The document discusses the inspiration and conventions drawn from existing music magazines like NME and Q in developing Symbal magazine. NME served as the primary influence for aesthetics and presentation due to its success and focus on indie rock. Q's simpler contents page layout focusing more on information than images was also emulated. While retaining some typical conventions like font and layout, Symbal aims to differentiate itself by including a broader range of genres and artists, with a more gender-balanced and mature target audience than magazines like NME. The success of Symbal will rely on attracting this target audience through exclusive content tailored to their interests and needs.
- The document discusses how the author incorporated conventions from music magazines NME and Q into their own magazine Symbal. They took inspiration from NME for the front cover and double page spreads, and from Q for the simpler contents page layout focusing more on information than images.
- Symbal's contents page and overall presentation largely follows Q's simpler and bolder style rather than NME's more image-focused layout. However, Symbal also incorporates aspects of NME's language and fonts to connect with audiences in a similar way.
- While Symbal shares conventions with typical indie magazines, it also challenges conventions by promoting both mainstream and lesser-known artists equally and focusing more on the music than promotional
The document discusses how the creator of Symbal magazine incorporated conventions from music magazines NME and Q in developing Symbal. NME primarily inspired the overall aesthetics and presentation of the front cover and double page spreads. Q's contents page layout, featuring one large central image and three smaller images, was emulated as it prioritized information over visuals. While Symbal adopted layout and design elements from both magazines, it strived to be uniquely focused on music and representing a variety of genres and audiences not defined by gender or age.
The document discusses the design and inspiration for a fictional music magazine called Symbal. It draws inspiration from existing magazines like NME and Q, incorporating conventions from their layouts, designs and target audiences. Field research was conducted through questionnaires to determine the ideal target readership and music tastes. Feedback was gathered from friends on social media and another questionnaire to evaluate the finished magazine designs. The goal was to create a unique magazine that balances familiar conventions with fresh approaches, and caters to a broad readership interested in both mainstream and non-mainstream music.
The document discusses choosing a genre and name for a new music magazine. It considers focusing on pop rock as this combination has been successful for other magazines like Q. A pop rock genre would appeal to a wide target audience of young adults and incorporate popular music. It also discusses choosing a name that identifies the genre and engages readers, as well as establishing a consistent house style through color scheme and fonts to brand the magazine. Proper article layout and design is also important to create appealing content and maintain the house style across issues to build recognizability with readers.
The document discusses choosing a genre and name for a new music magazine. It analyzes that a pop rock genre would be most successful as it combines popular rock and pop music. Research shows magazines like Q with this format sell well. An abbreviated name like MM (Music Matters) or one clearly stating the pop rock genre like Pop & Rock would help potential readers identify the magazine's content. Color schemes and fonts used by successful magazines like NME should be considered to develop the magazine's house style and make it recognizable to readers.
The document analyzes and compares the front covers of two music magazines - NME and Mixmag.
[1] NME targets a broad mainstream audience aged 16-25, with more male than female readers. Its cover uses red, black and white colors and features a famous artist in black and white. Mixmag specifically targets those interested in dance music aged 16+. Its cover uses black, white and gold colors and features a silhouette dancer.
[2] Both magazines use bold sans-serif fonts for their mastheads and cover lines to appear informal. NME's cover is more cluttered reflecting its broader coverage, while Mixmag only has a few stories to match its niche focus.
[3
The document analyzes the house style features of three different magazines - NME, Q, and Classic FM. For each magazine, it summarizes the graphics, colors, layout, fonts, target audience, and how these elements appeal to and reflect the intended readership. Across all three magazines, a consistent house style is maintained from the cover to interior pages through the use of similar graphics, colors, fonts, and stylistic elements tailored to the appropriate age group and music genre of the target audience.
- The document discusses how the author incorporated conventions from music magazines NME and Q into their own magazine Symbal. They took inspiration from NME for the front cover and double page spreads, and from Q for the simpler contents page layout focusing more on information than images.
- Symbal's contents page and overall presentation largely follows Q's simpler and bolder style rather than NME's more image-focused layout. However, Symbal also incorporates aspects of NME's language and fonts to connect with audiences in a similar way.
- While Symbal shares conventions with typical indie magazines, it also challenges conventions by promoting both mainstream and lesser-known artists equally and focusing more on the music than promotional
The document discusses how the creator of Symbal magazine incorporated conventions from music magazines NME and Q in developing Symbal. NME primarily inspired the overall aesthetics and presentation of the front cover and double page spreads. Q's contents page layout, featuring one large central image and three smaller images, was emulated as it prioritized information over visuals. While Symbal adopted layout and design elements from both magazines, it strived to be uniquely focused on music and representing a variety of genres and audiences not defined by gender or age.
