How The Agency Works

how the agency works
b
a process–manual
developed & written

by ed burgoyne
How the Agency Works Ed Burgoyne
Introduction
“How the agency works,” is a reference

manual that explains the basics of process
within an advertising agency.
This process manual is meant to be used

as a general concept guide, since agencies
will have different approaches to their
own workflow.
This book is several years old, and I am

currently working on an updated version.
In later editions, the process manual will

include an expanded process guide that
will include web and broadcast projects.
© 2001, 2009 Edwin Burgoyne

This version has been customized for
a medium sized agency and is based on
process systems and procedures previously
developed by Ed Burgoyne.
edwin burgoyne
345 goffle road
ridgewood, nj 07450
v 201.444.1816
c 201.452.2416
edwinb@optonline.net
3
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
4
b
agency–workflow
How work progresses

through an agency in detail
Client Brief
The Agency
The Brand Positioning
Critical Path of a Project Analysis, Research and Positioning
Research
The following steps detail the typical workflow in an agency.
This version of the critical path is for smaller agencys and assumes that
the agency does not have a seperate strategy department, nor an art Creative Brief
buyer, project management in this path is split between the junior
account team and a production traffic department.
Job Plan & Tactics
The main path steps are:
Client brief
Start-Up Meeting
Brand Positioning and Research
The Creative Brief

Begin Work
Work Initiation
Start Up Meeting
Creative Concepting Revise Old Project Plan the Media
Begin to Concept, Revise Audience Research, Refine if Necessary
and/or Plan the Media
Create the Creative

Create the Creative
Schedule the Media
Produce
Schedule the Media
& Bill
Produce
Bill
6
Workflow -
Step 1 - Starting the Process,
the Creative Brief & the Status Report
Element: • The account executive fills out a visors, the studio manager, the their projects, once daily, a
The client briefs the account plan- job number request and requests a traffic director, media, art buyer. “WHAT’S HOT FOR TODAY”
ner and the account management job number from the appropriate • Traffic will then begin it’s process. follow-up be e-mail the night
team on the project(s) at hand. traffic or production coordinator. However, if necessary, the account before (or at least that morning)
• Once the creative brief is executive should meet with the to all participants, including
Actions:
approved, a meeting with the creative team to review and begin supervisors, studio, production,
The Client, art buyer (if applicable) and traffic
creative, production, traffic and their part in the process.
• The client is responsible for pro- media team should take place director from the appropriate
• See side bar information on,
viding the agency with a market- depending on the scope of the traffic person. Daily status
“filling out a status report.”
ing brief, an RFP, and/or as little project. reports help the other department
or as much information about a Traffic and/or Production, managers and individuals in
• The account executive updates
project that they choose to give. • Traffic issues a job number. managing their workload for
their weekly client status report.
It is up to the Account Team to • Traffic creates the master “job each client.
The agency has weekly meetings
ask the client the right questions, bag” that is used to hold the
to review these status reports.
to form the creative brief and to creative or production history
Mandatory participants can be
get the agency the information hard copies for the entire length
traffic, production and account
they need to get the project of the job.
executives. The creative team is
completed, on time, on budget
encouraged to either be present • Internal work now begins (if
and on strategy.
or be on call if questions arise. creative costs are on a fee basis)
The Account Executive, but no out-of-pocket costs should
• At the completion of the meeting,
• The account planner & account the account executives will revise be incurred prior to an estimate
executive creates a creative brief the report according to any com- generated and client approval.
distilled from client information, ments made at the meeting and • Although traffic should have daily
prior background notes, focus E-mail or send interoffice copies conversations and follow-up with
groups and research. to all participants and their super- departments that are involved in
7
Critical Path - Workflow -

Step 1 - Starting the Process, Step 1 - The Status Report and Organizing
the Creative Brief & Status Report Client Project Information
Client Element: 8. Responsibility of team,
Briefs Agency
Keep your client information team assignments
up-to-date with status reports 9. Status of estimate:
Account Executive To be developed,
Writes creative brief and your reference books.
Revise brief
In development,
Actions: With Client or Client
Revise brief
Agency Staff The Account Group, approved, Completed,
Reviews creative brief
• Review and construct a detailed To be billed,
Estimate, etc.
Client Job Plan by utilizing the agency
Reviews creative brief
backgrounder/start up • Organize and keep reference
questionnaire. books for the following items:
Traffic / Production Account Executive Account Executive - Client Estimates
Open job number / Creates Schedule Creative brief approved Updates Status Report(s) • With the traffic coordinator, - Media Schedules, Plans &
maintain the client status report. Insertion Orders
Internal Start Up Meeting Keep a detail record of what your - Examples of each piece of
Traffic or AE Gathers:
account is doing, by creating and creative in hard copy format.
distributing a client status report.
Media
Use the below fields for creating
Copywriter Art Director Traffic Production Begin Planning
Stage If Necessary your 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
Workflow -
Step 2 - Schedules, Estimates & Due Dates;
Creating a Plan of Action
Element: formal estimate is then circulated • Traffic gets all internal
Create a client estimate for final signoff. department approvals.
and internal schedule. • The approved formal estimate is
then presented to the client for
Actions:
approval.
The Account Executive, • Traffic (and/or production)
• Account executive briefs traffic prepares the schedule taking into
and production of a desired cre- consideration the needs of cre-
ative due date(s), insertion ative production and client needs.
date(s), print delivery date(s) or • The schedule is then distributed
start-to-mail date(s). A pre-pro The Schedule: 5. If the client, themselves miss any
to the AE to present to the client. milestone dates, the account execs
(pre production) meeting will 1. Schedule(s) should never be pre-
Once the client has approved the sented to the client without prior will be alerted to possible sched-
take place to review the work. estimate and schedule, work will ule changes. Account execs will
approvals from all departments
involved. need to alert the client that the
• The AE is responsible for getting then begin.
end date will be jeopardized.
client approval of the estimates • Traffic will then distribute the 2. Schedule(s) should be generated
only by the production/traffic 6. It is the account exec’s responsi-
and schedules. schedules internally.
dept. bility to explain to the client that
Traffic and/or Production, • Each step of the job is to be requesting changes at
scheduled, including time for 3. Since the schedule(s) are some- specific stages of the job can
• Production will generate an esti- times developed before concept impact the final end date.
client to make internal reviews development, it is very important
mate, using the agency template
and obtain legal approval. All of to keep in mind that the schedule 7. Traffic will alert all participants if
based on information provided by they are needed to stay late or
the client’s responsibilities should may need to be revised as the
the AE on the Job Plan.The esti- project unfolds. come in early for reviewing mate-
be bolded on the schedule. Keep rial. If that person is not avail-
mate is then routed for internal
in mind that the client will most 4. If traffic is missing pertinent able, they must arrange coverage
review. information, it will delay the
likely review any schedules for and inform traffic, so as not to
• Upon initial approval, the esti- development of the schedule(s). hold up the routing process.
approval. He/she could use the
mate is then entered into the internal schedule or a condensed
accounting package. The final milestone version.
9
Workflow -
Step 3 - Beginning New Creative Work;
the Job Order & Approved Media Schedule Form
Element: Traffic • Traffic will gather all vital infor- should review and approve all
Client approves estimate, • Traffic is responsible for tracking mation and hard copies needed sizes. The flow chart should route
and pre-approves media buys. all work internally, making sure for work to begin. This informa- with the job. A combined media
deadlines are met within in each tion will be tracked and placed and print spec form can be
Actions:
department (creative or produc- within a “job bag or jacket.” Each created and used.
The Account Executive, round of changes will be tracked
tion) in order to accommodate • Inconjunction with the media
• Responsible for client approval the master schedule. (in the job bag AND recorded flow chart, a insertion order book
of the estimate, a signed into the accounting software) and should be kept for each client.
• Traffic will work with the creative
media schedule form, and placed back into the job bag so a It is also helpful to keep a publi-
director to determine availability
the appropriate start work / job “history” can be created. The cation spec book that is updated
of the account’s assigned lead cre-
job plan form(s). job history is vital in trafficking regularly with the most frequently
ative team or assign alternative
• Initiate and hold internal start-up and keeping track of job informa- used publications.
creative team if necessary. The
and planning meetings. tion through the agency.
creative team consists of an art • Upon job completion, the traffic
• The account executive should director and copywriter and may • In addition to keeping job bags department should distribute a
create and distribute the prelimi- include an online or offline for individual accounts, the traffic final hard copy example of the
nary media schedules. designer. If an alternate team is department should create a mas- creative to the appropriate
assigned, the lead creative team ter reference book for each client account team.
Creative & Production
should still be involved in the that contains approved examples
• In regards to all jobs not covered of the creative.
project to provide input even if
under a fee based arrangement,
they are not the assigned team. • Traffic will create it’s own media
no jobs should be started without
• Traffic has it’s own work order flow chart with the publication(s),
signoff of an approved estimate
forms and spec sheets using the space closing, material closing,
and/or media schedule.
information found on the account size(s), colors, pub contact name,
• Upon client concept approval, phone number, extension dates
group’s job request form. If
the art director discusses execu- and key codes if applicable from
needed they will consult with
tion options with production. the media plan. Production
production to fill in any missing
information.
10
Workflow -
Step 3 - The Copy Writing (or Manuscript) Stage
Client Input
AE Gathers info and distributes:
Element: • Traffic will record all client

Client approves estimate, changes with the accounting Copywriter Art Director Traffic Production CD
and copywriting begins. software as change orders.
Actions: • Upon manuscript completion,

the traffic department should
The Account Executive, Internal Routing
distribute a final hard copy
• Responsible for providing the example of the creative to the
copywriter with client materials. appropriate account team.
Copywriter
• Initiate and hold internal start-up
and planning meetings.
Revise
• Responsible for issuing detailed Creative Director
client change orders to traffic.
Copywriting
Art Director
• Copy is developed by the copy-
Revise
writer. Copy works with creative
in defining project parameters Proofreader
and creative concepting.
• Proofreading and final comments
Traffic
should be routed before circulat-
ing copy to client.
• Upon final approval, copy will Account Executive
give text to the art department.
Traffic
Client
• Traffic is responsible for circulat-
ing copy between the AE, art
director(s) and CD.
Copy Approved
11
Workflow -
Step 4a - New Creative & Art Direction
Client Input
Element: staff to develop designs based on

Starting the creative engine. creative brief and approved copy. Account & Creative Team
Start Up Meeting
Actions: • Be able to review work with CD
prior to client meeting.
The Account Executive,
Art Director
• Provide Traffic with a copy of the
• The account team generates a
all the creative presented for the
creative brief distilled from
job bag. Creative Director
client information, prior back-
ground notes, research or account • Meet with the production staff
planning and presents it to the before presenting creative ideas,
Copywriter / Editor
creative team. to confirm production costs will
Revise
remain within budget.
• The account group meets with
Production & Traffic, Account Executive
the team to discuss the creative
brief, the project, and to discuss • Traffic will circulate the layout
the timelines. with the final copy manuscript as Proofreader
• The account manager is responsi- backup.
ble for all client copy and art • Production will review the layout
Production
approvals. The AE sends the to determine if a revised estimate Reviews & Begins specs & Prod Est.
client the artwork for approval or production spec sheet is neces-

keeping in mind the client sary. Traffic
Makes file & client copies
submission guidelines. The AE • Traffic will work with the AR to
will give to traffic a copy of what prepare the client submission to
was presented to the client. the client requirements. Account Executive
Creative & Art Direction,

• Once the manuscript process is Client
under way, the CD will direct the
12
Workflow -
Step 4b - Revising Existing Creative Client
Element: Traffic & Production, Account Executive
Approval of additional charges • Traffic will circulate the changes

(if any), client, media and internal from the account exec. Traffic will Creative Changes Mechanical Changes
Traffic
schedules. ensure all change orders are
Actions: entered into the computer system.
• Revisions must be clearly Copywriter Studio Artist
indicated on the reader. The art
• Responsible for client approval of
Revise
director should clearly indicate on
Revise
additional costs, an accurate Art Director Art Director / Copywriter
the file the revision number.
Revise
media schedule form, and the
appropriate change order form(s).
Proofreader Proofreader
• AE reviews client changes, makes
Revise
sure changes are clearly marked
on the complete layout. Creative Director Traffic
Revise
Copywriter and Art Director,
• When the creative is received Account Executive Creative Director
from traffic, the copywriter
reviews the changes and then
gives the changes to the AD, Traffic Account Executive
who oversees the revisions.
• The changes are made by the art
department then given to traffic
for circulation.
Presentation to Client
13
Workflow -
Step 4 - Revising Existing Creative Client
in the Production Studio
Element: • The changes are made by the Account Executive
Approval of additional charges production studio then given to

(if any), client, media and internal traffic for circulation. Creative Changes Supervised Studio Changes
Traffic
schedules. Assumes work to be Traffic & Production,
changed in simple in nature and • Traffic will circulate the changes
the art director has overall creative from the account exec. Traffic Copywriter Studio Artist
responsibility will ensure all change orders are
Revise
Actions: entered into the computer system.
Revise
Art Director Art Director / Copywriter
Revise
The Account Executive, • Revisions must be clearly
• Responsible for client approval of indicated on the reader. The art
director should clearly indicate on Proofreader Proofreader
additional costs, an accurate
Revise
media schedule form, and the the file the revision number.
appropriate change order form(s). Creative Director Traffic
Revise
• AE reviews client changes, makes
sure changes are clearly marked
Account Executive Creative Director
on the complete layout.
Copywriter and Art Director,
Production Studio, Traffic Account Executive
• When the creative is received
from traffic, the copywriter
reviews the changes and then
gives the changes to the produc-
tion department, the AD
oversees the revisions. Present to Client
14
Workflow -
Step 4 - The Media Plan
Element: the approved media plan and dis- and quantifying research estimat- 4. Brand’s Past History
Create the media plan. tribute to the creative and pro- ing audience size and characteris- Positioning of the brand in its
duction staffs. tics of the media choices available category with historic data on
Actions:
The Media Department, to the planners. volume and share, together with
• The media planning staff will • The Media Plan will include: user profiles, both demographic
• The account exec will work with and lifestyle.
create a media plan that is specific 1. Target Audiences
the media department to prepare
and clearly states, but not limited The definition of the best 5. Seasonality Requirements
the media plan. The plan should
to, the following items: who the prospects by demographics, geog- Information on seasonal varia-
be presented to the client with a
media effort is intended to reach; raphy, and lifestyle. This informa- tions in consumer consumption
clear-cut set of objectives to be
whether broad reach or intense tion is gathered early in the plan- habits or purchase behavior. This
achieved by the media expendi-
frequency is of greater impor- ning process and is most likely should also cover category tradi-
ture. The plan should include a
tance; what seasonal factors may compiled through a syndicated tion (timing of new model intro-
highlight summary of the strategy
shape timing and weight levels research vendor like MRI. ductions, clearance sales, holidays,
or strategies to fulfill those objec-
across the period of the media etc.).
tives. 2. The Competitive Scene
buy; geographic requirements;
• The account exec is responsible to Information on competitive 6. Geographic Factors
creative needs (print or broadcast,
brief the media department with need for color, editorial enhance- spending and media usage by The whole pattern of historic and
as much information as possible ment, etc.). direct competitors, typically put current variation in both category
before it is created. together by either the account and brand development, by mar-
• Typically, the media plan will
• The account exec and media staff group or in some cases the media ket and region, leading to adjust-
include other important informa-
will make all continue to evaluate department. ments in weight across the total
tion such as, an update on current
the performance of the media 3. Primary and Syndicated geography involved.
advertising activities for the prod-
plan if needed. uct or brand, market trend infor- Statistical Research
• The account exec will produce mation on the product or service
media scheduling forms based on category involved, tracking data
15
Workflow -
Step 4 - The Media Plan
Client Input
Account Group
Requests Media Recommendations
Media Planner
Makes Recommendations
Revise
Revise
In House Approval
Account Group
Revise
Reviews Media Plan
Production / Traffic
Reviews Media Plan if necessary
Account Group
Presents Media Recommendations
Client
Reviews and Comments
Account Group
Distributes Approved Media Plan
16
Workflow - Typical Internal

