{"id":70316,"date":"2024-01-01T07:01:45","date_gmt":"2024-01-01T07:01:45","guid":{"rendered":"https:\/\/www.autocar.co.uk\/car-news\/features\/how-we-make-autocar"},"modified":"2024-01-01T07:01:45","modified_gmt":"2024-01-01T07:01:45","slug":"how-autocar-is-made","status":"publish","type":"post","link":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/2024\/01\/01\/how-autocar-is-made\/","title":{"rendered":"How Autocar is made"},"content":{"rendered":"

\"autocar<\/a><\/p>\n

\n The total print run for each issue of Autocar is heavier than two Land Rover Defenders<\/p><\/blockquote>\n

We take you behind the scenes in the production process of Autocar<\/p>\n

\n

Provenance is one of those curious human obsessions that we\u2019re pre-programmed to value. Take wristwatches, for example. Digital ones provide all the functionality you need, yet they are orders of magnitude less expensive than analogue and hand-made ones. Should the latter hail from Switzerland, go ahead and add another zero to its value.<\/p>\n

Much like Swiss watchmakers, we at Autocar are rather proud of our heritage, this being the world\u2019s oldest motoring title<\/a>. But while our focus has stayed the same since 1895, the process of creating the actual magazine has changed a lot.<\/p>\n

Filling more than 70 pages in five days is a tall task, but it all begins with the stories. Some, like long-awaited new-model unveilings or drives, will be pencilled into the calendar well ahead of time. Some we have to squeeze in at short notice on the day we go to press. Regardless, each story is written according to a brief from the relevant section editor. Through a back-and-forth with the writer, they will commission the necessary word counts, a rough idea of the imagery involved and a deadline for its submission.<\/p>\n

Each brings a wildly different workload, so it\u2019s crucial that everything is filed on time. Take a first drive of a car: it could be as simple a task as an afternoon drive around the British countryside, but it can also mean multiple days of travelling, time at the wheel and then a full photoshoot before the writer can begin to tap away at their computer. Time needed to accommodate the grand-scale tasks simply can\u2019t be wasted on more trivial jobs.<\/p>\n

Once the writer has found a quiet place and readied their ramblings, the production team is primed to turn them into the glossy final product.\u00a0<\/p>\n

\"Autocar<\/p>\n

This starts with picture editor Ben Summerell-Youde, who gathers the appropriate visuals for the story, comprising either photography shot in-house<\/a> by Max Edleston, Jack Harrison or John Bradshaw, or images provided by a picture library or the relevant press office.<\/p>\n

Other stories might require Summerell-Youde to look into his crystal ball and envision the future of the industry. His talent with a digital sketchpad means he can illustrate new cars in great detail long before we lay eyes on them.\u00a0<\/p>\n

He explains: \u201cNews editor Felix Page<\/a> will give me a simple brief: the next-generation Audi A6<\/a>, for example. I\u2019ll look at recent concept cars and the brand\u2019s new design language and then look at the current car for proportions. That\u2019s the simplest way. On the other hand, when there\u2019s something much more futuristic, such as our 8 November scoop on the Toyota Celica revival<\/a>, I\u2019ll consider that shape again and draw it from scratch. I\u2019ll do an outline and some vague shapes of grilles, filling it in as I go. That takes a lot longer, whereas a new A6 I can do practically blindfolded.\u201d<\/p>\n

\"Toyota<\/p>\n

He adds that the homogeneity of modern cars \u2013 particularly those from Germany \u2013 can make this task much simpler. \u201cIt\u2019s just Russian doll stuff, really,\u201d he jokes. The end result, known as a rendering, is often remarkably close to the production car, with recent wins including the Dacia Duster<\/a>, Lotus Emeya<\/a> and Volvo EX30<\/a>.<\/p>\n

This kicks off the next phase of the design work. Art editor Sarah \u00d6zg\u00fcl, junior designer Tara Tuohy and group art editor Stephen Hopkins (\u2018Hoppo\u2019, to anyone who\u2019s ever met him) begin developing page layouts, making judgement calls on the images provided by Summerell-Youde and the structure of the story.<\/p>\n