The document discusses the design and inspiration for a fictional music magazine called Symbal. It draws inspiration from existing magazines like NME and Q, incorporating conventions from their layouts, designs and target audiences. Field research was conducted through questionnaires to determine the ideal target readership and music tastes. Feedback was gathered from friends on social media and another questionnaire to evaluate the finished magazine designs. The goal was to create a unique magazine that balances familiar conventions with fresh approaches, and caters to a broad readership interested in both mainstream and non-mainstream music.
The document discusses choosing a genre and name for a new music magazine. It considers focusing on pop rock as this combination has been successful for other magazines like Q. A pop rock genre would appeal to a wide target audience of young adults and incorporate popular music. It also discusses choosing a name that identifies the genre and engages readers, as well as establishing a consistent house style through color scheme and fonts to brand the magazine. Proper article layout and design is also important to create appealing content and maintain the house style across issues to build recognizability with readers.
The document discusses choosing a genre and name for a new music magazine. It analyzes that a pop rock genre would be most successful as it combines popular rock and pop music. Research shows magazines like Q with this format sell well. An abbreviated name like MM (Music Matters) or one clearly stating the pop rock genre like Pop & Rock would help potential readers identify the magazine's content. Color schemes and fonts used by successful magazines like NME should be considered to develop the magazine's house style and make it recognizable to readers.
The document analyzes and compares the front covers of two music magazines - NME and Mixmag.
[1] NME targets a broad mainstream audience aged 16-25, with more male than female readers. Its cover uses red, black and white colors and features a famous artist in black and white. Mixmag specifically targets those interested in dance music aged 16+. Its cover uses black, white and gold colors and features a silhouette dancer.
[2] Both magazines use bold sans-serif fonts for their mastheads and cover lines to appear informal. NME's cover is more cluttered reflecting its broader coverage, while Mixmag only has a few stories to match its niche focus.
[3
The document analyzes the house style features of three different magazines - NME, Q, and Classic FM. For each magazine, it summarizes the graphics, colors, layout, fonts, target audience, and how these elements appeal to and reflect the intended readership. Across all three magazines, a consistent house style is maintained from the cover to interior pages through the use of similar graphics, colors, fonts, and stylistic elements tailored to the appropriate age group and music genre of the target audience.
Unit 13 – Planning and Pitching a Print based Media Product (LO2)mdelmar97
This document contains the slide contents for a presentation on the development of a music magazine concept. It includes slides on mood boards, font styles, magazine layout plans, photography plans, cover and spread designs, and proposals for two magazine title ideas - "Tune iN" and "Beat". Key elements that are explored include house styles, color schemes, graphic layouts, and annotated codes and conventions for the magazine designs. The presentation shows the process behind conceptualizing and designing the different elements of an original music magazine.
The document analyzes the forms and conventions used and challenged in the creator's music magazine media products, including the front cover, contents page, and double page spread. For the front cover, conventions like the masthead placement, cover lines, and skyline are used, while the equal prominence of both cover stars challenges conventions. The contents page incorporates images, page numbers, and social media links. The double page spread features images, pull quotes, and columnar text layout with some unconventional formatting. Overall, the media products develop and challenge real music magazine conventions while maintaining an authentic style.
This document analyzes the design elements of a music magazine cover and contents page. It discusses the masthead, images, puffs, slogans, cover lines, colors, and layout. Key elements include the masthead placed at the top in white contrasting the dark background. The main image is a singer linked to the coverline and placed in the center. Puffs advertise extras like a free CD. The contents page also follows magazine conventions with the masthead, date, images, and grab quotes to entice readers. A double page spread similarly analyzes the heading, images, puffs, and article elements used.
The magazine aims to engage with mod culture through its design elements that reference symbols of mod subculture like the Union Jack. These include the masthead, cover lines in red, white and blue, and a feature photo of a band member addressing the camera intensely. The double page spread continues these design elements and features a large photo of a band in black clothes against a background with graffiti, appealing to the aesthetic tastes of the target audience. The magazine targets males aged 18-45 interested in mod music, fashion, and lifestyle, especially those interested in reliving the mod revival era or passing the culture to younger generations.
Unit 13 (LO1) – Understanding existing print-based media products and how the...mdelmar97
Mojo is a monthly music magazine published in the UK since 1993. It focuses on classic rock music and targets upper middle class readers aged 35 and older. The magazine promotes itself through social media platforms and aims to build connections between readers and artists. It uses in-depth articles and reviews to provide surveillance of the music industry and help readers find community and identity through their shared love of classic rock.