Step 4 - Internal Routing Proofing Sequences
of Creative Comps or Production Mechanicals
Element: Traffic Client
Creative Changes
Routing internal creative, • Creative changes and approval
client or production changes. steps are repeated until final client Account Executive
Actions: copy/layout approval—at which Writes up changes
point the account exec will notify

the traffic manager, and the Traffic Manager
• For excessive creative changes, the Writes up changes in System
account exec will sign off and
account exec discusses them approve going to the mechanical
directly with the copywriter and stage. Art Director / Copywriter
art director in a meeting. The
• Traffic will organize “routing
appropriate creative or production
Revise
parties” when scheduling becomes Production / Traffic
traffic manager must be informed
tight. However, the proofreader
Revise
and present when comments are
should always be given time to
received.
review the work on their own. Proofreader
• For simple copy changes, traffic
can go over comments on an
existing job with creative or the Creative Director
Revise
studio staff if they are easy to
understand and minimal.
Account Executive
• Mechanicals are not to begin
without client approval of the
copy and layout. Changes must Traffic (file copy)
be encouraged at the initial
copy/layout stage since sequential
client changes can easily escalate Client
agency costs.
17
Workflow -
Step 4a,b,c -
External Routing to the Client
Element: signed, changes can be made. used as a way the agency is
Routing creative or media • All client comments and changes exempt for issues that arise after
schedules to the client for approval. must happen in a timely fashion. the client has signed off. The
Otherwise it will effect changes account executive is responsible
Actions:
in their schedules, due dates and for ensuring that the client’s
The Client, changes were made to the client’s
costs.
• The client should be made aware satisfaction.
of some important facts concern- Traffic,
ing their responsibilities in • Account executive is responsible
for circulating the creative, layout, • Client changes and approval steps
approving creative or media
copy, artwork, storyboards,scripts are repeated until final client
schedules. That they are responsi-
and media schedules directly to copy/layout approval—at which
ble for approving the schedule,
the client and for gathering all point the account staff will notify
and will return the materials back
information needed in order for traffic, and account exec will sign
to the agency in a timely manner.
additional changes to be made, or the “OK To Set/Begin
The agency shall remind the
to receive final approval. Mechanicals” stamp.
client that if the materials are not
returned by a designated time, • The account executive is also • All artwork, concepts and materi-
that the projects deadlines will be responsible for getting the als will be clearly marked to indi-
in jeopardy. The client should also changes back in a timely fashion, cate to the client if the piece is in
understand that the excessive and to notify the client if those the creative or mechanical stage,
changes could cause the schedule changes will effect the overall what revision number it is. This
to be changed. schedule, costs and due dates for information should be recorded in
their jobs. the mechanical (Quark) file name
• The client must designate who
as well.
within the organization may sign • Although the account executive
approvals and authorizations. does get a “final signoff ” from the
Once an authorization has been client. The sign-off should not be
18
Workflow -
Step 5 - Photoshoot & Art Creation
Element: • Before the creative is presented to should indicate if art is stock so

After client approves a creative the client, the art director should that traffic will know what &
concept, the art director makes review the work with the creative when to return the art to the
final selects on execution style, director for final approval. artist or what is to be filed away
photography and illustrations, if • Account exec and/or art director in the central files.
any are to be used. present final art selects/final • Retouched art will be reviewed in
Actions: comps to client for approval. a “loose” matchprint or kodak
AE, Art Director, Production, approval. The imager or produc-
Art, Design or Creative director,
tion manager discusses the proofs
• Art director selects the photogra- • Client approves art and traffic
directly with the art director and
pher or artist. The art director gives to production to begin
production. The creative director
then discusses with the produc- retouching. If studio is handling
should also approve any major
tion and account staff the costs of the retouching, art director and/or
campaign creative work as well.
the artwork. I production should discuss with
Mechanicals, sizing for publica-
the imager together.
• A photo schedule is then created. tions, etc., should not be held up
The Art Director must go Production, for final art approval.
through the production • Upon retouched art approval,
department for approval of all production may release for film
outside costs. and color proofs. The print
• Art director, production and art production spec sheet should be
buyer coordinate schedule, costs, revised as the artwork is being
shoot(s) and/or illustration and created and completed.
inform traffic of status. • Production and/or studio returns
all art to traffic. The spec sheet
19
Workflow -
Step 5 - Example
Concept Approved Continued
of Production Workflow Photographer Selected
Starting with Photography Pre-Flight & Pre-Press

Estimate & Photographer
Approved
Produce Hi-Res PDF

Pre-Production
Casting, Location selection
Proof PDF file

The Shoot
Studio or on Location
Publication Printer
Ship to
Image Approval
Review and Select Image
Publication Prints On-Press

Client Approval of Selects
Check Ad in Publication Bindery

Retouching
Fulfillment
Revise
Image Proofing
Revise
Mail
Retouching Approval
Spot Check Mailing

Place Image in Mechanical
Composed Proof Approval
Continued above left
20
Workflow -
Block 6 - Scheduling the Media
Element: • Insertion orders should be • Inform the account staff and

Client has approved the media checked against the media plan. media department if the
plan - you can now create the • It is the AE’s responsibility to fol- publication gives different
media schedule. low up with the departments to information than what is on the
make sure you are meeting your media schedule.
Actions:
deadlines. If the creative, copy or • Include a copy of the released
Account Executive,
art materials come in late on your materials in the job jacket.
• Media Schedule Forms must be timelines, you must make sure
filled out with all complete infor- that you change your media
mation. Typical information on schedules to reflect a realistic
the sheet includes the name of date to meet the publications’
the creative, the publications the closing dates.
ad is running, the size, the inser-
Traffic & Production,
tion date, the publication material
due dates and indicate any special • Review the media schedule and
information. Indicate if future the production timelines to con-
insertions are pick up or new cre- firm that the media schedule is
ative. Missing information can achievable.
mean missed deadlines. • Call all publications to review if
• On odd media, the account staff the media schedule is accurate,
should meet with the creative and check for correct sizes, pub specs
production teams to discuss the and deadlines.
production issues. • Follow up with the publication to
• The media schedule should be ensure that the materials have
updated if the media buys change been received on time and will be
during the media plan. inserted properly.
21
Workflow -
Step 7 - Producing the Mechanical,
Starting the Production Process
Element: ensure that the proper paperwork • The mechanical will be circulated mechanicals. If the job is com-
Client approves the copy and accompanies the project and that to the AD, AE, Production, CD plex, the art director may need to
layout and account executive alerts it will be logged in for billing and Copy before it is submitted be present as well.
traffic that it is “O.K. to begin cre- purposes. AE’s should not com- to the client for final review. • Routing is to the proofreader,
ating mechanicals.” municate with the art studio • Revisions to the mechanical will copywriter, art director, creative
unless traffic is informed. be treated as with all client revi- director (if applicable), production
Actions:
• The AE is responsible for releas- sions and generate a client change and to an account executive. The
Account Executive,
ing internally approved mechani- order. account exec should always be last
• Revise your time schedules now cals to the client for final signoff. so that all questions can be
• Traffic alerts the art director of
that you can begin the mechanical No mechanicals will be disked answered. Mechanical reader,
the “OK To begin mechanical”
stage of your projects. released by the agency without whether b&w or fiery, will have
and requests that the final files be
• The AE is responsible for provid- final approval of mechanical. released to the production artist. art as FPO. Mechanicals should
ing the traffic department with a • The AE provides the traffic It will be assumed for all projects never be held up for final art.
signed off, client approved cre- department with a signed off, that the studio will need to • Traffic repeats the above steps for
ative. client approved creative. rebuild the comp file unless the any revisions or stamps the
• The account executive reviews the • The AE will present finished art director has already built it to mechanical with an “OK for
time schedule and end dates. mechanicals to the client for production specifications and has Disk/Release to Production” or an
Communicates with the traffic & approval. The AE will mark up alerted traffic to this. “OK for Disk/Release to Pubs.”
production department on any the Client comments and/or • Traffic hands over, in a routing • If the ad is sent as a pdf file to
scheduling changes needed. approves on the mechanical(s). folder/sleeve, the signed “OK To the pub via email, a copy of the
• The account executive shall take Traffic & Production, Set” stamped copy and layout, Insertion Oder (I.O.) should have
into consideration the time spec sheet, updated schedule, pur- been already faxed to pub(s). If
• Traffic will circulate the mechani-
schedules of the art studio for chase order and folding dummy film is being sent directly to
cal to the studio artist, using the
their work and plan accordingly. (for print) to the studio manager pub(s), a copy of I.O. must be
latest back-up signed by the
• All new work for mechanicals to begin creating electronic attached.
client.
must go through traffic. This is to
22
Workflow -
Step 7 - Producing the Mechanical,
Starting the Production Process
• There is a standard 2-day disk Studio,
(CD) release upon approval of a • The studio will not begin any
project. If traffic is to give the work before all pertinent info is
disk to production for release, stu- given and there are no outstand-
dio should provide traffic with ing questions. Art directors must
two fiery printouts and proof let traffic know where the files
from the disk. One can be given can be easily retrieved, if they
to traffic to route to proofreader have not be given directly to the
and account exec and then filed in production artist.
the traffic job jacket. The other
• The production artist gives traffic
should be released to the printer
printout of mechanical(s) to
(or client) with a copy of the disk
route. Mechanical should always
directory and disk release form. If
be printed at 100% and on a laser
a folding dummy is required, it
not a xerox copy. A “slug” indicat-
should be included as well. B&W
ing the agency job number, studio
is fine for the dummy. If the disk
job #, pass #, file source, P.O.#
is released after hours, traffic will
and date must be on the reader.
run the output from the disk to
Traffic keeps the “OK To Set”
proofreader and the account exec
copy and layout as the backup and
first thing next morning to make
attaches to the mechanical.
sure that what was released was
Schedule and spec sheet are
indeed correct.
attached to the folder.
• Traffic keeps copies of backups,
released mechanicals, disk direc-
tory and disk release form in the
traffic job jacket.
23
Workflow -
Step 7 - Final Review of Released Materials,
Element: changes, a change order is

Film/Blueprints/MP review of final generated and materials are
released art for either a printed corrected if necessary.
piece or adwork for publication. • The production manager presents
Actions: the materials to the agency
(via traffic) for final review.
Traffic/Production,
• Printed samples should be
• After the disk is released for film
circulated within the agency
(generally 3 working days) the
for review.
production manager will review
the materials and submit them to
traffic for agency circulation and
approval.
• Traffic circulates the materials
with the last client signed off
mechanical hard copy.
• If the material is approved, the
traffic department makes a color
copy of the material and the
film/proof is sent to the client for
final approval.
• The client must sign off on the
material before printing or release
to publication is possible.
• If the client or agency makes
24
Workflow -
Step 8 - Billing your Projects, Reconciling
& Reviewing Account Profitability.
Element: • A copy of every invoice must go
The job is completed and needs to to the Account Group and to the
be final billed. Production Director.
Actions:
• Reviews the job edits, approves
over charges, signals under
charges and reviews with produc-
tion to ensure all charges are in
and job can be billed.
• Review the accounting report in a
timely fashion to review what
new jobs can be billed if possible.
• All Broadcast Production jobs
should be reviewed by the
Broadcast Producer. All others
jobs including creative will go to
the Print Production Director.
These departments review all
charges, make comments and sign
off on all jobs.
• These accounting job jackets
will then be returned to the
Accounting Department.
25
Monthly Billing Process

Billing as a Team Responsibility
Element: in 2 working days of receiving the supervisors, the edits will then be a job is no longer active, or was
Monthly Billing Review. At the edits to ensure all jobs can be placed back into accounting for only opened for estimating pur-
start of each month, the accounting billed by the end of the month. actions such as; poses. A job can only be killed if
department will distribute for rout- • Production will have 48 hours to Hold. Indicates job is still in no time or expenses are on the
ing purposes a billing “edit” report review all charges, make com- progress, hours are not over, do job. If there are expenses, the
for each individual job. ments and sign off on all jobs. not bill, hold for next month costs must be marked as to where
The edits will then be returned to review. the costs should be transferred to.
Actions:
the Accounting Department, who Make Changes. Make changes as • All changes to the “edits” will be
The routing process: indicated on the bill. Adjust time,
will make the changes. This will group reviewed and signed. No
• Do not close a media, broadcast, leave time for a second round of mark time that is not coded prop- party should hold onto the edits
radio or print production job for review on any edits that need it. erly, indicated adjustments in for more than 48 hours. A
billing without confirming with The Account Executive will then preparation for final billing. prompt review process will allow
the appropriate department head have 4 working days to approve Pull a report. Indicate for time for accounting to generate
if all costs are in. Jobs should not any jobs in order to be billed that accounting to pull a secondary final bills for the month.
be closed with outstanding costs. month. They must sign the report for reviewing outstanding
• Within the first week of each invoices and return them to the purchase orders or time.
month, accounting will generate a Accounting Department. Close job to traffic. Indicates
billing summary sheet for each that there should be no further
• The Accounting Department will
individual job, called an “edit,” time placed onto this job, and
then have the time to backup and
they will then group them by that by “closing the job to traffic”
cut final invoices, for final man-
product and client and distribute means that no further change
agement review to be mailed to
the “edits” for routing. orders are allowed on this job.
the client.
Ok to close & bill. Indicates that
• Account Executives are responsi- How edits should be marked; this job is ok to bill, no further
ble for going through the reports
• After the “edits” for the jobs com- time or expenses are going to be
and marking each up each one
plete their routing from the billed to the job.
and passing the edits onto pro-
account group, production, and Close & Kill. This indicates that
duction. This must be done with-
26
Monthly Billing Process

Billing as a Team Responsibility
Accounting
Prints out edits
Account Executive
Reviews Edits & Marks up
Production
Revise
Hold
Accounting
Make Changes
Reviews Comments
Accounting
Pull a Report Makes changes or approves
Review Job Billing “Edit”

Accounting
Close job to Traffic Produces final invoices
Ok to Close & Bill Reviews and approves invoices
Close & Kill Reviews and approves invoices
Accounting
Mails invoice
To Client
27
b
agency–workflow
and now the “short”

guide to how work
progresses in the agency...
How an agency works © 2003 Ed Burgoyne
Client Brief
The Agency Workflow Path

The Brand Positioning
and Condensed Workflow Analysis, Research and Positioning
Market Research
Creative Brief
Job Plan & Tactics
Start-Up Meeting
Begin Work
Creative Concepting Revise Old Project Plan the Media

Audience Research, Refine if Necessary
Create the Creative
Schedule the Media
Produce
Bill
29
Workflow -
Starting the Process & Information Flow
The client briefs the agency Scheduling The Weekly Status Meeting Daily Hot List
• The account team creates and • Traffic prepares the schedule and • The account executive updates • Traffic will distribute and main-
issues a meeting call report. gets approval by the creative & their weekly client status report. tain a daily, “What’s Hot for
• Account begins to develop a production team before present- • Weekly agency status meetings Today” status email each morning
creative brief. ing to the Account Group. are held to review client status to the agency. The night prior to
• The schedule is then approved reports. the day the hot list is issued, all
• The account executive requests a
by the AE and presented to the team participants, i.e. the account
job number from traffic. • Traffic updates master schedule to
client. Once the client has teams, creative director, produc-
• Traffic issues a job number. reflect changes given during
approved the estimate and tion, will provide input to the
meeting and distributes.
• Once the creative brief is schedule, work begins. traffic department with regard to
approved by all parties, • Account team updates their status work needed for the upcoming
• Traffic then updates the master
a start-up meeting takes place. reports. day.
schedule.
• The account group requests an • Traffic is then responsible for • Although work is scheduled based
estimate from production. updating and maintaining the on the master status report, the
• The estimate is routed & schedule. hot list reflects any changes that
approved internally. occurs during the week. Team
members can use it as a guide to
• The client approves the estimate,
what work is being assigned to
work begins.
them. If there is work that is not
on the hotlist for that day, the
account manager will be required
to meet with the CSD and
assigned traffic person before
work begins. No account
management team member
shall give out work without
notifying traffic.
30
Workflow -
Work in Progress & Information Flow
Client approval of the estimate Internal routing Internal approvals Revisions:

