mechanical folder.MARK your Individual art fileswith the agency naming conven-tion.

When you are ready to release art-work to the production departmentdo a collect for output, and placeyour files in the Prod Drop Folder.YOU MUST NOTIFY productionto pick up and use these files.

how the agency works - squarespace

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