Q magazine is a popular British music magazine founded in the UK in 1986. It was created by Mark Ellen and published its first issue in October 1986. Q became popular at this time because it offered a unique mix of music coverage with interviews, reviews and features on new and established acts. The magazine continues to be published monthly in the UK, focusing on rock and alternative music. It maintains popularity among music fans by providing in-depth coverage of both mainstream and independent artists.
This magazine focuses on music and has a readership of 550,000 people with a median age of 29. It has a younger, affluent audience and aims to provide coverage of good music across all genres through its reviews. The editor's mission is for the magazine to be a beacon for music of substance by guiding readers through the best music each month.
The magazine uses simple, dark front covers featuring a single artist in medium close-up shots against an uncomplicated background. The covers focus on red, white and black to keep the design sleek and avoid being too busy or colorful to appeal to their target audience.
The document analyzes the front cover of Kerrang magazine to understand its target audience. Kerrang targets predominantly male rock fans aged 17-24. The front cover uses conventions like a dominant image of a rock artist and headlines in line with the magazine's house style to attract this audience. The codes and conventions employed on the cover aim to appeal to the attitudes and lifestyle of the target readership.
This magazine appears to be targeted towards a younger audience interested in dance music and club culture. The cover features bright colors, multiple fonts, and images that emphasize youth and partying. A close-up female model makes eye contact with the camera, employing techniques of the "male gaze" to attract younger male readers. Headlines and tags promote big music events in Ibiza to encourage readers to learn more by purchasing the magazine. The masthead uses a bold yellow color that matches the sunset backdrop, with a mixed "i" letter evoking feelings of youth and intoxication. Overall the layout prioritizes attracting a party-loving 18-25 demographic through visuals of fun and excitement.
The document discusses plans for two music magazines called "Session" and "Verve", including ideas for their branding, content focus, and sample mood boards. Session would focus on hip hop fashion and culture while Verve focuses more on music aspects like new albums and festivals. Examples of cover designs, articles, and consistent branding elements are analyzed to demonstrate how the magazines would appeal to readers.
Kerrang! is a UK-based magazine devoted to rock music. It was initially focused on heavy metal genres but expanded its coverage in the 2000s. While sales declined after the nu-metal trend ended, adopting emo and metalcore helped boost readership. Kerrang! primarily targets 16-24 year old males and appeals to them through imagery of iconic male bands. It maintains a devoted audience through diverse online content that keeps readers engaged between issues.
The document provides a detailed analysis of the design elements of the magazine NME, including its cover, masthead, images, and layout. It analyzes how these visual components target their intended audience and convey the magazine's brand. The consistent use of red, black, and white along with a serif font give the magazine uniformity and establish it as a reputable publication for its target demographic of music enthusiasts ages 24-34.
Here are 3 potential fonts for the magazine headings based on your target audience profile and design goals:
1. Impact: A classic sans serif font that is bold and eye-catching. The all-caps style will stand out on the magazine covers.
2. Bank Gothic: A retro font with a gritty, urban style that evokes graffiti and punk rock aesthetics. The thick letterforms will grab attention.
3. Amatic SC: A stylized script font with an edgy, handwritten feel. The varied letter widths give it energy that would appeal to a young male audience.
For subheadings, a complementary sans serif like Helvetica Neue or Arial would provide clarity while
The document provides instructions for a foundation portfolio assignment analyzing the front covers of two music magazines targeted at different audiences. Students are asked to choose two magazine covers, analyze elements like the target audience, house style, design principles, images, masthead, and cover lines. They must then write an essay comparing and contrasting the two magazines and commenting on similarities and differences. The deadline for submission is February 15th.
The document analyzes the design styles of two music magazines - NME and Mixmag. [NME targets a mainstream audience ages 16-24 with a variety of music genres represented on its messy, disorganized covers. Mixmag targets an audience interested in dance music ages 16+.] Both magazines follow design principles like using sans-serif mastheads and incentives, but differ in their use of cover images [with NME featuring a famous cover star and Mixmag using a patterned background] and number of cover lines [with NME's busy style vs Mixmag's minimal approach]. Overall the magazines have different audiences but similar design elements.
This document analyzes and compares the front covers of two music magazines, NME and Vibe. Both magazines prominently feature a central artist image intended to attract attention, though NME's image directly engages the viewer while Vibe's does not. They also both include cover lines around the image highlighting other artists and stories. While NME uses brighter colors and fonts to appear more inviting, Vibe has a simpler, modern aesthetic likely aimed at younger audiences. Overall the magazines employ similar design strategies like barcode placement and highlighted artist names, but distinguish themselves through stylistic choices to appeal to different readers.