\u00d6zg\u00fcl notes that everything quickly \u201cevolves\u201d from this point on, by way of a cyclical discussion between herself, Summerell-Youde, the relevant section editor and managing editor Sami Shah.<\/p>\n

Pointing to a feature she is currently designing, \u00d6zg\u00fcl explains: \u201cI\u2019ve got the copy on a Word document and I know it\u2019s supposed to be four pages. I didn\u2019t have any pictures earlier, so I asked Ben to find some. Today, I\u2019ve come back to it after a think about the design and reckon it would work better as a two-page spread. So I\u2019ve had a discussion with Sami, who\u2019s then had the change approved by the section editor.<\/p>\n

\"Autocar<\/p>\n

\u201cAs I\u2019m laying it out, I\u2019m discussing pictures with Ben while I\u2019m reading the story and getting a feel for how it should look on page.\u201d\u00a0<\/p>\n

The back and forth between editorial and production is essential to ensuring we\u2019re all working in concert, under the pressure of the ticking clock \u2013 and that ticking has hardly ever felt more imposing than it does now.<\/p>\n

When you consider the number of pages that go into every issue and the time available to produce them, on average we have a little over half an hour to devote to each page in order to hit our weekly deadlines. That\u2019s under ideal circumstances, but like any operation, things like IT issues, transport disruption or a global pandemic (not even that was enough to knock us off our stride) can throw a wrench in the works \u2013 and on top of that there are the boundless efforts required to feed content to the Autocar website (see\u00a0below).<\/p>\n

It\u2019s Shah\u2019s job to bring order to the chaos, dictating the firing order of magazine pages and seeing them over the finish line.<\/p>\n

\"Printing<\/p>\n

\u201cWe\u2019ve done it long enough together to know how much time each task takes and whether we are behind or ahead of schedule,\u201d says Shah. He explains that the magazine pages are sent to the printers digitally in various sections, each with a different deadline on press day at the end of the week, the last of which containing news stories that are inevitably subject to eleventh-hour changes.<\/p>\n

\u201cThe printers will give us a bit of leeway, but we can\u2019t miss our print slot, so if we\u2019re running more than a few minutes late, the phone will start ringing. That said, we don\u2019t want to miss out on a big story, so a conversation with the editor will take place about the logistics of squeezing it in and a judgement call has to be made.\u201d<\/p>\n

In part for the sake of his own sanity, Shah plays a key role in the process of ironing out any errors. Along with chief sub-editor Kris Culmer and special contributors Peter McSean and Tim Dickson, it is his job to ensure each story nails the brief, reads well, is faithful to Autocar\u2019s style guide, is legally sound and is factually accurate \u2013 there are rather a few facts and figures in each issue of Autocar \u2013 with the entire editorial team chipping in to fill any knowledge gaps. Picture captions and headlines are then added \u2013 some straight, some (we hope) witty.<\/p>\n

\"Autocar<\/p>\n

Simultaneously, an external team finesses the images on each page. They ensure details such as road markings don\u2019t clash with headlines or other page furniture, as well as colour-correcting and brightening or darkening images as required.<\/p>\n

Thereafter, each story is sent to senior editors to be proofread. Shah says: \u201cEvery completed page is read at least three times: by the sub-editor who worked on it, by the editor who proofs it and finally by myself or Kris. Pages receive updates throughout the production cycle, so it\u2019s important that the final version gets a close read, even though one eye will always be on the clock.\u201d<\/p>\n

Meanwhile, \u00d6zg\u00fcl separately gives each page her blessing, checking the reprographic work and ensuring everything looks as it should.<\/p>\n

At last, the pages are ready to be collated into a section of the magazine and in pdf form sent from our office in Twickenham to the printers, William Gibbons & Sons, in Wolverhampton.<\/p>\n