• Studio
• When the account group gets • Traffic tracks all work internally, When routing the agency work,
• Art Director
client approval of the estimate making sure deadlines are met please keep in mind that it takes • Copywriter
or a signed media schedule within in each department (cre- time to circulate the work through • CD & or ACD’s
accounting should be notified to ative or production) in order to out the agency. If a key person is • Production
begin the invoicing process. accommodate the master sched- not available to sign off on the • Proofreading
• The account group fills out a start ule. work, notify the proper supervisor • Account Services
work - job plan form and initi- • Traffic will work with the CD to or account team to ensure that Final Release:
ates, if necessary an internal start- determine availability of the their is a replacement signature. • Studio Artist
up planning meeting. account’s assigned lead creative • Art Director
Key signatures for routing work:
• Traffic will schedule all internal team or assign alternative creative • Copywriter
work related meetings. An agency team if necessary. Comps for internal presentation: • CD & or ACD’s
• Art Director • Production
master calendar will be kept to • Traffic will maintain a “job bag or
• Copywriter • Proofreading
manage all meetings scheduled. jacket.” Each round of changes
• CD • Account Services
• Any jobs not covered under a fee will be tracked and placed back
Comps for external presentation: • Client
based arrangement, should not into the job bag so a job “history”
• Art Director
be started without signoff of an can be created.
• Copywriter
approved estimate and/or media • Upon job completion, the traffic • CD
schedule. department should distribute a • AE
• Signed estimates should be final hard copy example of the • Partner / VP
distributed to the production creative to the appropriate
1st Mechanical or Preflight:
staff and the CSD. account team. • Studio Artist
• Art Director
• Copywriter
• CD & or ACD’s
• Production
• Proofreading
• Account Services
31
Workflow -
Work in Progress and the Creative Stages
The New Creative Stage The Copy Stage Revising Existing Creative Routing to the Client
• The account group meets with • The AE provides the copywriter • The account group is responsible • The client should be made aware
the team to discuss the creative with client materials, holds a for client approval of additional of some important facts concern-
brief, the project, and to discuss start-up meeting if necessary and costs, an accurate media schedule ing their responsibilities in
the timelines if necessary. notifies traffic of client changes. form, and the appropriate change approving creative or media
• The AE is responsible for all • Copy should be proofread order form(s). schedules. That they are responsi-
client copy and art approvals. The and routed internally before • Prior to handing the change ble for approving the schedule,
circulating to the client. and will return the materials back
AE sends the client the artwork orders to traffic, the AE reviews
for approval keeping in mind the • Upon approval, copy will provide the client changes, makes sure to the agency in a timely manner.
client submission guidelines. text to traffic and will forward to changes are clearly marked. The agency shall remind the
the art department. client that if the materials are not
Although work may be posted to The account manager should
the agency FTP site, the AE review their changes with the returned by a designated time,
must view the posted work before traffic manager prior to the hand that the projects deadlines will be
notifying the client. off. The traffic manager will make in jeopardy. The client should also
sure all corrections are under- understand that the excessive
• Internal reviews are required prior
standable before handing over to changes could cause the schedule
to presenting work to the client.
the staff for changes. to be changed.
• Traffic keeps a copy of all the
Copywriter and Art Director, • The account management staff
creative presented for the job bag.
must get approval from the traffic
• Production meets with creative • When the creative is received
manager or CSD for changes that
before presenting creative ideas, from traffic, the copywriter
effect the existing schedule. It is
to confirm production costs will reviews the changes and then
always more prudent to get back
remain within budget. This can gives the changes to the AD,
to the client with a realistic dead-
happen at the creative review who oversees the revisions.
line than provide one that you are
stage. • The changes are made by the art uncomfortable with.
department then given to traffic
for circulation.
32
Workflow -
Work in Progress - Creative to Mechanical
Client approval of creative Executing the creative Scheduling the media The mechanical Stage
• The Account executive is respon- • After client approves a creative • The Media department produces • The AE gives traffic a signed off
sible for circulating the creative, concept, the art director makes the media schedule based upon copy of the creative and retouch-
layout, copy, artwork, story- final selects on execution style, the clients needs and the ing.
boards,scripts and media sched- selects the photographer or artist. approved internal schedule.
• Production produces the mechan-
ules directly to the client The art director then discusses • It is the AE’s responsibility to fol- ical based on the production specs
• Although the account executive with the production and account low up with the departments to and the mechanical is circulated
staff the costs of the artwork. make sure you are meeting your
does get a “final signoff ” from the internally until all parties approve
deadlines. If the creative, copy or
client. The account executive is • A photo schedule is then created. the mechanical.
art materials come in late on your
responsible for ensuring that the • Art director, production and art • The AE is responsible for releas-
timelines, you must make sure
client’s changes were made to the buyer coordinate schedule, costs, that you change your media ing internally approved mechani-
client’s satisfaction. shoot(s) and/or illustration and schedules to reflect a realistic cals to the client for final signoff.
• Client changes and approval steps inform traffic of status. date to meet the publications’ No mechanicals will be disked
are repeated until final client closing dates. released by the agency without
• Client approves additional costs if
copy/layout approval—at which necessary. • Traffic will call all publications to final approval of mechanical.
point the account staff will notify review if the media schedule • Revisions to the mechanical will
• Photoshoot or stock art is pur-
traffic to begin mechanical. information is accurate. be treated as with all client revi-
chased and retouching begins.
• A “prepro” or preproduction • Traffic will follow up with the sions and generate a client change
• Retouching is approved internally publication to ensure that the
meeting will be scheduled prior to order.
before presenting for lient materials have been received on
the layout being turned into a • The studio will not begin any
approval. time and will be inserted properly.
mechanical. work before unless there is a
signed production estimate.
33
Workflow -
Final Review and Approval
Final review of materials

• Traffic will circulate any final
proofs or materials with the last
client signed off mechanical hard
copy.
• When the material is approved,
the traffic department makes a
color copy of the material and the
film/proof is sent to the client for
final approval and shipped to the
vendor.
• The client must sign off on the
material before printing or release
to publication.
• If the client or agency makes
changes, a change order is gener-
ated and materials are corrected if
necessary. If the agency is going
to incur additional cost, the client
must be notified and the costs
approved by the client.
• Printed samples should be circu-
lated within the agency for review
before the materials are shipped
to the client.
34
b
agency–workflow
general
agency concepts
Agency Basics
Meeting Types and Definitions
Project Start Meeting Media and Production Meetings Pre-pro(duction) Meeting ative campaign, media components,
It is the very first internal meeting, These meetings occur throughout Once the concept is approved, the etc. Discuss the cultural relevance
where everyone is made aware of a the concepting/planning stage. team meets to discuss the produc- and cultural impact of the cam-
new project. This is an informa- They are meant to encourage col- tion strategy and issues on how the paign. This includes looking at
tional meeting where the team is laboration and communication concept will be executed. Based on results; quantitative, qualitative or
briefed of the project, staff mem- between the media department and the discussion the mechanical stage anecdotal evidence of the cam-
bers will work together to gather the creative services department to of the project will begin. paign’s impact. Some of these
materials for the next two meet- ensure the agency will meet budg- Preflight Meeting results may come from client
ings. This meeting is often com- ets and deadlines. Prior to the final mechanical being sales/share/ratings reports, while
bined with the kickoff or Strategy Internal Approved creative, the team comes together other examples may be seen on the
meeting. Concept Presentation Meeting to discuss and review production street or picked up organically by
Strategy / Brainstorm Meeting After the creative/media concepts specs or issues before the final files sit-coms, music, movies, etc. We
After we’ve been briefed, we meet have been internally approved, the are released. will review the schedules, discuss
internally to discuss the brief, our agency meets to share concepts and any problem areas, celebrate suc-
Broadcast Traffic Meeting
preliminary thoughts, potential talk about what needs to happen cesses, and figure out what we can
Once the media buy and rough cuts
opportunities, etc. Discuss prelimi- before we present those concepts to do better the next time around.
are approved by the client, meet to
nary schedules and budgets and the client. (i.e. revised estimates or review the media buy, Guidelines Internal Debrief of
assign estimating duties. This presentation strategy) for Broadcast Traffic, and Client Project Review
meeting may develop a communi- Internal Debrief of Broadcast Traffic Instruction Because all departments do not
cations brief that will be presented Presentation to Client Forms internally. attend the client project review,
to a client. Because all departments do not the team will meet afterwards to
Internal Project Review
Kick-Off Meeting attend the client presentation, it’s debrief everyone.
At the end of a project, the team
After the Communications Brief imperative that the team meets meets internally to review the
has been presented and approved afterwards to debrief everyone, and entire project. The team will review
by the client, meet internally for a specifically discuss next steps. the original strategy, the full cre-
job kick-off.
36
Agency Basics,
The Dreaded, but Essential Time Sheet
Whether the agency works on a analyze the profitability of client • Make sure that you properly • Studio staff should have close to
fee or project basis, the way the relationships. record the correct job number and 85-95% of their time as billable.
agency makes money is by Therefore, the agency should fol- task on the time sheet. Be aware • Non-billable time would include,
calculating how many hours the low some simple guidelines for that the time you put on your time spent working on new
job will take to complete the given recording and tracking their time: timesheet becomes a record that business plans, administrative
tasks. The agency becomes prof- will be used and in some cases, time, company meetings,
• Time sheets should be done daily
itable when a fair amount of hours shown to the client. company promotional projects
and handed in at the end of the
are estimated and a fair an accurate • Avoid having the staff use any and time off, such as sick,
day (or entered into your agencies
amount of time is used and billed “fee” or “catch-all” job numbers, it personal and vacation time.
accounting system) before 10
to the client. is easier to justify and negotiate
A.M. the next morning. The
Although the agency can have a sooner timesheets are done, additional costs with a client if a
idea of how many hours a job may the more accurate and fair clearer record of how time is
take to complete, it is still an esti- they will be. spent on individual jobs during
mated amount of time. Therefore it the month. This can be an invalu-
• Time sheets should record a set
is in the agency’s best interest to be able tool for estimating future
amount of billable time each day,
aware of the amount of time being jobs or reporting clear overs or
minus the time for a lunch break.
accrued to a job. Time sheets and unders to a fee based client.
For each work day, a goal of 7.5
time/task recording are the funda- • Time spent on meetings should
hours of billable time should be
mental source of determining the be applied to the jobs discussed.
met. Bill in quarter hour units.
revenue that the agency earns. It In some cases another project
provides important financial, • If someone works early, late, or on
number will be given to the
administrative and managerial the weekend, the time should be
agency for time spent on client
information. Time entry can show recorded for the additional hours
meetings.
and compute staff time charges for worked for that day. If you work
11 hours for one day, record the • Travel time to a client or for
each of the clients, ascertain indi-
time spent. client business is billable.
vidual or group utilization and to
37
Agency Basics
Keeping Track of Spending
Out-of-pocket or OOPs, are purchase orders on behalf of the

expenses that come in two forms. client/agency by confirming the
One, where goods and services are agency has a signed agreement or
bought outside of the agency for estimate from the client the covers
the sole use of the client, and the costs on the purchase order
accordingly, must be billed to the request.
client. Two, where goods and Costs for the agency should
services are bought outside of the only be approved by the assigned
agency for use solely by the agency. supervisors and acquired by issuing
Both forms of expenses, however, a purchase order generated by the
should be tracked and approved accounting department.
prior to purchasing. For our
clients, we are contractually
obligated to have prior approval,
and clients have the right to refuse
payment if the costs exceed the
pre-approved amount. For internal
costs, the agency needs to keep
track of what it spends.
Approval of purchases starts by
issuing a purchase order request
that will initiate an approval
process and a generation of a
purchase order. In many cases, the
production/media manager for the
agency can issue approval and
38
Agency Basics
Setting Hourly Rates
In the past, traditional agency Agencies will often not have the Now we adjust the total hours to person may be 100% billable, an
management felt that their com- same internal calculated rates, since arrive at the billable hours. This account executive working on new
pensation for their company would each business will have it’s own compensates for the fact that some business or administration person
be higher if they convinced their unique overhead and salary costs of the time we are sick or on vaca- may not be. Industry average of
clients to hire them on a fee basis. that would apply to only that com- tion or taking the day off for July billable time seems to be around
Recently their has been a trend pany. However, agencies centered 4th or Christmas. Naturally, we 60% to 80% billable. However, I
towards alternative agency/client in certain geographical locations would still like to be paid for those recommend that you set a goal of
compensation. may have rates that are comparable. days, even though we can't bill for 1600, which is close to the 80%
This standard for configuring them. So we have to look at just billable figure of 1664 hours.
However, in most cases, agency’s
agency/client fee agreements is the number of billable hours we Calculating Overhead
will still use a fee system that is
often based on the number of really have. Traditionally, ad agen-
comprised of an estimated cost that Next, we must look at the real cost
FTE’s assigned to the client’s cies have reduced 2080 to 1600 and
calculates X amount of hours at an that each person represent to the
account. One FTE stands for use a number between 1600 and
hourly rate of Y. Although an business. That is, not just the per-
“fulltime employee equivalent.” 1400 that will be used as the stan-
agency fee might be comprised of son’s salary, but any associated over-
dard number of billable hours.
multiple hourly rates for individual Billable Hours head that the business incurs. This
staff members, one way to reduce, Remember, the larger the number would include some personnel
Before we can review the formulas,
or discount the hourly rate, is to of base hours, the longer it takes related expenses such as employer
we first need to determine the
take the average hourly cost for the fullfill those hours. A higher hourly share of payroll expenses or self-
number of billable hours for your
staff (or what is often referred to as rate and a low count can equal a employment tax, health insurance,
staff. We start with the number of
a “blended” rate) and apply that lower hourly rate with a higher disability, life insurance, and other
billable hours in a year. In a normal
cost to all of the estimated time. count. "non billable" expenses that are
work week you have 40 hours.
Although the blended rate is often (However, if you discount one hour When calculating the total number vital to the business. Other things
used, the agency will still set out to for lunch you have 35 hours.) of billable hours, you may want to in this category may include the
determine the individual rates for When you multiple the 40 hours consider what percentage of a par- prorated cost of computers, and
each staff member. by 52 weeks a year you get 2080 ticular person’s time is billable. other office equipment and fur-
hours per year. Although a creative or production nishings as well as a prorated cost
39
Agency Basics
Setting Hourly Rates
Formula 1- Example A: you take the person’s salary and Formula 3-