Quality Excellence in Healthcare_PHAPI_Baguio_14sept19Reynaldo Joson
The document discusses best practices in quality and excellence in healthcare. It begins with definitions of key terms like quality, performance excellence, and best practice. It then outlines the main topics to be covered: aiming for best practices in hospitals, how to develop best practices, and examples. Specific strategies are provided for developing a comprehensive set of best practices, including leadership commitment and clear communication. The goal is for hospitals to document numerous best practices to demonstrate the highest levels of quality and performance excellence.
Pecha Kucha is a presentation style originating from Japan where presentations consist of 20 slides shown for 20 seconds each, totaling 6 minutes and 40 seconds. The document proposes using the Pecha Kucha style for presentations at an upcoming Distance Learning Conference to introduce conference topics or for breakout sessions, as it forces presenters to focus on only the most important information in a lively, engaging format. Some challenges include recruiting presenters and securing a venue that can support the Pecha Kucha style of multiple, simultaneous short presentations.
The document provides instructions for installing and configuring the 4PSA VoipNow Plesk Module, which integrates the Parallels Plesk control panel with the 4PSA VoipNow interface. Key steps include installing required software, configuring the VoipNow and SSO server settings, and setting up automatic or manual replication of clients, domains, and mailboxes between Parallels Plesk and VoipNow. The module allows unified management of accounts across both systems and single sign-on functionality.
An afternoon cream tea will be held at 18 Hurstdene Avenue on Saturday June 28th from 3-5pm, with a bring and buy sale and raffle in aid of church funds. Tickets are available from Joan Smith by phone. A children's fun afternoon will also take place at the Manse on the same date and time, featuring a bouncy castle and games.
This document provides instructions for Assignment #2 for the course MGT 100 Introduction to Business. It includes 2 questions - the first asks students to find an organization chart and identify job titles at the top, middle, and first line management levels. The second questions asks students to interview a local manager to learn about their management functions, roles, and necessary skills. The assignment is for program SP12-BECO-B4-A and is worth a maximum of 10 marks.
Unit 13 – Planning and Pitching a Print based Media Product (LO2)mdelmar97
This document contains the slide contents for a presentation on the development of a music magazine concept. It includes slides on mood boards, font styles, magazine layout plans, photography plans, cover and spread designs, and proposals for two magazine title ideas - "Tune iN" and "Beat". Key elements that are explored include house styles, color schemes, graphic layouts, and annotated codes and conventions for the magazine designs. The presentation shows the process behind conceptualizing and designing the different elements of an original music magazine.
The document analyzes the forms and conventions used and challenged in the creator's music magazine media products, including the front cover, contents page, and double page spread. For the front cover, conventions like the masthead placement, cover lines, and skyline are used, while the equal prominence of both cover stars challenges conventions. The contents page incorporates images, page numbers, and social media links. The double page spread features images, pull quotes, and columnar text layout with some unconventional formatting. Overall, the media products develop and challenge real music magazine conventions while maintaining an authentic style.
This document analyzes the design elements of a music magazine cover and contents page. It discusses the masthead, images, puffs, slogans, cover lines, colors, and layout. Key elements include the masthead placed at the top in white contrasting the dark background. The main image is a singer linked to the coverline and placed in the center. Puffs advertise extras like a free CD. The contents page also follows magazine conventions with the masthead, date, images, and grab quotes to entice readers. A double page spread similarly analyzes the heading, images, puffs, and article elements used.
The magazine aims to engage with mod culture through its design elements that reference symbols of mod subculture like the Union Jack. These include the masthead, cover lines in red, white and blue, and a feature photo of a band member addressing the camera intensely. The double page spread continues these design elements and features a large photo of a band in black clothes against a background with graffiti, appealing to the aesthetic tastes of the target audience. The magazine targets males aged 18-45 interested in mod music, fashion, and lifestyle, especially those interested in reliving the mod revival era or passing the culture to younger generations.
Unit 13 (LO1) – Understanding existing print-based media products and how the...mdelmar97
Mojo is a monthly music magazine published in the UK since 1993. It focuses on classic rock music and targets upper middle class readers aged 35 and older. The magazine promotes itself through social media platforms and aims to build connections between readers and artists. It uses in-depth articles and reviews to provide surveillance of the music industry and help readers find community and identity through their shared love of classic rock.
Q magazine is a popular British music magazine founded in the UK in 1986. It was created by Mark Ellen and published its first issue in October 1986. Q became popular at this time because it offered a unique mix of music coverage with interviews, reviews and features on new and established acts. The magazine continues to be published monthly in the UK, focusing on rock and alternative music. It maintains popularity among music fans by providing in-depth coverage of both mainstream and independent artists.
