Foundations in Graphic Communications: Checking Color Proofs  
The Print Production Workflow (Publications)
a. the raw material: copy and artwork

• via Internet (Web-to-print, FTP, e-mail)
• via physical media (DVDs, thumb drives, etc.)
• line art, graphs, charts
• photography and halftones
• conventional artwork
• digital artwork
• desktop scanning
• high-end scanning
e. preparation of image carriers

• color space: CMYK vs. RGB
• analog prep (mechanicals; film)
• digital prep (RIPs, imagesetters)
• conventional platemaking
• computer-to-plate
• computer-to-press
• telecommunicating page files
• preflighting
• PostScript and PDF workflows

b. the raw material: ad copy

• display ads (full/partial)
• classifieds/listings
• inserts (free-standing, ROP)
• supplied film and proofs
• digital ads

f. final proof and OK to print

• why check proofs
• blueprints for position
• author's alterations
• photomechanical color proofing
• digital color proofing
• "soft" proofing
• the contract proof
c. text editing and typesetting

• desktop typography "revolution"
• editors as typesetters
• edit in w/p vs. edit in layout
g. the production press run

• processes: offset and gravure
• web and sheetfed printing
• digital presses: DI, toner, inkjet
• printing variables
• paper, ink, and plates
• press checks
• heatset printing / UV curing
• over- and under-runs
• waste and spoilage
d. publication makeup

• determining size  (dimensions and page count)
• thumbnails ("roadmaps")
• imposition (including ad placement if applicable)
• digital "pasteup" (InDesign, QuarkXPress)
• image editing (Photoshop)
• proofreading responsibility

h. binding, mailing, and delivery

• what happens in the bindery
• perfect (glued) binding
• mechanical (wire) binding
• selective binding
• multi-edition publications
• "personalized" publications
• computerized addressing
• postal entry
• other distribution