Quick Overhead Calculation Person’s salary is $50,000, multiply it by 3 you get the total Let your accountant help decide.
A quick way of determining hourly multiply & add 20% = $60,000, costs plus a 20% profit ratio. Or The quick and easy formulas have
rates for staff members is by using multiply by 2 = $120,000, multiply by 3.5 to get to a 40% been used in agency’s for a long
the formula below. This formula multiply & add 20% = $144,000 profit ratio. time, however nothing beats having
over-simplifies the calculation of divided by 1600 hours = Once you decide on your factor your accounting doing some home-
overhead, by simply stating that the $90 an hour. multiply that number to the salary work and actually calculating your
part of the agency’s overhead Example B: and divide the entire number by overhead so you can properly apply
assigned to the individual is equal the number of billable hours to get it in figuring your hourly rates.
Person’s salary is $75,000,
to that person’s salary plus 20%. the hourly rate. This is important, since all agencies
multiply & add 20% = $90,000,
(Only use this percentage if it cov- Example A: will have varying overhead costs
multiply by 2 = $180,000,
ers your costs for the person’s bene- dependent on their rent, leases,
multiply & add 20% = $216,000 Person’s salary is $50,000,
fits, insurance and annual bonuses.) electric, administration costs and so
divided by 1600 hours = multiplied by 3 = $150,000,
In order to figure out the hourly on. Feel comfortable at night by
$135 an hour. divided by 1600 hours =
rate, you first need to determine having this done. It will give you
Formula 2- $93.75 an hour.
the number of billable hours for the most accurate basis for deter-
Hourly Rate By Factor Example B: mining which final formula you
that person.
And even quicker formula is to Person’s salary is $75,000, use.
Next take the annual salary and
take a person’s salary multiply it by multiplied by 3.5 = $262,500, Finally - Calculate your Agency
add 20% (for the cost of benefits),
a factor. divided by 1600 hours = Blended Rate for your client’s indi-
and double the costs for your over-
By multiplying a person’s salary by $109 an hour. vidual needs
head. Take that number and add 0-
40% for your agency profit. Divide 2.5you will get the cost of the per-
the total number by the number of son’s salary, benefits and overhead.
billable hours and you will get to Multiply it by a higher number to
your hourly rate. add in your profit. For example if
40
Agency Basics
FTEs and Agency Fee Compensation
Agency compensation is based on For example, if the agency thinks For example, if the agency thinks For example, if the agency thinks
a formula that in general tries to that they will need 5 people on the that they will need 5 people on the that they will need 10 people on
cover the amount of time the account (5 FTE’s) for one year, account (5 FTE’s) for one year, the account (10 FTE’s) for one
agency is going to spend on the then the cost would be figured out then the cost would be figured out year, then the cost would be figured
client’s business. Although the by the following: by the following: out by the following:
agency may get commission on Fee Formula: Fee Formula: Fee Formula:
media or production purchasing, or
Agency blended rate = $175 an hr. Agency blended rate = $200 an hr. Agency blended rate = $200 an hr.
even additional income from the
creative services area, the fee is the Agency billable hours = 1400 hrs. Agency billable hours = 1600 hrs. Agency billable hours = 1600 hrs.
main form of agency compensation. 1 FTE = $245,000. 1 FTE = $320,000. 1 FTE = $320,000.
Earlier we mentioned how the 5 FTE’s = $1,225,000 yearly fee. 5 FTE’s = $1,600,000 yearly fee. 10 FTE’s = $3,200,000 yearly fee.
agency might figure out it’s hourly or about $102,000 a month, or about $133,333 a month, or about $266,666 a month,
rate and the amount of chargeable
or 7,000 billable hours a year. or 8,000 billable hours a year. or 16,000 billable hours a year.
hours an employee is billable. This
rate multiplied by the hours is
equivalent to one agency FTE bill- or the reverse,
able cost. (Keep in mind that the Client’s budget is $3,000,000 yr.
FTE doesn’t mean you are locked
1 FTE is equivalent of 1600 hours
into a dedicated staff member, the
FTE is used as a time equivalent.) Agency blended rate = $200 an hr.
Here are some examples of fee 1 FTE = $320,000

arrangements that vary hourly rates which equals 9.375 FTE’s.
and overall billable hours per FTE. or 15,000 billable hours a year.
In some cases, it may be better to
lower or raise your rate depending
on the amount of hours you think
will be billable to the client.
41
Agency Basics
Alternate Forms of Compensation
In many cases additional forms of Although there has been a trend Services not normally And in a few circumstances, the
compensation will be made to the away from charging commission, included in the fee. production estimates may include
agency that is on top of the agency agencies will strive to do what is Fee agreements should be very spe- production management and
fee. This compensation may be in financially in the best interest of cific about what types of services traffic or project management.
the form of commissions on themselves and their clients. the agency will provide, and addi- Trends
production or media purchases, Some agencies increase their rates tional services not provided in the There has also been a trend for
charges for the agency’s creative to compensate for the loss of fee will then be estimated and agencies to bring traditional color
services department or other forms commission, where some agencies billed to the client on a project by house related work inhouse. This
of agency charges. have gone completely away from project basis. This may be typical enables the agency to charge for
Commission charging them. of clients who originally asked for color house related items that it
Dramatic changes in agency com- In the past the traditional rate of traditional ad campaigns, but not would have normally passed
pensation have occurred over the commission on print or production internet related work or perhaps through as out-of-pocket costs.
years, “According to the 2004 ANA related purchasing was .17625% PR or research related projects. These production services may
Agency Compensation survey, a mere and varies from 0% to 20%. Creative Services (Production & include high resolution scans,
10% of the 112 major advertisers Production commission is Studio Services compensation) retouching, proofs and final file
surveyed said they still pay commis- traditional charged on outside Traditionally, agency fee compensa- creation and releasing.
sions, down from 21% in 2000. vendor bills for items such as scans, tion included all staff members To read more about trends in
Nearly three quarters (74%) rely on art purchases, color house work, related to the clients work minus agency compensation, read the new
either fixed/hourly fees or a blended printing and manufacturing. the production studio. In some 2004 ANA Compensation report,
compensation model that includes Media commission has also varied agencies, sperate production esti- available at the ANA bookstore at:
fees and commissions (8%).” from 0%, 3%, 5%, and up to 15%. mates will be created for the client www.ana.net
(Source ANA Press Release) to include hourly or flat rate
Media commission is traditional The AAAA also has a variety of
However, in the past, agencies have charged on purchasing advertising charges for studio mechanicals, agency compensation related publi-
traditional been able to charge a space in print, out-of-home, broad- proofreading, color copies, final file cations available at www.aaaa.org
commission on out-of-pocket cast and other mediums. creation, final file releases, discs,
client costs in relation to media or programming and more.
production (print) purchasing.
42
b
group-account
How to initiate,
track & bill your job.
The Account Group
Account Services, which includes • Coordination, analysis and

the a vp or account service director, integration of research
account supervisors and account Quarterly Client Reviews
executives, is the link between the • Business performance
Agency and its clients. Account • Financial performance
Services plays the lead role in Hours vs. retainer
developing strategic direction for Product budget recap
all accounts/projects, in being the Relationship Performance
Agency’s advocate with our clients
• Strategy
and in being our clients’ advocate at • Creative
the Agency. Account Services also • Media
has P&L responsibility for all • Production
accounts, as well as responsibility • Research
for forecasting revenue and meeting Points of Client Contact
revenue/profit goals. • Daily status update email/phone
• Responsibility as point person
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
44
The Account Group The Account Group

Status Reports Meeting Call Reports
The Account Group is responsible departments and individuals. Do All client meetings/calls concerning
for maintaining status reports on not assume an e-mail is the best major decisions, budget informa-
each individual client. format to transfer important tion, nextstep changes discussed,
They should reflect all of your open information. A verbal verification require written call reports to be
jobs, new work and work that ensures understanding. ALL distributed within 48 hours after
needs to be billed. work-related changes should be your meeting. Please distribute the
reported on a Job Change Form notes to all attendees & depart-
Each status report should reflect
and distributed. ment heads; your production,
the following information on all of
If needed, you should call a media and creative teams. These
your jobs: Job # & Name, Status of
separate meeting for jobs require reports should also be issued for all
the Job, Next Steps and Milestone
further detail. major client/agency discussions,
(deadline) dates.
and internal planning meetings.
The status report should be updat- Without these reports the different
ed once a week. All account execu- departments will work in opposite
tives will review major points on directions.
their status reports at the Monday
It is the account groups’
morning status meetings.
responsibility to make sure all
If you are unavailable to attend, you agency and/or client parties are
must have an account manager who informed.
is to represent your account at the
meeting, prepared to go over your
account status.
If your client’s work status has
changed during the week, it is your
responsibility to inform the various
45
The Account Group

Initiating Work
All new projects and project E-mails are not the appropriate handed to production with signed- It is vital to give Production and
changes must be recorded on a medium for job changes. off approvals. This will avoid errors traffic a copy of each approved
project initiation form. To open a No verbal job requests. in picking up wrong creative files. Media Schedule Form.
job there must be written input. Account Executives should never
All work for your clients, research,
A face-to-face meeting meeting commit to a deadline without con-
new business, media, creative and
between AEs and the creative sulting with Creative & Production
production require this form to be
and production teams before first. Client deadlines have a direct
filled out.
starting any decent size projects impact on cost and quality.
is mandatory. Work initiated for creative,
Fill out all parts of the creative All Project Initiation Forms must
When communicating with the contain key due dates, budget,
brief on the form in order for your
client it is helpful to refer to the quantity, size, color, pub/site list,
job to start. Meet face-to-face with
agency “backgrounder” question- media recommendation/informa-
the creative person/team if possible.
naire to better help you ask all the tion (including contacts, if there are
For all new or major revision jobs,
questions needed for starting a client-dictated or non-standard
you are required to have a start-up
project. This form can be shared publications), technology informa-
meeting.
with the client so that they know tion, specifications, shipping infor-
what information the agency needs Work initiated for production,
mation, and any other important
in order to get a job started. Upon approval of an ad or project,
pieces of information that would
the Account Group is responsible
Without the project initiation affect the use of the final produced
for setting up a pre-production
form, or job plan, no one will have materials and how this would affect
meeting with all parties involved.
a record of your changes or your the method of implementation.
request for work. This form must A copy of the approved creative
The Account Group must also
be given to the appropriate produc- must be stapled to the project initi-
issue Media Schedule Forms to
tion, media, creative team, and ation form and handed to produc-
order Media space.
account planning (when it’s tion. It is important that the
research-related). approved version of the creative be
46
The Account Group

AE Internal/Client Status Report Example
47
The Account Group

The Project Initiation Form Example
48
The Account Group

The Media Plan
The media plan is a document on current advertising activities for files, both demographic and here to highlight differences among
and/or presentation that starts with the product or brand, extensive lifestyle. In many larger-scale con- the choices.
a clear-cut statement of objectives market trend information on the sumer categories, sub-sets by fre- Seasonality Requirements
to be achieved by the media expen- product or service category quency of purchase or volume of
Information on calendar variations
diture. Commonly, it includes a involved, and a wealth of tracking usage are also included. If appro-
in consumer consumption habits or
highlight summary of the strategy data and quantifying research esti- priate, information on pricing,
purchase behavior. This should also
or strategies to be employed to ful- mating audience size and charac- packaging, distribution, and other
cover category tradition (timing of
fill those objectives. The plan is teristics of many of the media marketing components are included
new model introductions, clearance
based on an allocated budget for a choices available to planners. where they might be significant in
sales, holidays, etc.) as well as the
specific period of time. For example, a comprehensive shaping the media effort.
timing of promotions beyond obvi-
The media plan is a specific, logical media plan will collect and analyze Target Audiences ous climactic conditions.
statement that clearly sets out a many of the following: The definition of the best prospects Geographic Factors
number of factors, including, but The Competitive Scene by demographics, geography, and
not limited to the following: who The whole pattern of historic and
Information on recent tracking of lifestyle. The unique characteristics
the media effort is intended to current variation in both category
spending and media usage by direct of heavy users and brand-loyal
reach; whether broad reach or and brand development, by market
competitors and, if appropriate, sig- users are important here as clues to
intense frequency is of greater and region, leading to adjustments
nificant indirect competitors. A sharpen targeting as accurately as
importance; what seasonal factors in weight across the total territory
good media plan will give an over- possible.
may shape timing and weight levels involved.
all assessment of the competitive Primary and Syndicated
across the period of the media buy; The culmination of the research
scene, as well as an analysis by key Statistical Research
geographic requirements; creative phase results in choosing specific
price points, geography and season- Market and media tracking statis-
needs (print or broadcast, need for space units, frequency, demograph-
al segments. tics are used to provide numerical
color, editorial enhancement, etc.). ics and overall budgets. Media may
Brand´s Past History detail for trend analysis and for select one publication versus anoth-
Typically, the media plan common-
Positioning of the brand in its cate- matching up consumer profiles to er due only to a lower cost per pub,
ly calls on a considerable, in some
gory with historic data on volume media coverage patterns. Indexes of or they may schedule fewer publi-
cases extraordinary, range of infor-
and share, together with user pro- concentration are normally used cations in a more costly publication
mation. This will include an update
49
The Account Group

The Media Plan
that has a better reach in the

client’s market.
Once the plan is completed, the
media planner will create a media
grid, that will translate each space
unit into a dollar unit and total the
estimated costs for each publication
on the plan, and a grand total for
the entire plan. This plan is then
presented to the client.
50

The Insertion Order Media Schedule Forms
The insertion order is the form send a proof of which ad is to run. Media Schedule Forms must be
that the media department gener- The insertion order should also filled out with all of the informa-
ates to tell the publication that it contain any notes should the mate- tion on the sheet. If the media and
must schedule a specific advertise- rial require special attention. production departments do not
ment, for a specific date, for a spe- If the publication is picking up an have the full information filled out
cific size or unit. It will also specify old ad, you still need to send the on the forms, your deadlines might
the ad’s position, and the subject or publication an insertion order. The be in jeopardy due to lack of infor-
name of the creative. An ad num- publication should also be called to mation. It is your responsibility to
ber, or job number must also be see if they can still use the material work with the media department to
included on the form that matches that was sent previously. There is a make sure that these forms match
both the creative proof guideline set amount of time, that varies the media schedule. It is the AE’s
and the insertion order ad number. from publication to publication, in responsibility to follow up with the
This form must accompany the how long they will hold advertising departments to make sure you are
publication materials when they are materials. meeting your deadlines. If the cre-
sent to the publication. Without ative, copy or art materials come in
this form, your pub materials will late on your timelines, you must
sometimes be ignored and you can make sure that you change your
miss your run dates, since it takes media schedules to reflect a realistic
time for communication to flow date to meet the publications’ clos-
through the publication. ing dates.
The insertion order should say

which reproduction material is
being sent. If you send a copy of
the form via fax, you must always
51

Estimates Billing
Estimates are based on the infor- price lists; others may constitute You cannot close a media, broad- jackets will go to the Broadcast
mation you provide. You are established agency experience aver- cast, radio or print production job Producer. All others will go to the
responsible for getting all pertinent ages; still others may represent the for billing without confirming with Production Director. These depart-
information to the production, results of supplier estimates or the appropriate department head if ments will have a week to review
media or broadcast department so competitive bids. all costs are in. Jobs should not be all charges, make comments and
they can generate your estimate. For print collateral work, that the closed with costs still floating sign off on all jobs. These jackets
Every production estimate must be agency is not producing, it is the around. will then be returned to the
signed by yourself, the production agency’s practice to pull at least one The Accounting Department will Accounting Department, who will
and account directors. set of digital proofs (Kodak issue a report on all open jobs to then arrange jackets by client and
Approvals) before going to the final each Account Executive within the give these to the Account
Please be wary of job cancellations
film stage. This digital proof is first 3 working days of the month. Executive responsible. Account
on your projects. If a job gets can-
then marked up and sent to the Executives have 4 working days to
celled, please review your costs to Account Executives are responsible
printer along with the artwork on approve any job in order to be
see what charges (internal or exter- for going through the reports and
your disk. Your collateral jobs billed that month. They must sign
nal) if any, can be billed to the marking which jobs can go to edit
should reflect this charge. the invoices and return them to the
client. or hold status, and return this
Accounting Department.
The estimates may include such report to the Accounting
Department. This must be done The Accounting Department will
items as photography/illustration
within 2 working days to ensure all then have 1 week to backup and
fees and expenses, model fees, sets,
jobs can be billed by the end of the cut final invoices to be mailed to
styling, photo lab work, retouching
month. the client. A copy of every invoice
or color separations, duplicate
must go to the Account Group and
material, quantity proofing, as well The Accounting Department will
to the Production Director.
as miscellaneous production issue edits for those jobs AE’s
expenses. Some of these estimate request and attach job jackets for
figures may come from vendors’ approval. All Broadcast Production
52