This magazine focuses on music and has a readership of 550,000 people with a median age of 29. It has a younger, affluent audience and aims to provide coverage of good music across all genres through its reviews. The editor's mission is for the magazine to be a beacon for music of substance by guiding readers through the best music each month.
The magazine uses simple, dark front covers featuring a single artist in medium close-up shots against an uncomplicated background. The covers focus on red, white and black to keep the design sleek and avoid being too busy or colorful to appeal to their target audience.
The document analyzes the front cover of Kerrang magazine to understand its target audience. Kerrang targets predominantly male rock fans aged 17-24. The front cover uses conventions like a dominant image of a rock artist and headlines in line with the magazine's house style to attract this audience. The codes and conventions employed on the cover aim to appeal to the attitudes and lifestyle of the target readership.
This magazine appears to be targeted towards a younger audience interested in dance music and club culture. The cover features bright colors, multiple fonts, and images that emphasize youth and partying. A close-up female model makes eye contact with the camera, employing techniques of the "male gaze" to attract younger male readers. Headlines and tags promote big music events in Ibiza to encourage readers to learn more by purchasing the magazine. The masthead uses a bold yellow color that matches the sunset backdrop, with a mixed "i" letter evoking feelings of youth and intoxication. Overall the layout prioritizes attracting a party-loving 18-25 demographic through visuals of fun and excitement.
The document discusses plans for two music magazines called "Session" and "Verve", including ideas for their branding, content focus, and sample mood boards. Session would focus on hip hop fashion and culture while Verve focuses more on music aspects like new albums and festivals. Examples of cover designs, articles, and consistent branding elements are analyzed to demonstrate how the magazines would appeal to readers.
Kerrang! is a UK-based magazine devoted to rock music. It was initially focused on heavy metal genres but expanded its coverage in the 2000s. While sales declined after the nu-metal trend ended, adopting emo and metalcore helped boost readership. Kerrang! primarily targets 16-24 year old males and appeals to them through imagery of iconic male bands. It maintains a devoted audience through diverse online content that keeps readers engaged between issues.
The document provides a detailed analysis of the design elements of the magazine NME, including its cover, masthead, images, and layout. It analyzes how these visual components target their intended audience and convey the magazine's brand. The consistent use of red, black, and white along with a serif font give the magazine uniformity and establish it as a reputable publication for its target demographic of music enthusiasts ages 24-34.
Here are 3 potential fonts for the magazine headings based on your target audience profile and design goals:
1. Impact: A classic sans serif font that is bold and eye-catching. The all-caps style will stand out on the magazine covers.
2. Bank Gothic: A retro font with a gritty, urban style that evokes graffiti and punk rock aesthetics. The thick letterforms will grab attention.
3. Amatic SC: A stylized script font with an edgy, handwritten feel. The varied letter widths give it energy that would appeal to a young male audience.
For subheadings, a complementary sans serif like Helvetica Neue or Arial would provide clarity while
The document provides instructions for a foundation portfolio assignment analyzing the front covers of two music magazines targeted at different audiences. Students are asked to choose two magazine covers, analyze elements like the target audience, house style, design principles, images, masthead, and cover lines. They must then write an essay comparing and contrasting the two magazines and commenting on similarities and differences. The deadline for submission is February 15th.
The document analyzes the design styles of two music magazines - NME and Mixmag. [NME targets a mainstream audience ages 16-24 with a variety of music genres represented on its messy, disorganized covers. Mixmag targets an audience interested in dance music ages 16+.] Both magazines follow design principles like using sans-serif mastheads and incentives, but differ in their use of cover images [with NME featuring a famous cover star and Mixmag using a patterned background] and number of cover lines [with NME's busy style vs Mixmag's minimal approach]. Overall the magazines have different audiences but similar design elements.
This document analyzes and compares the front covers of two music magazines, NME and Vibe. Both magazines prominently feature a central artist image intended to attract attention, though NME's image directly engages the viewer while Vibe's does not. They also both include cover lines around the image highlighting other artists and stories. While NME uses brighter colors and fonts to appear more inviting, Vibe has a simpler, modern aesthetic likely aimed at younger audiences. Overall the magazines employ similar design strategies like barcode placement and highlighted artist names, but distinguish themselves through stylistic choices to appeal to different readers.
Quality Excellence in Healthcare_PHAPI_Baguio_14sept19Reynaldo Joson
The document discusses best practices in quality and excellence in healthcare. It begins with definitions of key terms like quality, performance excellence, and best practice. It then outlines the main topics to be covered: aiming for best practices in hospitals, how to develop best practices, and examples. Specific strategies are provided for developing a comprehensive set of best practices, including leadership commitment and clear communication. The goal is for hospitals to document numerous best practices to demonstrate the highest levels of quality and performance excellence.
