We're old hands at magazine advertising. We've produced a wide range of ads, some as small as 1 column x 3cm to full page advertisements. There's a couple of important things to remember about magazine advertising.
The bigger the ad the more you'll have the viewer's attention - of course.
If you want to be in a specific location within the magazine you may need to pay loading to secure that position.
The more months you book an advertising space with the publisher, the better the deal you should be able to make regarding costs.
Instead of talking about magazine ads we've decided to tell you our history of production with magazine advertising.
The changes in magazine production and printing, in general, have probably been the most enormous in the last 20 years since the inception of commercial printing. In the early 90's to create your advertisement you would need to sketch/render your concept, then create your final artwork by glueing down your type, bromides* and keyline graphics to a board. Then place tracing paper over the top of the board with all of the instructions for the colour treatment of the type, graphics and photo/s. Then you would send this artwork, along with the photo negatives, off to a combiner who would take those instructions and create the 4 x colour plates (cyan, magenta, yellow and black) these plates were made of a thick acrylic transparent film. A chemical proof was also created, made by combining the 4 colour plates into a finished image. The 'Chem Proof' was supplied to the publisher so they could check it against the printed ad. After the film and proof were created you sent them off to the magazine. This whole process would take approximately a month from start to finish, or even more. Part of the process was several face-to-face meetings to discuss concepts and changes plus the occasional fax to relay ideas - I know what you're thinking - "FAX?"! This WAS just before the internet you know.
Then computers came along and you were able to create your ads on-screen, but you still needed to produce the film and proof. Oh and did we mention that photos were taken with regular film cameras, so all photos needed to have their negatives scanned at a specialized drum scanning business and burnt onto CD.
After creating the ad on-screen you would take the final file and all of the elements (fonts, images, logos, etc.) needed, load them onto a disc or removable tape drive and drive/courier to the digital film-house. The largest capacity removable drive was 250MB, so sometimes you needed more than one tape. The film house would create the 4 x colour plates and chemical proof, same as the combiner. Then you would courier or mail these to the publishers.
At least the film-house was a quicker process, unless of course the printers RIP** on one of the machines didn't accept your file, so a technician - or quite a few times ourselves - would need to stay there trying to fix it. This could sometimes take all night!
Did we mention that we've been using PC computers from the start and the initial innovations in online publishing were really designed for Macs!
Eventually the big change occurred with the advent of the high resolution PDF file and high speed internet, now magazine printers no longer want film they need a PDF file. They then add it seamlessly into their magazine layouts and print everything at once. Files are either emailed directly to the magazine or sent via a digital publishing management website.
This revolution means that you, as the client, now see exactly what the ad is going to look like. In fact we will happily send you a low resolution copy of the file that will be sent to the publisher, so that you can see exactly what is being sent.
An advertisement can now be done and sent in days or even hours, not weeks - a truly giant leap in technology.
*Bromide images were a photo reproduction method.
**RIP = raster image processor.