Schedules and Project Planning Typical Timeline
Planning your project: closing date from the publication, For a color advertisement, scheduled to appear in several magazines closing
Print production estimates are best and help to create a smooth work- on August 1, such a plan might look like the following example. (Note that
prepared after your client has flow. not all calendar days are working days.)
approved the layout and copy So that creative and production
concept of an advertisement or an Start of creative work May 28
steps may be executed with preci- Layout and copy approval date June 8
entire ad campaign, collateral or sion, a time schedule must be Preproduction / Bidding / Estimate June 12
direct mail. planned at the outset. It should Illustration / Photography Start June 17
Be mindful of your deadlines. If work backwards from the closing Illustration / Photography Finish June 30
you know a job milestone is going or final delivery date when all Selects / Art Approval July 2
to be missed, please make everyone material must arrive at the publica- Start Retouching date July 3
Start First Mechanical date July 5
aware. With such tight deadlines, tion, or printed pieces arrived to
Retouched artwork and mechanical finish date July 9
each missed date means that the the client. Final client art approval (if needed) July 12
agency can very easily not make a The next major steps in the pro- Preflight / Prepress Mechanical July 13
media deadline. duction of a print ad, collateral or First proofs / Mechanicals ready to ship July 16
The continuous liaison between direct mail are the estimating, bid- Duplicate publications’ mechanicals started (if needed) July 17
Additional Approvals July 21
Production and Traffic (or Project ding (if applicable), scheduling, and
Shipping date of all publication materials July 28
Management) is one of the ordering of photographic or illus-
prerequisites of cost-effective print trative artwork and its preparation
production. After the original pro- for reproduction.
Magazine closing dates are nor- timespan, which usually results in
duction timing schedule has been Decisions on who who will be mally 6-10 weeks prior to the issue costly overtime payments to suppli-
established, your print producer doing the retouching and scanning date, while newspaper supplements ers, besides creating quality prob-
will cooperate with your traffic are just two areas that require close 4-6 weeks before publication. lems. In the labor-intensive graphic
coordinator. Together they will pre- cooperation between your creative Daily newspapers have closings of arts field, time truly means
pare revised estimates, obtain nec- and production groups that can 1-3 days. Frequently, an entire pro- money—our clients’ money.
essary extensions of the material influence effectiveness. duction schedule will have to be
pressed into a shorter-than-normal
53

Standard Timeline in Working Days for 4-Week Timeline for a Stand Alone,
a Stand Alone, Non-Integrated Print Ad Non-Integrated Print Ad with no Photoshoot
For a color advertisement, scheduled to appear in several magazines, A typical Newspaper or Magazine ad, done in 20-22 working days.
depending on the complexity will require 2-8 weeks. The following is a Note the quick client turnaround time. Add additional time if new
guide in working days. An average a 3-6 week schedule is used, depending photography is needed.
on what final steps are needed.
Start of creative work 1 Creative Work 2

Layout and copy development 2-3 Layout and copy development 2
Internal Approval 1 Internal approval 1
Internal Changes 1-3 Production Cost Estimates 2
Client approval of creative 1-2 Agency Presentation to Client & Client Approval 2
Revisions to creative 2-5 Artwork creation (stock photo, illustration etc.) 5-15
Final creative sign-off 1-2 Create Mechanical & Layout 2
Photoshoot 5-15 Internal Proofing 1
Selects chosen & approvals 2-3 Client approval of composed ad 1
Retouching 2-7 Produce Film/MP, or pdf files for pubs 2-3
Create Mechanicals 2-5 Ship 1
Internal Proofing 1
Client approval of composed ad 1-2
Last Minute Client Revisions (if necessary) 1-?
Produce Film/MP, or pdf files for pubs 2-3
Ship 1
54

The Integrated Campaign Typical Steps & Timeline
for Market Research
Total timelines to launch an integrated campaign can vary greatly. There This is a typical schedule step form for providing market research for a new
can be a tremendous amount of difference in just deciding how much client or product.
research and brand analysis is going to take place. A larger ad budget can Note that market research timing can vary greatly, depending on what type
mean more expensive and extensive production, and even the client’s ability of material is being researched and to whom with.
to commit to an idea can play into the time it takes to produce a campaign.
The 3 main parts of Launching a campaign are: Start up meeting 1
Estimate 2-3
Market Analysis & Research Research 2-7
Creative Development Questionnaire / Positioning / Discussion Guide development 5-10
Statement internal review 2
and Execution & Production. Initial client presentation 1
Copy due internally 5-10
Examples of Lengths to Completion from time of initial client input: Copy to client 2
Express Quick Average Extensive Client comments & approval process 2-5
Recruitment and/or Translations (if needed) 3-5
Market Analysis/Research 0 3 6 8 Moderator Briefing 1
Creative Development 0 3 5 6 Focus Group Research 3-15
Execution & Production 0 3 5 7 Moderator’s report and analysis 3-5
In Market 1 1 2 2 Topline findings and strategic recommendations development 3-7
Research and strategy presentation to client 1
Total weeks 1 10 18 23
Approval of brand strategy and communications platform 1-5
Final Bill 5
Every agency and every client will be different. There are plenty of times
that 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 proper Typical deadlines:
amount of time your agency needs to produce the campaign. As short as a 7-8 week schedule to as long as 16 weeks.
55

Timeline for the Creative Development Timeline for the Production & Execution
for a Print Ad in a Integrated Campaign for a Print Ad in a Integrated Campaign
Typically creative development surrounds concepting (3-5 ideas) of one After the creative concepting part of the job is completed and the client has
piece of the campaign, i.e. a journal ad. Please note that some creative approved the concept, the agency will develop a production estimate for
development jobs may include additional rounds of concepting or market producing the ad.
research that tests the concepts. Creative Development jobs do not typically
include time or costs for producing art or materials. Start up meeting 1
Estimate 2-3
Start up meeting 1 Concept internal review 2
Estimate 2-3 Copy development 5-10
Concept development 10-20 Copy to client 2
Concept internal review 2 Client comments & approval process 2-5
Client Presentation 1 Layout development 3
Copy due internally 5-10 Photoshoot (if needed) 5-15
Copy to client 2 Select shots / approvals 3-5
Client comments & approval process 2-5 Retouching 3-10
If needed... Layout to client & client comments 3-5
Additional Rounds of Concepting & Approval 3-7 Mechanical development to client 5
Final client approval & final changes 4
If testing...
Disk release 2
Focus Group Research 3-15
Review proofs 2
Moderator’s report and analysis 3-5
Produce mechanicals for publications (if needed) 3-10
Topline findings and strategic recommendations development 3-7
Ship 2
Research and strategy presentation to client 1
Final Bill 5
Approval of creative concept 1-5
Final Bill 5 Typical deadlines:
As short as a 5 week schedule to as long as 10 weeks.
Typical deadlines:
As short as a 5 week schedule (additional time for testing) to as long as 12
weeks.
56

Typical Steps & Timeline 6 Week Timeline for a
for Direct Mail to First Mail Drop Typical 4-16 page Brochure with Printing
A typical collateral or direct mail execution, done in 20-22 working days. A typical 4-16 page brochure, done in 30-35 working days.
Note the quick client turnaround time. Add additional time if new Note the quick client turnaround time. Some of these steps may be
photography is needed. condensed when work continues simultaneously.
Start up meeting 1 Creative Work (Up to 16 pages) 4

Estimate 2-3 Layout and copy development 3-5
Concept internal review 2 Internal approval 1
Copy development 5-10 Production Cost Estimates 2
Copy to client 2 Agency Presentation to Client & Client Approval 2
Client comments & approval process 2-5 Artwork creation (stock photo, illustration etc.) 5-15
Layout development 3 Retouching 2-10
Photoshoot (if needed) 5-15 Create Mechanical & Layout 4
Select shots / approvals 3-5 Internal Proofing 1
Retouching 3-10 Client approval of composed ad 1
Layout to client & client comments 3-5 Printer Pre-press 2
Mechanical development to client 5 Print on Press 3
Final client approval & final changes 4 Bindery (if needed) 2
Disk release 3 Fullfilment and mail 2-3
Review proofs 2 Final Bill 5
Printing 3-10
Mail House 3-7 Typical deadlines:
Mail 2 As short as a 6 week schedule to as long as 10 weeks.
Final Bill 5
Typical deadlines:
57

Timeline for the Production & Execution Broadcast Campaign
of an Out-of-Home Campaign 1 to 3 spots (with typical :30s, :60s)
After the creative concepting part of the job is completed and the client has For three broadcast spots done in 3 to 5 months.
approved the concept, the agency will develop a production estimate for Note the quick client turnaround time. Some of these steps may be
producing the ad. condensed when work continues simultaneously.
Start up meeting 1
Estimate 2-3 Creative brief development 5
Concept internal review 2 Concept development 5 - 10
Copy development 5-10 Internal approval 1-2
Copy to client 2 Client approval 3-5
Client comments & approval process 2-5 Begin network clearance
Layout development 3 Revisions 3 -5
Photoshoot (if needed) 5-15 Final client approval 3 -5
Select shots and approvals 3-5 Bidding (including music and talent negotiations) 10 - 15
Retouching 3-10 Director and budget approvals 5
Layout to client & client comments 3-5 Pre production 10 -15
Mechanical development to client 5 Shoot 5 - 10
Final client approval & final changes 4 Post Production 10 - 15
Disk release 2 (Add two weeks if CGI or animation needed) (10 - 15)
Review proofs 2 Final network clearance and trafficking 10
Produce mechanicals for various medium 3-10 Final Bill 5
Ship 2
Posting 5 days (prior to posting start date) Typical deadlines:
Final Bill 5 As short as a 12 weeks as long as 5 months.
Typical deadlines:
58
The Account Group

Last note on deadlines
Take charge of your clients and

their deadlines. Be mindful that
accuracy does require a minimum
amount of time to achieve.
For example, type changes, if
brought in to the studio by 11AM,
will be made by 5PM that evening.
If brought in after 11AM, changes
will be made by noon the following
day.
Any jobs or projects requiring
faster turnaround must be approved
by the production director and
possibly your client for necessary
overtime.
If your work is leaving the office
late, it is your responsibility to
make sure either yourself or some-
one from account services is avail-
able to approve your jobs.
59
Internal Charges
In-house billable items
Depending on the capabilities of

the in-house production and
creative department, there are a
number of products that can be
sold 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 requests
for their internal meetings, i.e.,
posters/mounting, leave behinds,
etc.
Discs that are used to transfer files
to 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, matchprints
veloxs, etc.
Internal scans
60
Account Team Members

Responsibilities and Roles
The Account Supervisor agency can provide. This includes executives briefs creative, media, meetings.
While the account executives and gathering client or agency prepared PR staff. Duties will include;
account coordinators have much of research, competitive analysis and Provide clients with budgets and Updating information pertinent to
the day-to-day contact with the existing marketing plans or a struc- estimate updates. the status of all jobs, producing the
client, the account supervisor is ture client/agency Q & A session
Assists in client billing process and client status report.
responsible for the relationship and staying on top of products and
account receivables. Produce timely contact reports.
between the agency and the client. markets in which the client oper-
ates. Writes client contact reports. Produce and distribute job requests
The account supervisor’s main goal
is to review all strategic and media From an agency viewpoint, the Prepares monthly revenue forecasts. and change orders.
decisions formulated by the various account supervisor acts as the main Account Executives Makes sure the sign-off of various
agency departments before delivery spokesperson for the agency, Team members have the primary agency documents including cre-
to the client and to review the cre- overseeing the execution of the client contact the “day-to-day” ative blueprints & estimates.
ative concepts as to whether they approved communication pro- project management of the Meet with the senior management
meet the creative brief and the grams, while identifying new assigned accounts. The work with group to inform them of all client
strategic goals and marketing plan business opportunities with the all of the agency departments to activities.
of the client. existing clients. move projects through the agency. Account Coordinator
The account supervisor manages all Other duties can include; For example, they may meet with or Assistant Account Executives
of the assigned account executives Presents and sells agency recom- the creative director to review the
The account coordinators provide
and account coordinators/assistants mended communication plans, cre- creative issues, with the pr director
administrative support and back-up
to their accounts. ative concepts and media plans to concerning publicity, with the traf-
for account services.
From a client view, the account the client. fic department concerning schedul-
ing and traffic. They are responsible for supporting
supervisor analyzes the client’s Maintaining direct, day-to-day the account group which may
requests and marketing plan to client contact. They are responsible for gathering
include;
produce a coherent, focused and information on clients, products,
Receive client briefs. Setting up meetings.
most cost-effective/value-added and competition needed for the
communications plan that the Inconjunction with the account agency backgrounders and start-up Setting up or conducting research.
61
Account Team Members

Responsibilities and Roles
Developing presentations from

materials provided
Following up on jobs and projects
internally and externally when
requested.
Make travel arrangements,
provide shipping instructions.
Set up internal and external
meetings.
62
b
group-production
The role
of production.
The Production Department

Responsibilities
The Production Department is

responsible for coordinating all
in-house and outside preparation
of materials, whether the medium
is printed, electronic or digital.
Traffic and Production
Estimates
The Purchase Order
Purchasing
Schedules
Job Bags & Histories
Client Artwork Policy
Workflow & the Studio
64

The Production Manager
The production manager is respon-

sible for estimating all agency jobs,
including all creative or production
services and for external out-of-
pocket costs from outside vendors.
The production department is
responsible for creating the esti-
mates and pricing for all agency
services, this includes internal
hours, in-house charges and
estimates/pricing from outside
vendors.
The production manager issues all
purchase orders for the agency,
reviews all vendor invoices and to
ensure that the price quoted to the
client matches the final billing.
The production manager maintains
and develops relationships with
vendors, always seeking out the
best possible service and price.
65

Estimates
Production prepares each estimate Estimates must always be approved

based on the Project Request Form by the Account Executive,
and/or the media schedule. Any Production Manager, the Account
information not supplied on this and Production Director.
form will delay or alter the prepara- All changes to an estimate must
tion of an estimate. be approved by the Account
Estimates take 3 days for standard Executive, Production Manager,
jobs, and 5 days for jobs that need Account Director and Production
vendor bids. Director.
Based on Production Manager
availability and AE input, general
approximate budgetary numbers
may take less time.
should obtain at least 3 competitive
bids on all projects. Although the
final choice of vendors may weigh
in each vendor’s ability to meet the
quality standards and timelines
needed for the particular job.
66
The Production Department The Production Department

The Purchase Order Creative Purchases
Purchase Orders must be filled out The person responsible for filling All outside purchasing must be
for all items and services ordered. out the P.O. must sign the invoice accompanied by a purchase order.
The Purchase Orders are generated upon receipt and forward to The Creative Department and
using the accounting computer sys- accounting. When signing invoices Account Staff may not buy artwork,
tem. The Purchase Order must you must initial, with the date of photography, or creative services
note the client, job number, date, approval, job number and account- without approval from the produc-
date of delivery, corresponding line ing line number. tion department. The production
number for the Accounting system If an invoice is over estimate by department will generate a P.O. for
(see Production for a list of $1,000, or more than ten percent all outside art purchases.
numbers). Also be sure to include over the estimated amount, it must
whether the purchase is taxable or be co-signed by the responsible
non-taxable and an estimated cost. Account Executive.
A copy of the Purchase Order The Accounting Department
should be sent to the vendor, with should not enter any invoices
instructions to attach a copy to the which have not followed the
invoice they submit. Keep a copy procedures listed above.
for your records. One copy goes in In addition, the Accounting
the po book and two copies go to Department should not pay any
accounting. vendor invoice over $1,000 unless
Entering Purchase Orders into the we have: a) been paid by the client
system has a dual purpose: 1) to be or at the very least b) billed the
sure we do not receive more than client for this expense.
one invoice for the job and 2) to
ensure a job is not billed out until
all invoices are in.
67

