Not Just Business As Usual
The Industry Standard was conceived with a single dogma in mind: The Internet is the death of "business as usual." The publication's resounding success even in its infancy, caused a business model explosion for its parent, Standard Media International, breeding first TheStandard.com, a daily online resource for Internet business strategists and the pan-European, English-language, The Industry Standard Europe, launched in October 2000. The magazine's style is crisp, precise and manageable, with a fine balance of copy and graphics. The editorial is focuses on e-conomy. It breathes high-tech, think-way-outside-of-the-box verbage that reads like plain English. The aesthetic is calculated and commands loyalty from its readers.
Suzanne Welker Jurgens' job as editorial production manager has been anything but static. When she came to San Francisco by way of New York City she spent some time employed as production manager for a well-known corporation before landing at The Industry Standard. She was one of the first 100 employees the magazine hired, and her early arrival enabled her a special vantage point as the publication began to grow.
Early in her career with the magazine, Welker Jurgens was responsible for balancing a particularly full plate. Half of her time was spent trafficking edit copy as it passed between authors and editors. A whopping 95 percent of the magazine's copy is created by in-house editors and reporters working in either Quark CopyDesk or Microsoft Word. The balance of Welker Jurgens duties included trafficking the edit pages through the production process and QPS (Modulo Systems' Quark Publishing System) administrator.
As the publication exploded in popularity and page counts increased, particular attention was paid to how to streamline and fine-tune production. For Welker Jurgens, this meant returning some of her responsibilities to their rightful owners. Copy trafficking found its home within the editorial department. And QPS administration was relinquished to the publication's IT department. But rather than having her responsibilities depleted, Welker Jurgens set out to revamp the editorial production system. She hired a staff of five graphic arts professionals: two scanning operators and retouching artists, one production manager devoted to page proofing and PostScripting of the final edit pages, and two production managers res-ponsible for delivering files to their recipients, which includes in-house prepress and other disciplines that repurpose the content for other media.