Pecha Kucha is a presentation style originating from Japan where presentations consist of 20 slides shown for 20 seconds each, totaling 6 minutes and 40 seconds. The document proposes using the Pecha Kucha style for presentations at an upcoming Distance Learning Conference to introduce conference topics or for breakout sessions, as it forces presenters to focus on only the most important information in a lively, engaging format. Some challenges include recruiting presenters and securing a venue that can support the Pecha Kucha style of multiple, simultaneous short presentations.
The document provides instructions for installing and configuring the 4PSA VoipNow Plesk Module, which integrates the Parallels Plesk control panel with the 4PSA VoipNow interface. Key steps include installing required software, configuring the VoipNow and SSO server settings, and setting up automatic or manual replication of clients, domains, and mailboxes between Parallels Plesk and VoipNow. The module allows unified management of accounts across both systems and single sign-on functionality.
An afternoon cream tea will be held at 18 Hurstdene Avenue on Saturday June 28th from 3-5pm, with a bring and buy sale and raffle in aid of church funds. Tickets are available from Joan Smith by phone. A children's fun afternoon will also take place at the Manse on the same date and time, featuring a bouncy castle and games.
This document provides instructions for Assignment #2 for the course MGT 100 Introduction to Business. It includes 2 questions - the first asks students to find an organization chart and identify job titles at the top, middle, and first line management levels. The second questions asks students to interview a local manager to learn about their management functions, roles, and necessary skills. The assignment is for program SP12-BECO-B4-A and is worth a maximum of 10 marks.
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The document provides an in-depth textual analysis of the layout, design elements, and intended audience of music magazine covers and contents pages. It analyzes elements such as the masthead, images, fonts, pull quotes, and color schemes used and discusses how they relate to the magazine's target demographic and goal of promoting music in the rock/indie genres. Key details like the placement of the magazine name and use of simple yet striking fonts and colors are examined. The intended audience is identified as people aged 18-30 interested in rock/indie music.
The document provides information about music magazines, including:
- The first music magazine was founded in 1894 called Billboard. Music magazines grew popular in the 1950s-1960s with magazines like NME and Rolling Stone.
- The biggest music magazine publishers currently are Rolling Stone, NME, Smash Hits, Kerrang!, and Billboard.
- The document then analyzes sample pages from magazines like NME and Smash Hits, examining things like layout, colors, target audiences, and conventions used across issues.
The document provides information about music magazines, including:
- The first music magazine was founded in 1894 called Billboard. Music magazines grew in popularity in the 1950s-1960s with magazines like NME and Rolling Stone.
- The biggest music magazine publishers currently are Rolling Stone, NME, Smash Hits, Kerrang!, and Billboard.
- Sample pages from magazines like NME and Smash Hits show conventions like layout, colors, pictures, and writing styles used to appeal to different target audiences.
This document provides information about several British music magazines:
NME is a British music magazine established in 1949 that was the first to include a singles chart. It focused on genres like punk rock and covered bands through photoshoots and interviews. DIY is a magazine founded in 2002 that focuses on indie bands. It uses colorful imagery and montages of bands on its covers and contents pages. Mojo is a magazine established in 1993 that focuses on genres like indie and classic rock. It includes articles, interviews, and lists about influential musicians. The document also provides profiles of typical readers of each magazine and details about their circulation and coverage of genres.
The document provides an analysis of the front covers of three music magazines: Q, NME, and Mojo. It examines the color schemes, fonts, layouts, photography, and other design elements of each cover and how they are used to appeal to audiences and reinforce the magazines' brands. Key details analyzed include Q's use of red and white colors and serif/sans serif fonts to attract different readers, NME's colors and images reflecting its "Young Britannia" theme, and Mojo emphasizing Johnny Cash as the focus through its masthead and color placement.
The document discusses the target audiences and design principles of two music magazines - NME and MixMag. NME targets mainly males aged 15-30 who enjoy indie/rock music. Its design uses bold red font and black background colors that connote rock and roll. MixMag has a similar aged 16-30 audience but focuses more on dance music. Its brighter colors are more suitable to its genre. Both magazines use design techniques like primary optical areas and cover lines to guide readers' eyes and promote the magazines' contents.
The two magazine contents pages are similar because they target the same genre of alternative/rock music. Both use red, black, and white colors which are typically associated with this genre. They also have similar target audiences of teens and young adults. However, the Q magazine contents page has a more informal design balance with wild photos of artists, while the NME magazine looks more formal with styled images. Overall, the magazines aim to attract the same target audience through their contents pages and consistent house styles using colors and layouts associated with alternative music.