The Traffic Manager
The traffic manager is responsible

for scheduling work throughout the
agency. Once a job has been
opened, whether through the traffic
or production person, a step-by-
step schedule and due dates should
be created, with each step assigned.
Every day the traffic manager will
prepare a status report of all active
jobs in the agency, giving each job a
status. This report should be sent
to everyone within the agency.
The traffic manager keeps track of
and moves jobs from one complet-
ed step to the next.
As changes in timing occur,
whether client, production or inter-
nal creative, the traffic manager
should be informed so an accurate
schedule can be created.
In cases where there is a conflict of
schedules, the traffic manager will
alert the management team as to
the problem or conflict and allow
the management team to make a
decision.
68

Traffic & Schedules Traffic & routing Work
Typical Rules mechanical from the client, a disk When routing the agency work, Revisions:
will be shipped to the printer or a please keep in mind that it takes • Studio
It normally takes 1-3 days for a
file sent to the publication within time to circulate the work through • Art Director
print production schedule to be
• Copywriter
generated on long term projects. two working days. out the agency. It is the traffic
• Creative Director
manager’s responsibility to make • Production
All type changes, if brought in by
sure that the work is routed proper- • Account Services
11AM to a production studio,
ly. If a key person is not available to Final Mechanical:
should be made by 5 PM that
sign off on the work, you must • Studio
evening. If brought in after 11
notify the proper supervisor or • Art Director
AM, changes will be made by
account team to ensure that their is • Copywriter
noon the following day. • Creative Director
a replacement signature.
NO work should be accepted • Production
Key signatures for routing work: • Account Services
after 3:30 p.m. to be released the
Comps for internal presentation: • Client
same day. This is extremely impor-
• Art Director Note that both the account team
tant as agencies moves towards
• Copywriter and the creative team need to
releasing materials directly to
• CD
publications. check in with the traffic depart-
Comps for external presentation: ment before leaving for the day. If
Any jobs or projects requiring • Art Director
someone is not available to stay to
faster turnaround must be approved • Copywriter
• CD sign off on the project in which
by the Client in writing for
• AE they are responsible for, they must
necessary overtime, and is based
• Partner / VP let their supervisor and key person-
upon staff availability.
1st Mechanical: nel on the project know. It is the
Upon final approval, the produc- • Studio individual’s responsibility to brief
tion department needs 1-2 days to • Art Director the designated person on the
prep (or pre-flight) an electronic • Copywriter project.
file. On final sign-off of the • Creative Director
• Production
• Account Services
69

Job Bag & Histories Client Artwork Policy
Traffic keeps the main “history” of Without an Art Buyer With an Art Buyer
the actual job, while, production Upon receipt of client or outside Upon receipt of client or outside
histories are the responsibility of vendor artwork it will be logged vendor artwork it will be logged
the Production Department. The with the Traffic Department and with the Art Buyer and labeled.
Studio is also in charge of their labeled. The Traffic Department The Art Buyer will fill out an art
own job bags (for billing purposes). will fill out an art information information sheet for the artwork.
They are not to be moved from the sheet for the artwork. This will This will include client, job used,
individual areas. Traffic is responsi- include client, job used, rights rights usage, copyright info, origi-
ble for maintaining all type and usage, copyright info, original nal source, return address and art-
proof histories in job jackets. If a source, return address and artwork work return instructions. Artwork
person needs anything from a jack- return instructions. Artwork not not being used should always be
et, they should make a copy of it being used should always be held held with the Art Buyer. No one
and return the original back to with the Traffic Department. should have misc. chromes, slides
traffic immediately. Do not remove No one should have misc. chromes, or original art in their possession.
a job bag from its respective area. slides or original art in their Unless otherwise requested to be
It is the responsibility of the possession. returned, the art buyer will file all
studio artists and/or freelancers to Unless otherwise noted, artwork upon completion of a job
return all job bags to the Traffic Production will file all artwork in the art files.
Department upon completion of upon completion of a job in the
the job cycle. art files.
70
Retouching Workflow
Workflow defined for in-house retouching and proofing services.
The following process occurs after 2. Estimating 3. Initial Color Review Meeting 4. Color Image Work Begins
client concept and layout approval has • Project Manager or media to Objectives: Review 1st round of • Print production manager to
taken place and an official job has supply an initial list of pubs and loose-color proofs to determine provide digital retoucher a job
been opened: material closes to PPM/studio color/image corrections and jacket with the following:
manager. creation from initial scans 1) Estimate of hi-res hours and
1. Pre-Production Meeting • PPM to discuss image color/ Attendees: Print production number of proofs allotted for the
Objectives: Review layouts in retouching needs of job (based on manager, art director, digital job to the digital retoucher.
preparation for photoshoot/illustra- direction of art director and/or retoucher, studio manager 2) A printed spec sheet, copy deck
tion, discuss production scheduling client) with digital retoucher to • Corrections and direction for (if text is part of hi-res photo-
with regard to timing of photo- determine estimate of hours and images should be documented shop file) and final approved pdf
shoot and doing hi-res colorwork number of proofs required. on proof by PPM or digital file of comp to digital retoucher.
in-house, make decision to/or not • Studio manager to provide an retoucher. 3) High resolution select scans on
to do in-house with preference estimate to print production CD (if done out-of-house).
always to do in-house manager for studio services, A loose-color proof should
Attendees: Print production man- production manager completes accompany any image/scan to be
ager (responsible for calling meet- out-of-pocket costs and distrib- reviewed at initial color meeting.
ing), Digital retoucher, art buyer, utes estimate for approval prior to
• Digital retoucher will make print
studio manager, art director, project sending to client.
production manager aware of
manager and AE if needed • Production estimate signed by issues, changes made by art
• After discussion of timing, project client. director, etc. as they arise.
manager to develop production • Digital retoucher is responsible
schedule and distribute for communicating to PPM when
they anticipate files will be sent
out for proofing (if done out-of-
house) and a summary of changes
being made if needed.
71
Retouching Workflow
5. Proofing Color 6. Review of Proofs 7. Creative review of loose color art director can sit with digital
• Digital retoucher sends hi-res (Loose Color): Attendees for creative review: retoucher to go over changes
files to colorhouse or makes proof Proofs from Colorhouse: Art director, PPM, digital retouch- on-screen.
internally. If possible art director Print production manager will er, studio manager Art director and It is digital retoucher’s responsibili-
should approve file onscreen inform digital retoucher, studio digital retoucher to review loose ty to inform PPM if they foresee
before sending out for proof. manager, that proofs are ready for color proof. Color revisions, proof development of timing and costs
review. Loose color will be creation and review will continue issues. PPM is responsible for com-
Files to Colorhouse:
reviewed to determine if proof is until image is approved by art municating this to studio manager,
Print production manager will
acceptable and can be shown to director (and if necessary by client). art director and project manager.
let digital retoucher know whether
files should be ftp’d or sent out creatives. (Creatives should not If timing is to be discussed, a
on disk. If by disk, digital retoucher look at any retouching job until project manager should be present.
will deliver disk to PPM. If ftp’d, PPM and digital retoucher have • Corrections and directions for
digital retoucher will email PPM given their ok). images should be documented on
when files have been sent. They OR Internal proofs: all proofs
will also make sure files sent to col- Digital retoucher will inform PPM, • Most current loose proof to be
orhouse have been received and in studio manager, that proofs are stapled to front of previous loose
working order before leaving for ready for review. Loose color will proof and dated
the day. PPM to communicate be reviewed to determine if proof is
If needed to determine type legibil-
when they expect proof will be acceptable and can be shown to
ity, cropping, etc., loose color may
available for review. creatives. If loose color is ready to
be dropped into mechanical form
OR be proofed and needs to be proofed
prior to all final signatures on laser
in mechanical (“composed”), digital
Files sent to internal Proofer: mechanical. If so, it should be
retoucher will inform PPM and
Digital retoucher will email PPM clearly communicated by PPM to
studio artist/studio manager that
when files are sent to internal digital retoucher, studio artist/stu-
they will provide hi-res files to stu-
proofer and when proof will be dio manager, PM, AD that file
dio artist to put into mechanical.
available for review. being sent is for intermediate
Studio artist is responsible for out-
proofing and is NOT final
put of proof and informing PPM,
approved mechanical.
studio manager that proof is ready
for review. To avoid unnecessary proofing, the
72
Retouching Workflow
8. Composed Proofing Proofs from Colorhouse: 9. Composed Proof Review

• PPM will notify digital retoucher, Digital retoucher will copy final hi- • Project manager routes proof with
studio manager when all color is res files the appropriate art folder. copy of final laser mechanical
approved. Digital retoucher Studio artist is responsible for plac- attached. Revisions, proof creation
will provide low-res approved ing hi-res files within job folder so and review will continue until all
color files to studio artist for that all files associated with job approvals are obtained.
placement in mechanical. reside in same
Proofs from Colorhouse:
folder. Artwork is collected and
• Final laser mechanical with final PPM will first distribute to studio
then sent to colorhouse.
low-res approved color in place is manager, studio artist, digital
routed and all approvals/signa- OR retoucher. Studio manager will give
tures are received. Internal Proofs: to PRJM for further routing.
• PPM notifies studio artist/studio Digital retoucher supplies studio Internal Proofs:
manager/digital retoucher that artist with hi-res files to be If proof is made in-house, studio
approved mechanicals can be dropped into mechanicals for artist will give to PPM for
T1’d, sent out on disk or proofed proofing. Studio artist is responsi- approval, PPM will attach approved
to internal proofer. ble for replacing low-res files with laser mechanicals and routing
hi-res files and making proof. stickers to proof and route to studio
• Studio artist emails TM and artist, studio manager and digital
PPM when files have been sent retoucher, studio manager to
with a PDF of mechanical(s) PRJM, who will complete routing
attached. They will also make sure process.
that files sent to colorhouse have
been received and in working
order before leaving for the day.
73

Old Skool - Traditional Production Process
Pre-Flight All service bureaus are required to the way the ad will be reproduced. production of four pieces of film,
The production department & stu- do a final check of the computer If you do not like the way the one for each individual color.
dio are responsible for “pre-flight- files. This step is the first step in artwork looks, please speak up and Your print job might also include
ing,” the checking of final prepress the process called pre-press, and the department will evaluate the “spot colors,” colors that are speci-
files before creating them and could encompass checking the file issue. fied to match a particular color that
sending them out on disk. This for the correct size, bleed, trim, cannot be produced accurately with
Marking a Proof
insures that the digital file is cor- image density, color and most four-color process separation. In
When examining a proof and
rectly set up for the appropriate importantly the trapping of your conventional print production, the
marking it up for corrections, be
medium before going to a service files. Although these items are film & matchprint is then sent to
descriptive and leave nothing to
bureau, printer or directly to a pub- proofed and corrected before any the printer for producing plates and
chance.
lication or via the internet. In addi- file leaves the agency. then final printing.
tion, we advise all outside vendors • Use clear, concise instructions.
Conventional & Digital Proofs Printing Plate
to double check our files for correct The service bureau will always pro- • Circle the area or element in
One printing plate is produced
specs, file problems, d-max and duce a digital proof before “going question.
from each of the four separation
trapping. to film or file” on all ads of a cam- • Describe the differences between films. When these plates are inked
Pre-Press & the Service Bureau paign. Previously, your print pro- what you see and what you want in the four process colors and
When your production or studio ducer’s first proof was made with to see, and try not to refer to the printed onto paper, a full-color
departments gather all the needed film & a matchprint or colorkey. original. image results.
electronic files & artwork on a They might have even received Separations It’s important to remember that
disks, it may or not be sent to a a “progressive proofs” of the film Most color printing is produced by this is not the time or place to be
service bureau to generate the final converted to plates, showing all producing or “separating” the origi- making changes to the creative
film or output. The agency will be colors singly and in combinations, nal full-color artwork into yellow, piece. It can be very expensive to
producing the final files that will be and actually running the plates on magenta, cyan and black. When redo files, film or plates at this
given to the publications. an offset press. Now you we send you hear the term “four-color sepa- stage.
kodak approvals of a file to should rations,” they are referring to the
74

Old Skool - Traditional Production Process
Off to The Printer typically decline. However, if they multiple press runs.
On all outside service projects intend to be on press, an account Running Multiple Ad Sizes
above $5,000, a minimum of two executive, art director and a repre- Since it is relatively infrequent that
bids will be required. Competitive sentative of the production depart- the client’s ad is to run in a single
bidding among three suppliers is ment will attend. publication, material must usually
required for jobs over $20,000. Once your job is up and running, be prepared for all magazines orl
Bidding will take into considera- the printer will pull a press sheet newspapers or on your media list.
tion a vendor’s ability to meet your for examination. You will either However, to ensure the best execu-
deadlines, and quality. sign off on it or ask to make a few tion of a design, the agency will
The Press Check adjustments. It is important to always produce a digital mechanical
Your production manager will go remember that changes made to for each individual size.
on press on all local initial print the art, beyond achievable color
Ads in Newspapers
runs where the client pays for an changes will be very expensive. The
For newspaper insertions,
on-press person. All other instances printer will have to then make
your agency’s print production
of on-press supervision is at the changes to the electronic file, pro-
department probably provides
discretion of the production duce new film and then a printing
newspapers with pdf files, film or
director. plate. If you ask for an adjustment,
veloxes. 99% of newspapers across
The only way to ensure that your a few more sheets will run, and the
the country are accepting files sent
printed piece is printed the way you process continues until you are sat-
to them on disk or electronically.
intended is to go to the press and isfied with your project. Once you
This is the preferred method of
check the results. On very large or sign off, the presses will be brought
sending black and white ads to
expensive press runs, the client up to speed and your job will con-
newspapers.
should have the option of being tinue to run. In some larger print
asked to go on press. Although it runs, your print job might require a
is appropriate to ask, they might much longer time to run, requiring
75

Job Descriptions
Project Manager / Traffic Manager Responsibilities: Prioritizes current proofreading Contributes to agency master publi-
assignments. cation spec sheets.
Coordinates assigned client's print Coordinates and schedules all
creative and production projects. assigned agency projects, from cre- Routes approved concepts through Sends out adwork materials to publi-
agency. cations. Calls to make sure that
ative through to production and
Prioritizes all schedules in conjunc- materials were received.
completion.
tion department managers.. Routes estimates.
Act as diplomatic liaison between
creative, production and account Reviews work to ensure project Ensures appropriate proofing.
management. directions are being met. Ensures projects are delivered on
Enforce agency procedures while Checks all proofs for approvals time.
maintaining the highest standards. and changes. Delivers clean job file folder to
Maintain a daily “master schedule” Insures mechanicals are approved by billing when job completeness are
for all clients works, projects & time- proofreading, creative, production met.
lines into one master schedule and and account services and any changes Distributes P.O.s and copies of esti-
handed out daily. are issued to the studio. mates.
Traffics all assigned work. Final accountability for returning
Prepares cost analysis sheet, quality
project materials to appropriate staff
Report status of projects on jobs on a control forms
during project and once project is
daily basis, via a daily “hot list”
completed. Updates production log and project
Updates master status sheet on a estimates and billing binders.
Daily Project tasks include:
weekly basis. Distributes at depart-
mental meetings. Open job number/job file folder, To obtain deadline extensions from
maintains job bag and job histories. publications, when needed.
Ensure that only properly speced
creative is trafficked Writes up job spec and job order/
request forms
Creates “Weekly Traffic Reports” and
distributes to account, creative and Manages all publication specs and
production staff. deliverable (shipping) sheets and
distributes to production and the
studio.
76