\"Printing<\/p>\n

As soon as the first batch lands, typically in the mid-afternoon on Friday, a team loads it onto printing plates. There are four plates on the top side of a double-sided spread, four at the bottom. Two print operators \u2013 one for the upper half of the page, the other for the lower section \u2013 double-check everything is in the correct colour format and has loaded correctly. If all is well, they press \u2018start\u2019 and pages begin flying literally hot off the press: first the glossy covers, then the middle section comprising first drives and the road test.<\/p>\n

As pages come off the line, the operators check the colours align with those programmed into the press and for anything else untoward. This loop of printing and checking will be repeated tens of thousands of times for each chunk of the magazine over a weekend.<\/p>\n

The material requirements for this are colossal: the paper used for the covers alone weighs about as much as an Ariel Atom. Throw in the five tonnes used for the middle sections and the total print run for each issue of Autocar becomes heavier than two Land Rover Defenders. Combine the more than a million copies produced annually and you get a greater mass than three Concordes: more than 280 tonnes.<\/p>\n

\"Printing<\/p>\n

Everything will be printed by Monday morning. Thereafter, a half-complete copy is taken to a senior manager who will double-check that all the folios (broad \u2018spreads\u2019 of paper) are printed correctly, in the right order.<\/p>\n

Once they give the go-ahead, the magazine is painstakingly stitched together, the covers are attached and the final product is trimmed to size. Several copies \u2013 a few for every thousand prints \u2013 are pulled from the print run for quality control.<\/p>\n

By 3pm each Monday, the finished print product you will see on shop shelves \u2013 or indeed coming through your letterbox \u2013 is ready.<\/p>\n

The copies are thereafter split into two batches: one for retail sale and the other for subscribers. The former bucket is loaded onto pallets and readied for a 4am collection, destined for a Coventry distribution hub. Subscriber copies, on the other hand, are taken to Birmingham to be posted on the Monday afternoon. From that point on, the timely arrival of your latest issue is in the hands of Royal Mail\u2026<\/p>\n

\"Printing<\/p>\n

It\u2019s an extensive \u2013 and relentless \u2013 process. So the next time you peruse an issue of Autocar, spare a thought for the many people who worked tirelessly to (hopefully) bring a moment of joy to your week.<\/p>\n

How the Autocar website comes together<\/h2>\n

The workflow of the website is somewhat different from that of the mag. The transition from idea to article can all come from one person and rather quickly, but in most cases it passes through a network of people.<\/p>\n

News articles, the website\u2019s bread and butter, will come from Felix Page and pass through me as digital editor for some search-engine optimisation, before possibly reaching another journalist and then going off to the sub-editors. Then it\u2019s pumped out to our social media audiences.<\/p>\n

Breaking stories develop quickly and can be published instantly after the subs are happy with it.<\/p>\n

The mag and the website both need constant feeding, but in very different ways. Print is here today and gone tomorrow (unless you subscribe to the digital archive, of course!), whereas the articles that appear on the internet can live on forever.<\/p>\n

Reviews, explainers, listicles \u2013 virtually anything other than news (but occasionally news too) needs to be kept current so we are offering the most up-to-date and factually accurate information out there.<\/p>\n

These types of article come from multiple sources; car reviews will be written by the mag journalists but to a different brief. So the next time you\u2019re envious of a writer driving a fancy car in a hot country, remember they have two different briefs, tight deadlines and emails to contend with if they don\u2019t write either to the correct format.<\/p>\n

Topical articles are more of a dark art. Features can be repurposed from the mag but what we run online is often more timely, immediate and drilled precisely into what people are searching for.<\/p>\n

Murray Scullion<\/em><\/a><\/p>\n<\/div>\n\n

Commercials Cooperation Advertisements:<\/b><\/h2>\r\n


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SalesExecutive@ITSec.vip<\/p>","protected":false},"excerpt":{"rendered":"

The total print run for each issue of Autocar is heavier than two Land Rover Defenders<\/p>\n

We take you behind the scenes in the production process of Autocar<\/p>\n

Provenance is one of those curious human obsessions that we\u2019re pre-programmed to value. 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