Notably, one core (often considered essential) member of a magazine's staff is missing from the list—a production director. As Ebert points out, a dedicated production person is a luxury not easily afforded under the employment guidelines of the state agency. Still, someone must be responsible for trafficking ads, for monitoring editorial page production—all those vital responsibilities handled by a production manager. In the case of TP&W, production is a duty shared equally.
Ebert describes the relationship: "The managing editor is the one who puts together the production schedules. She provides the printer (Publishers Press, Shepherdsville, KY) with what they need; she gives prepress (American Color, Dallas) what they need. At ad close, I dummy up the book … and pass it along to the managing editor. She'll communicate with prepress and the printer from that point forward."
In the meantime, Mark Mahorsky begins to design pages using the standard suite of applications: QuarkXPress and Adobe's Illustrator and Photoshop. Images, supplied by highly regarded freelancers, become the charge of William Vincent Reaves.
Deidre Gonzales-Acord, the American Color account executive responsible for the TP&W account, notes that high-quality photographic reproduction is mandatory: "The photography itself is from world-renowned photographers; therefore, it is a requirement that the color always meet with the highest standard of color separation."
During page compilation, American Color provides the publisher with low-res images for QuarkXPress placement. "This allows Mark Marhosky, the art director, to lay out the main stories. … This also allows (us) to view layouts … and make any necessary changes before final pages are approved," Gonzales-Acord notes.
"All production information," she adds, "is noted on the color lasers. I also meet with the advertising team, to make sure we have all the ads. … Most of this is done a few days before final pages. … We then (begin) the final page-building. If necessary, (we) digitize the ads using our Creo Renaissance II scanner. We impose the files, output eight-up film, (run) Matchprint proofs, and make blueline proofs to send back to the customer for approval or changes."