Job Descriptions
Production Manager Responsibilities: Issues POs on a timely basis. Proofs incoming materials for con-
Supervise assigned client's print Coordinates production activity Checks all vendor invoices against formance to specifications and moni-
production projects. between project, account and creative both POs and estimates before sign- tors delivery schedules; maintains
groups during job development. ing off. Signs off on bills in a timely control of projects.
Maintains contact with various print- basis. Maintains an adequate proofs and
ing vendors (Sheet, Digital, Web, Maintains and keeps up-to-date on collateral file system.
Form, In-Line, Promotional all aspects for printing, production Adheres to the agency's operational
Material, Dimensional) and postal requirements. and financial policies and practices.
Maintains detailed project records, Advise their team of the best formats To develop a close working relation-
from spec sheets to estimates to pur- and efficiencies. ship with the Creative Department
chase orders. Gives creative solutions. conferring with Art Directors so as
Supplies specifications for vendor to obtain artwork suitable for good
Provides quotes to Account
estimates reproduction, iron out any problems,
Staff/Clients
and receive specific instructions.
Reconcile all assigned project billing. Requesting quotes from suppliers
To suggest to Art Directors revisions
Reviews and supervises all produc- Negotiating prices with suppliers
in finished art that might facilitate
tion materials generated from their Scheduling of print jobs between production or reduce its costs, or
assigned projects. suppliers improve final reproduction in specific
Acts as advisor for the creative and Order and production related media.
account members of the team during materials.
creative development to meet the
Press approvals
budgetary requirements of the pro-
Help coordinate with the studio, traf-
duction process.
fic managers, and suppliers to ensure
Maintains ownership of all projects all deadlines are met.
in their group.
77
b
group-studio
The production studio

& artwork creation.
The Production Studio

Responsibilities
The Production Studio is responsi-

ble for the preparation of all in-
house and outside mechanical
materials, whether the medium is
printed, 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
79
The Production Studio The Production Studio

Starting Work & Routing Work Artwork Creation Procedures
Starting Your Work Routing Your Work All files are on the Client Server by
The job jacket is your friend. All job histories submitted for alphabetical order. Within these
Do not start any work without a changes should be clearly marked. hard drives there are folders for
job ticket and job bag. Only the Upon making the changes, do the each client. Under each client are
traffic or production people can following: update the revision folders for each job number. Each
generate job tickets from the number and date, add your time job number contains folders for
Account Executive’s project initia- spent to the time listed in the common art, media, copy and jobs.
tion form. guideline, spellcheck the document The “jobs” folder holds the client’s
and save the file. After spellcheck- jobs by job number.
Do not accept work initially or
directly from an account executive ing, sign off on the laser proof that No one is to work off of their local
or art director. Make sure your the document has been spell hard drive for any reason.
project and studio manager know checked. Save your work as you go along.
about all requests. Once you have When handed a project or ad, note Depending on agency standards,
a job ticket and a deadline, the art whether original file is to be the files maybe set up with crops,
director can interact with the stu- worked on or if the file is to be trim, bleed, color bars and slugs.
dio for as long as needed. called up and “SAVED AS” under
For print jobs, it is still appropriate
Upon completion of the work order a new job number description.
to do rule outs or call outs. In
(job ticket), please return your Do not add or change colors in a many cases, a set of separations
revised printouts, disk, or requested file without approval. should still be printed (on laser
project with the job jacket. The Job Use templates where applicable. paper) from the file prior to
Bag must be accompanied by the Templates should be set up for releasing).
actual printed job at all times. common jobs for major clients.
80

The Slug & Fpo images
• Slugger is a program that • All FPO elements e.g., die-cut,
creates a job slug for each quark photo, lasered type, etc. are to be
mechanical. Fill the slug informa- indicated using the custom color
tion out as completely as possible “~FPO/Do not print.”
and use it as part of every print
• Create FPO page trim.
out.
• In the Art Production Library

there is an FPO flag:
• The FPO flag shown below is

used to alert the staff that the
studio is missing the final art-
work from its files. As these
images are created the studio
will be supplied with the new
image name and its document
path.
PO
F
81

File Preparation Checklist
The file provided by the art direc- found in this folder is to be con- • Spot color(s) and/or process sep- • When possible keep type at
tor is to be utilized primarily as a sidered FPO and noted as such aration. whole or half point size units to
blueprint for the final layout until indicated otherwise. In no avoid excessive rip time with high
• Check that the color model’s def-
mechanical. Files from the creative case should any art be introduced end output devices.
initions and values are consistent
department should be rebuilt to this folder without prior
with the encapsulated files and/or • Check either for an attractive rag
entirely or checked completely if approval. All art must be placed
any other companion pieces. or a good reading break, address
utilized as the final mechanical. in and linked to the appropriate
kerning, especially at headline
“Production Servers”. • All drop shadows and gradated
If there is anything that is not clear sizes, consistent paragraph spaces
art must be replaced by art creat-
or needs to be resolved in regards • Open the picture boxes to the and proper formatting.
ed in PhotoShop.
to recreating or rebuilding the file required bleed. Be sure to indicate
• Use a single hard return to indi-
properly, note on the printout so if an image has been rotated or if • All fonts in an embedded EPS
cate proper paragraphs and a
that it can be addressed before the any additional retouching is file you’ve created must be con-
soft return (shift + return) to
next proofing pass. required to accommodate the verted to outline, please remem-
break lines.
bleed. ber to save an original version of
The primary function of studio is
the file for later editting. • Proper quotes (’98, “”) via smart
to prepare electronic artwork and • Check font usage dialog box to
quotes in Quark,
pre-press files to the highest stan- ensure that no fonts have been • In Illustrator both the document
prime marks ( 8¢ 3¢¢), created
dards both from a typographic and altered by using the stylized setup>print & export and the
with in Symbol w/option + 4,
pre-press stand point. attributes, as in “B Helvetica attributes should be set to an out-
not hash marks (' ").
«Plain»,” not “Helvetica «Bold».” put resolution of 1200 d.p.i.
The following is a checklist that
• Use of rule above/below. Charts
should be used to ensure quality • Check the document’s colors to • All Truetype fonts must be con-
must be rebuilt correctly to facil-
control. ensure it matches the print pro- verted to postscript.
itate fast revisions and ensure
duction specifications. This
• Replace all art and photos with • Check typography for excessive exact spacing and formatting.
includes indicating:
repro-quality images located on tracking and/or horizontal/verti-
• Use the feature called “Indent
the “Art_FINAL” folder in the • The proper color models, cal scale (+/– 3 should be consid-
Here” to quickly align text from
appropriate job file. Any art not CMYK, Pantone, etc. ered the ideal maximum).
82

Artwork Creation Procedures Opening Files in Quark & Flightcheck
File Preparation Checklist
where you place your cursor. the In Quark,
remainder of the paragraph will
When opening an existing docu-
be indented at that point. The
ment, always select use custom
Keyboard shortcut is command-
preferences.
backslash. It works great for bul-
leted items (Is in this short arti- Never adjust an existing H&J defi-
cle) nition without renaming the copy.
• Use hanging punctuation. In Flightcheck,
Use the Agency’s custom

FlightCheck Preferences
and Ground Controls.
It is very important that the proper

preferences are in place when per-
forming a flightcheck to a docu-
ment. These settings are set for
how we pre-flight our jobs.
83
The Creative Department

The Style Guide
The “Style Guide” is the agency’s indicate the use of italic in the final will not print correctly on some (periods..., with) after the ellipsis
typographical guide on how type is piece, i.e., to always set a book title high-resolution output devices. and a full space after the second-
treated on the printed page. All or publication in italic. Overall Instead use the font Universal ary punctuation.
agency’s have their own unique set underscores are always replaced News with Commercial Pi font
• Dashes and hyphens—have no
of rules to follow on how type is with italic. and use its “h, M or N” characters
spaces on either side. Adjust
layed out into a mechanical format. ( h, M , N ) which are true open
• Correct use of a hyphen (-), en manual kerning, if necessary to
Although it is recommended that ballet boxes. You may have to
dash (–, represents the word “to”, equalize the space on either side
the agency style guide be followed adjust its size or apply a baseline
“through” or “from” as in 9–5; of dashes and hyphens, especially
from the initial client presentation shift value to align them properly
never “and”) or em dash (—, for when used with numerals, i.e.,
of the layout, it is sometimes not with the text.
parenthetical observations). The 1-800-70 / 1-800-70
necessary. However, it should be
style is for no spaces before or • Center type by centering
noted that unless specific requests • When using dashes with numer-
after any hyphens or dashes. optically. If necessary, hang
are made, all print files are changed als or all cap letters, adjusted to
at the mechanical stage to match • No double spaces after punctua- punctuation as with justified or center vertically.
the agency style guide to create tion. No double dashes, use an em flush right text.
• The appearance and readability of
consistency. There may even be dash instead. • Type set in initial caps, as used in consecutive capital letters or
some client specific mandatories or headlines or subheads should be
• Always use nonjustifying spaces numerals of three or more in text
exclusion’s that are followed in set without a period at the end.
or “command backslash” to align can often be improved by adding
addition to the agency guide.
characters. • Ellipsis is three periods...with no additional tracking and reducing
It should be noted that the guide is spaces on either side. It does not their size 97–90%. e.g., from
Use an en space (when Standard
intended to follow typographic need to get an extra period at the between one-quarter to one point
Em Space is off ) to align single-
rules, rather than word processing end of a sentence. If using a prop- at a 10 point size. When possible
and double-digit numbers.
ones. er ellipsis with additional punctu- replace stylized small caps with
• Do not use the Zapf Dingbats “n” ation, be sure to add a slight space the proper font and adjust for
For example, a copywriter might
( ■ ) character styled with an additional tracking.
use an underscore in manuscripts to
outline to create a ballot box, it
84
The Creative Department Quark Shortcuts

The Style Guide
• The copyright symbol (©) however, an asterisk should be Nonbreaking spaceband Command + space
should not be followed by a followed by a space. En space/figure space Option + space
spaceband; in a properly mastered * Footnote style: Footnotes are separated Nonbreaking en space Command + option + space
font it will have a built-in “shoul- from the text block either by a space,
der” and should be followed Flex space at 100%
never smaller than the general line
immediately by the date. (as defined in preferences) Option + shift + space
spacing of the text of the text area,
e.g., ©2001 TD Waterhouse or by a thin rule. Nonbreaking flex space Command + option + shift + space
• All punctuation, dashes and Discretionary hyphen Command + hyphen

• Avoid using a typeface in which
spaces should have the same En dash (number ranges) Option + hyphen
you use excessive tracking or hori-
style, color and format as the Em dash (parenthetical) Option + shift + hyphen
zontal/vertical scaling is used. (+/-
word preceding it; e.g.,
3 should be considered maximum Opening quotation mark Option + [
Panasonic®, our voice acti...
for tracking). It’s always better to Closing quotation mark Option + shift + [
• All punctuation should be placed find and use a typeface that is
Opening single quotation mark Option + ]
inside quotation marks. This rule designed with the attributes you
can be broken to ensure clarity. Closing single quotation mark or apostrophe Option + shift + ]
want rather than distorting one.
Flush right Option + tab
• These style standards have been • Use the agency Font Database,
incorporated within can be placed New paragraph Return
contact your production manager
into custom XPress Preferences, for additional font additions or New line Shift + return
these include Small Caps, super- modifying existing faces. Discretionary new line Command + return
script, subscript and superior.
New column Enter
• There should be no spacing New box Option + enter
separating an asterisk and word
in the text; in the footnote below,
85
The Studio
The quick guide
Starting Work: Buying artwork, stock-art, Routing: For Creativces,

The Studio does not accept work that: photography, or hiring outside Once the studio makes a layout into a Save your work on the Server:
comp artists: mechanical it will be routed to you. Do not save your work on your local
1.) Has no job number, deadline, or
work order. Do not purchase or hire anything or 1.) Please take the time to get a harddrive.
someone without pre-approval by the good look at the layout. Things 1.) Use the Server called “ELVIS”
2.) Without the Project
broadcast art buying or print produc- might have changed from your and the volume called “Creative
Coordinator’s knowledge.
tion department and a purchase order initial layout do to production A-Z” to save your work. Save
Get a job number!
is issued. adjustments. your work in the client folder
Two days before client 1.) When the art does come in, 2.) If you want to make any adjust- within a folder that has a job
presentations: please notify/give it to the traffic ments yourself, talk to the pro- number. Refer to the attached
department to keep track of. duction/studio staff and then sheet.
Reach out to the traffic and production
department, let them know if / when get a copy of the file from the 2.) Never write over an old job file
you need extra help, mounting, etc. Client approval: studio. DO NOT pick up a to begin a new job. Make a copy
When your layout has final approval, mechanical file from the server of the file using a new name.
1.) Make sure an extra set of what
hand it off to the traffic person. and make the change yourself. Always save your work using
is presented goes to the traffic
1.) Print out a copy of the layout Feel free to meet with the pro- the agency naming convention.
department.
with the file name on top. duction staff to go over changes
2.) If your layouts need to be that are difficult to explain in
proofed, let the traffic dept. 2.) Mark up the hard copy with any
written form.
know ahead of time! comments. Mark any text or art
that is FPO as FPO. Any ques-
Style Guide:
tions for production or the ae?
All of your layouts will be adjusted to
Write it down.
fit into the agency style guide for con-
3.) Printout a disk directory as to sistency. We have provided the style
where your file is located. guide for reference.
4.) Please be aware of the entire
process of your job. Turning 1.) If you want to differ from the
your layout into a mechanical style guide on a particular job,
takes time. please meet with the studio and
production manager.