The two magazine contents pages are similar because they target the same genre of alternative/rock music. Both magazines use red, black, and white colors associated with this genre. They also lay out text and images similarly. However, the Q magazine contents page has a more informal design balance with wild photos of artists. It also does not follow the Gutenberg design principle of placing important information in specific areas as strictly as the other magazine. Overall, the summaries show the magazines aim to attract similar audiences through house style and content while one displays a less formal layout.
The font of the masthead remains consistent across issues of NME magazine to instantly signal the brand identity. However, the color scheme is variable to make each issue feel unique while still pleasing loyal readers. Additionally, aspects like the layout, cover lines, and images are structured differently in each issue to portray individuality and focus on the featured music artist. This balancing of consistency in core branding elements and variability in other design features allows NME to maintain brand recognition while expressing the style of each issue's cover artist.
This document analyzes and compares the cover designs of two music magazines - "Top of the Pops" and "Uncut". It summarizes the target audiences, images, design principles and house styles used in each magazine cover. The target audience of "Top of the Pops" is young girls aged 13-17, featuring pop stars like Justin Bieber. In contrast, "Uncut" targets an older audience aged 16+ interested in rock music, featuring an image of Joy Division's Ian Curtis. Both magazine covers effectively use the Gutenberg design principle and follow conventions like direct eye contact of the cover star, but have distinctly different house styles appropriate to their audiences.
The document discusses the target audience for a music magazine. It would target mature individuals between 16-45 years old with an interest in rock/alternative music. While appealing to both genders, it is slightly more oriented towards males due to the chosen artists, color scheme, and style of articles. The wide age range is possible because the magazine covers bands that appeal to different subsets within that overall range but share a musical style. Distribution by IPC media would make sense as they already distribute a similar magazine, NME.
- The first music magazine was founded in 1894 called Billboard which was devoted to the music industry. Music magazines became popular in the 1950s-1960s with magazines like NME and Rolling Stone.
- Some of the biggest music magazine publishers today include Rolling Stone, NME, Smash Hits, Kerrang, and Billboard. They cover various genres of music and have large international readerships.
- Music magazine covers use visual elements like photos and minimal text to attract readers' attention. Colors, layouts, and logos are consistent to help readers recognize the magazine. Covers aim to appeal to the target demographic for each publication.
The three contents pages from issues of NME magazine displayed a consistent layout and design that reinforced the magazine's brand identity and loyal fan base. While maintaining a vintage newspaper style, the pages also featured bold modern artist images and promotions to appeal to both long-time fans and younger audiences. Eye-catching promotional text boxes highlighted subscription deals to boost circulation. Consistent design elements like fonts, image placement, and addresses tailored to the rebellious indie music fan allowed readers to instantly recognize future issues as familiar NME publications.
This document is an evaluation of a media studies student's magazine project. It discusses how the magazine challenges conventions by placing the masthead over the main image and using a female-centered approach. It maintains a consistent style inspired by NME magazine. The student learned skills with Photoshop and their camera in creating professional photos and layouts. Looking back, the student improved on combining fonts, colors, and conventions from their preliminary to final project.
The document is an evaluation of a media studies student's magazine project. It summarizes the key ways the magazine challenges and develops conventions of real music magazines like NME. It maintains a consistent style inspired by NME but challenges conventions like placing the masthead over the main image. Images and typography are used to attract the target young adult/teenage audience. The student learned skills like using Photoshop and improved from an initial basic magazine design to a higher quality final product better catering to conventions and audience.
- NME (New Musical Express) is a UK-based music magazine first published in 1952 that became associated with punk rock in the 1970s and indie music more recently.
- The magazine started as a newspaper and transitioned to its current format in the 1980s. Circulation has declined in recent years to under 30,000 weekly.
- The magazine employs a consistent color scheme of red, black, and white in its masthead and advertisements to create a recognizable style. Images and text are arranged to emphasize important artists and stories.
Courtney Uscroft-Research into existing pages whslaura
The document discusses analyzing the front covers and contents pages of two music magazines, NME and Q, to inform the design of a new magazine. It finds that NME has a busy, colorful front cover aimed at younger audiences, while Q has a simpler, more sophisticated black and white cover for older readers. Key aspects analyzed include colors, fonts, images, layout, price, and magazine name. The contents pages of both magazines effectively structure content and entice readers, but in styles fitting their different target demographics.