Artwork Naming Procedures Artwork Filing Procedures
The agency requires that everyone If your in the production depart- when the appropriate creative/art/
follow a common artwork naming ment, use the server called design director places all of your
convention. The following are some “ELVIS” and the volumes labeled files in the “PRODDROP” hard
general rules and examples. “Production A-E, F-M, T-Z” to drive on Elvis. Or an existing and
• Always Identify the File. Begin save your work. Never save your approved mechanical exists in the
with the Client, Product, Job artwork or files on your local desk- Production volumes.
Number. i.e. ESPCORPXXX top. When a comp is to be made into a
• A Short Description or Page In this server there are hard drives mechanical, the studio should go
Number for an Artfile is (volumes) with individual “client” through the following procedure:
Extremely Helpful. folders in alphabetical order. a.) Directing the comp images into
i.e. pg2photo1 Each of these client folders con- the production folder. If you pick
• Do Not Use the Following tains: folders for the master logos, up files from the “CREATIVE A-
Characters when Naming a File: individual job folders and a folder Z” volume, make sure you DO
&, %, /, \, :, ;, ?, +, [, ], (, ), *, @. for client web access. The “jobs” NOT LOSE the original set of
folder holds the client’s jobs by job files in the “CREATIVE A-Z” vol-
number. Never write over an old ume. Leave the original comp files
job file to begin a new job. Always intact! You are making a new copy
save your work using the agency of the files to be converted into a
naming convention. mechanical.
Each job on the production servers c.) Sort the files you just collected
are separated into two folders: into the appropriate folders in the
The Production folder. production mechanical. Make sure
This is the folder where the pro- you place the vector art (i.e. adobe
duction department begins their illustrator files) and the hi-res art
job. Only start new creative jobs into the Art_Final folder.
87

Artwork Filing Procedures Artwork Filing Procedures
Collected Folder Quark Mechanical Versions

This is the place where we store Each time a job is routed, please
the final artwork that was either add the revision # to the end of the
released to the vendor, “collected job file name to indicate the new
“Collected” Folder:
for output,” or received from the version. Please keep your “old” ver- CLIENT
Should ONLY contain entire
vendor. Do not touch or alter any sions in the “OLD” folder. collected files that were sent to
press or to client which includes
material in this folder. PDF’s
Remember to save all work as you “Production” Folder:

Should ONLY contain
go along. Production Quark Files and
2 ART folders
“Art_FINAL” Contains all Art that is

New Job Labeling Syntax complete and ready for press
000AAA999_NYT_Description_01
“Art_WORKING” Contains
all Art that is not Finished or
is Lores.i.e.”work in
Job Number Pub† Revision # progress”also your psd files
Place OLD Quark

Files Here.
New Art Labeling Syntax
000AAA999_Description_01
“Logos_MASTER”
Is where ALL Finished logos are kept.
NO Client Logos Should Be in either
ART Folder Unless they are Job
Job Number Revision #
88

Typefaces Freelance Artists & Outside Board Artists
Work off of fonts on your local All freelancers must fill out a Do not move any equipment.
hard drive only. If you need a timesheet and hand them in weekly Do not upload or download any
typeface that isn’t on your local with a proper invoice listing name, software.
drive, copy over the typeface from social security number, total hours
Do not put your own fonts on the
the “fonts” folder located in the multiplied by the hourly/day rate
computer.
“Clients Server.” and a total amount due.
Do not replace the desktop pattern.
Only open typefaces from your All invoices submitted for payment
local hard drives “Font Library.” will be paid within two weeks. Do not change, update or delete
software on your machine.
Use the agency recommended The agency offers no medical ben-
PURCHASED Adobe Type efits, vacation or personal time for
Selection, and keep all named fonts freelance workers.
selected from within one company To optimize printing time and
brand’s library. If you use a typeface schedules, check with everyone in
that we don’t own, let us know and the area prior to printing a large
we will work it into an estimate. file.
Do not use fonts that were not We ask that all freelancers be con-
purchased by the agency. scientious in regard to conserving
paper and supplies.
There is a phone located in the
electronic studio for emergency and
important phone calls. No personal
phone calls are to be made or taken
on this phone.
89

Releasing to Disk
Once a job is OK’d to be released Collect Job to Disk

to disk, please follow the below - Place a copy of collected files in
procedure: “Final Mechanical Folder”
Open the mechanical and check - Collect to CD-Rom or Zip
for:
- Label Zip or CD-Rom
- Correct size, colors & bleed
- Print a copy of the mechanical
- Updated guidelines in color to size (If possible)
- All gradations are in Photoshop FROM THE DISK.
- Proper logos and trademarks - Print a copy for the job bag
- All artwork and logos are - If 4 C, print separations.
reproduction quality - Attach Pantone color chips to
- All colorized Tiff files (used in Mechanical if appropriate.
Quark) are correctly translated to - Mark all color breaks, FPOS,
EPS Duotones. PMS Colors, varnishes, trim
- Photos are scaled in photoshop to marks and/or print a copy of the
within 10% of the actual size in layout if needed.
Quark. - SIGN the Approval Form.
Run Flightcheck & - RETURN DISK WITH
Collect for Output: PRINTOUTS AND JOB
- Check RGB vs. CMYK HISTORY TO TRAFFIC.
- Proper resolution
- Correct artwork files
- Read flightcheck report for prob-
lems to solve
90

Job Descriptions
Studio Manager, Responsibilities Track usage & maintenance of all Track supply inventories for studio -
(Lead Studio Production Artist) Responsible for all mechanical mate- studio devices; computers, printers, work with agency purchaser for all
This position can be billed hourly. rials released from the agency scanners and digital cameras, etc. consumables.
The Studio Manager acts as the main Supervise the creation of all art Maintain a clean studio and
studio point person for all mechanical surrounding environment.
mechanicals for assigned clients,
materials related to a particular client of
through comp to final disk release Estimate and invoice studio services
the agency. They manage the creation of
for the agency. charges for assigned clients(i.e. color
all studio work and supervise other pro-
duction or freelance artists. All ques- Track all misc. studio requests for copies, poster prints, discs, cd-roms,
tions, regarding internal projects, new each assigned client. new business materials, etc.).
business, etc., will funnel through the Act as lead studio production artist Review studio/production time
studio manager. schedules and estimates where
and quality control person for all
assigned projects. needed.
Manage studio production artists and Track and train all assistant and
freelancers in completion of the freelance studio staff in all relevant
individual assignments. skill areas.
Schedule daily studio workload, Contact, hire & supervise all agency
manage work changes. studio freelancers for assigned proj-
ects(inhouse/outside).
Work with project managers/
production staff to accomplish all Maintain agency archiving and filing
internal studio work. systems.
Provide design and new business
support as needed.
91

Job Descriptions
Studio Production Artist Responsibilities: surrounding environment.

This position should be billed hourly. Review assignments directly with the Work with staff to produce reproduc-
Responsible for producing mechanicals Studio supervisor to determine the tion artwork for design, advertising,
from layout or spec sheets for final pro- best method of execution. and other projects.
duction. Produces materials for creative Produce computer mechanicals based Ensure the quality and accuracy of
presentations, new business and internal on the creative concept layout and files that are created or sent to print
projects. Create and ensure the delivery maintain the creative integrity of the publications or vendors.
of correctly prepared, complete, accurate original concept. Communicate as necessary with stu-
artwork to printers and manufacturers. Review prepress file specifications dio or project manager to eliminate
prior to producing files and maintain and prevent errors and problems
consistent file preparation suitable for Check artwork for completeness and
outputting by publications or ven- assure adherence to standards
dors.
Monitor art preparation guidelines.
Assist the studio manager in Recommend technical and procedur-
developing methods to create and al updates and changes as needed
maintain consistent studio file
Assist in the collection and distribu-
preparation.
tion of assets for preparation of pro-
Work with the Studio Manager in duction artwork as necessary
developing color calibration tech-
Assist in organizing, monitoring,
niques that produce consistent file
archiving, and maintaining files on
results between the comp, layout and
the server
final mechanical.
Track usage & maintenance of all
studio devices; computers, printers,
scanners and digital cameras, etc.
Maintain a clean studio and
92

Job Descriptions
Studio Production Prepress Artist Responsibilities: preparation. Assist in the collection and distribu-
This position should be billed hourly. Lead production artist in the final Work with the Studio Manager in tion of assets for preparation of pro-
production of all prepress files. developing color calibration tech- duction artwork as necessary .
Responsible for producing mechanicals
from layout or spec sheets for final pro- Trains and reviews prepress file niques that produce consistent file Assist in organizing, monitoring,
duction. Lead responsibility for produc- preparation with other studio artists results between the comp, layout and archiving, and maintaining files on
ing files for publication and press. to maintain accurate and consistent final mechanical. the server.
Produces materials for creative presenta- files. Track usage & maintenance of all
tions, new business and internal proj- Acts as main studio person to review, studio devices; computers, printers,
ects. Create and ensure the delivery of monitor and maintain all studio out- scanners and digital cameras, etc.
correctly prepared, complete, accurate put devices. Maintain a clean studio and
artwork to printers and manufacturers. surrounding environment.
Review assignments directly with the
Studio supervisor to determine the Work with staff to produce reproduc-
best method of execution. tion artwork for design, advertising,
Produce computer mechanicals based and other projects.
on the creative concept layout and Ensure the quality and accuracy of
maintain the creative integrity of the files that are created or sent to print
original concept. publications or vendors.
Review prepress file specifications Communicate as necessary with stu-
prior to producing files and maintain dio or project manager to eliminate
consistent file preparation suitable for and prevent errors and problems.
outputting by publications or ven- Check artwork for completeness and
dors. assure adherence to standards.
Assist the studio manager in Monitor art preparation guidelines.
developing methods to create and Recommend technical and procedur-
maintain consistent studio file al updates and changes as needed.
93

Job Descriptions
Studio Imaging Artist Responsibilities: Acts as production artist where Work with the Studio Manager in
(Retoucher) Scans and retouches all artwork necessary or specifically requested developing color calibration tech-
This position should be billed hourly. according to the creative and to do so. niques that produce consistent color
Provides scanning, color correction and production specifications. Discusses outside production ele- output from scanner to monitor to
retouching on assigned projects. Duties ments required for job with various output device.
Works with the Studio
also include prepress and studio related Manager(SM), Production Manager vendors in conjunction with
projects. (PM), all Production Staff and TM/PM/CD.
assigned AD/CD’s to achieve Reviews all work for errors/omissions
desired results. with Studio Manager prior to turn-
In conjunction with SM, PM & PD, ing in work for Creative/AE/Client
works with vendors to coordinate, approval.
scans, digital output, outside Makes all requested changes/correc-
color correction and outside tions promptly and correctly.
retouching. Preflights, check all artwork for
Advises creative on best way to correct press or usage.
achieve approved concept via Act as Technical advisor to junior
scan/illustration/scanning/retouch- staff.
ing/pre-press techniques. May be called upon to maintain pro-
Prepares proofs (black and white duction/pre-press related computer
laser output or specified color output equipment, including but not limited
per project budget). to scanning equipment, output
Discusses final art with assigned Art devices, servers, web related software,
Director/CD/PM for each project. software and all related hardware.
Confirms all production deadlines Evaluate and scan original artwork to
with Studio Manager/Traffic achieve acceptable reproduction qual-
Manager. ity output.
94
b
group-creative
The creative guide to

artwork creation.
The Creative Department

Responsibilities
The Creative Department is

responsible for execution of the
client 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
96
The Creative Department The Creative Department

Starting Work & the Job Jacket Artwork Purchasing
The Creative Department should The Creative Department is You must have prior approval from
not accept any work directly from responsible for initiating all print- the Production Department to buy
the Account Group without the ing spec sheets. All specs must be photography, art, or creative servic-
Traffic Department’s knowledge. reviewed with the Production es. Production will fill out a
All changes to existing projects Department prior to releasing to Purchase Order, listing the usage
should be run through the Traffic/ client or obtaining bids. Once and amount agreed upon.
Production Department as well. approved, no one will change specs The Creative Department will also
Do not start a job without the at the release of a project without sign off on all art vendor invoices.
project initiation form, without a prior production notification and In the case of an overage, the per-
Brand/Creative Brief, or a job client approval. son must write a brief explanation
number. Upon approval to order art, of the additional charges on the
Creative should check with the invoice.
Production Department to ensure
art is reproducible for the particular
ad or piece, and that all the art-
work’s uses are taken into
consideration. It is the combined
effort of the AE, Creative and
Production teams to ensure that
the artwork purchased meets all of
the client’s requirements.
97

Artwork Handling & Retouching Creating a Comp or Mechanical
Upon receipt of client or outside of one generation, affecting the Any files which contain mock art- The Creative Department is not to
vendor artwork it will be logged quality of reproduction. work or low-res scans not intended set any electronic files using fabri-
with the Traffic Department and No outside retouching of any art- for reproduction must be visibly cated or customized colors. Choose
labeled. work is allowed without prior per- marked “FPO”. We have an FPO colors from the Pantone Matching
However, all purchased art is the mission and communication with tag in the Guidelines master page System instead. Remember that
responsibility of the Creative the Production Department. (in the EP Folder under these colors may be simulated if the
Department when it is in the ‘Guidelines’.) FPO must also be ad or project is running in 4/C
The Production Department will
agency’s possession. Any artwork or marked in bold type next to the process. Note all colors used in the
maintain awareness of the final art-
photography to be returned must Guideline. guideline.
work’s use so that any retouching is
be labeled as such prior to handing done in the correct color space and All files should use the agency file Any stock photo used in comps
over to the Production resolution. This information is vital naming system. must be labeled at the bottom of
Department. to the successful completion of All files should be sized using the the file next to the guideline. The
Please follow the artwork log in your artwork. document setup for page size. listing must include the stock
procedures with your traffic or photo house and the photo
All agency guidelines are to be set
production person. number.
in standard format, which can be
All conventional artwork ordered copied from the Guidelines master
by Creative must be in “scanable” page set up in the “EP” Folder
form (able to wrap around a drum under “Guidelines.”
scanner). Any artwork not on flexi- All jobs must be placed in the
ble board runs the risk of being “JOBS” folder by respective
damaged when it’s wrapped. If account. See the Artwork Filing
supplied artwork is not in scanable Procedure in the Studio section of
form, Production will shoot a this book.
transparency to scan with the loss
98

How to Name and Save Your Files How to Name and Save Your Files (con’t)
Use the Server called “ELVIS” and The job folder

the volume called “Creative A-Z” This is the folder where the art New Job Labeling Syntax
to save your work. Never save your department begins a job. All comp 000AAA999_NYT_Description_01
artwork or files on your local desk- artwork should remain in this fold-
top. er. Only low-res or comp work
should be placed in this folder. If Job Number Pub† Revision #
In this server there are folders for
each client in alphabetical order. any hi-res art comes in during the
Under each “client” folder there is comp stage it should be placed in
New Art Labeling Syntax
folder for each job #. the production mechanical folder. 000AAA999_Description_01
MARK your Individual art files
Each of these client folders contain
with the agency naming conven-
folders for individual jobs. The
tion. Job Number Revision #
“jobs” folder holds the client’s jobs
by job number. When you are ready to release art-
work to the production department
Using the template on the
do a collect for output, and place
“Creative A_Z” to start a new job.
your files in the Prod Drop Folder.
Remember to start a new job you
YOU MUST NOTIFY production Artwork generated by the art
must have the correct job number department.
to pick up and use these files.
and use it to save your work. Never
write over an old job file to begin a
new job. If you need to make a For position only artwork.
copy of the file using a new name.
Always save your work using the
agency naming convention.
99

How The Agency Works

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How The Agency Works

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how the agency works

developed & written

“How the agency works,” is a reference

This process manual is meant to be used

This book is several years old, and I am

In later editions, the process manual will

© 2001, 2009 Edwin Burgoyne

345 goffle road

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

How work progresses

The Creative Brief

and/or Plan the Media

Create the Creative

Critical Path - Workflow -

Element: • Traffic will record all client

and copywriting begins. software as change orders.

Actions: • Upon manuscript completion,

Element: staff to develop designs based on

client the artwork for approval or production spec sheet is neces-

Creative & Art Direction,

Element: Traffic & Production, Account Executive

Approval of additional charges • Traffic will circulate the changes

Approval of additional charges production studio then given to

Reviews Media Plan

Workflow - Typical Internal

point the account exec will notify

Element: • Before the creative is presented to should indicate if art is stock so

Starting with Photography Pre-Flight & Pre-Press

Produce Hi-Res PDF

Proof PDF file

Publication Prints On-Press

Check Ad in Publication Bindery

Spot Check Mailing

Composed Proof Approval

Continued above left

Element: • Insertion orders should be • Inform the account staff and

Element: changes, a change order is

Monthly Billing Process

Monthly Billing Process

Review Job Billing “Edit”

Ok to Close & Bill Reviews and approves invoices

Close & Kill Reviews and approves invoices

and now the “short”

The Agency Workflow Path

Job Plan & Tactics

Creative Concepting Revise Old Project Plan the Media

Create the Creative

Schedule the Media

Client approval of the estimate Internal routing Internal approvals Revisions:

Final review of materials

Out-of-pocket or OOPs, are purchase orders on behalf of the

Formula 1- Example A: you take the person’s salary and Formula 3-

Here are some examples of fee 1 FTE = $320,000

The Account Group

Account Services, which includes • Coordination, analysis and

The Account Group The Account Group