The document discusses analyzing the front covers and contents pages of two music magazines, NME and Q, to inform the design of a new magazine. It finds that NME has a busy, colorful front cover aimed at younger audiences, while Q has a simpler, more sophisticated black and white cover for older readers. Key aspects analyzed include use of colors, fonts, images, layout, price, and magazine name. The contents pages of both magazines effectively organize content into sections to guide readers to articles of interest, with NME including additional features like an index and subscription advertisements.
The document analyzes conventions of the rock music magazine Kerrang! including its cover image, line, and contents. The cover typically features a high-profile band member to appeal to fans. The bright colors of the cover analyzed soften the image and make it less stereotypically dark. The contents page uses smaller images and a dark color scheme to hint at articles and match the genre. Kerrang! is then compared to similar magazine NME, noting their similarities in layout but differences in color schemes and styles that appeal to different readers.
The document describes the various digital technologies used during the research, planning, production and post-production stages of creating a horror film promotional package. These included a Nikon D90 camera for practice shots and ancillaries, an iPhone to record focus groups and notes, Photoshop for editing images, Premiere Pro for editing video, and social media, YouTube and blogs for research, feedback and documentation. Skills with these technologies improved over the process, allowing for more advanced uses like sophisticated camera work, lighting, and merging self-taken images in Photoshop composites. Focus groups provided valuable audience feedback that informed creative decisions.
Media2014 post production questionnaireJake Shelvey
The document contains a questionnaire about a horror film project called "The Basement" that asks the respondent to confirm if they filled out a prior questionnaire and viewed the trailer, posters, and magazine cover for the project. It then asks the respondent questions about which materials they found most and least effective, the potential financial success of the project, if they would recommend the trailer to a friend, if the project addressed what they wanted in a horror film, and if they perceive the overall promotional package to be successful.
The document discusses the effectiveness of a promotional package for the film "The Basement" that includes posters, a magazine cover, and a trailer. It analyzes how successful each piece is individually and together at appealing to the target audience. Key strengths included establishing symbiosis between the pieces through consistent visual themes and evolving the narrative from one piece to the next. Feedback from focus groups was influential in shaping elements of the package to better align with the preferences of the target audience.
The document discusses horror film conventions and how the author's media product both uses and challenges conventions. It begins by explaining how audiences come to expect certain tropes based on prior viewing experiences. However, relying too heavily on formulas can make works feel repetitive. The author initially planned to make their project very conventional but became interested in how some films innovatively challenge conventions. The author analyzed acclaimed films like Suspiria to understand how conventions were altered in an impactful way. This inspired the author to develop their project in a more unique direction while still engaging the target audience. The document then focuses on horror film trailer conventions, how the author both uses standard tropes but also aims to subvert expectations and leave a lasting impression through unconventional
This document analyzes the movie poster for the 2005 film "The Amityville Horror" remake. It summarizes that the poster focuses on the haunted house as the source of evil, with the large looming house taking up over half the image and the main character George appearing small below it. The poster conveys how the house is corrupting and controlling George physically and mentally through imagery like the light radiating from the house and his hunched, pained body language. Unusual aspects like only showing part of the image and the placement of text are analyzed as representing the deterioration of George's mental state and thoughts as the house's influence takes hold of him.
Film trailers follow certain conventions to effectively promote and sell movies to audiences. They typically begin with the production company's logo to establish reputation. This is followed by the film title near the end to aid recall. Age ratings shown later provide guidelines on appropriate audience and content. Trailers also introduce characters and feature music/voiceovers to set tone and pace. They often conclude with a fast-paced montage of climactic scenes and shots under two seconds to generate interest without giving too much away. Standard trailer lengths are between 1.5-2 minutes but shorter 10-second versions also aim to build hype.
Joel is a 21-year-old man who has recently moved out of his family home for the first time after the death of his foster parents. Due to his own childhood abandonment, Joel is very family-oriented and dependent on others. As the new owner of Cumberwell estate, Joel is an insecure figure who wants to reconnect with his lost brother by renovating the home, but he is easily excitable and protective of his new wife.
- The trailer for The Shining establishes the film as a supernatural horror by using an ominous voiceover and shots of an isolated hotel. It hints at Jack Nicholson's character descending into madness as the caretaker.
- Kubrick contrasts shots of the hotel's exterior appearing normal with Nicholson shown from the inside exhibiting strange behavior. Flashing imagery grows darker and more violent as his insanity increases.
- The trailer builds intrigue by leaving Nicholson's story partly untold and using irony by showing him initially seeming normal. It suggests his isolation will cause him to murder his family like the previous caretaker.
The document provides an in-depth analysis of the trailer for the 2014 horror film "The Babadook" in 3 paragraphs:
The trailer uses unsettling sounds, shadows, and the characters' expressions to build an ominous atmosphere and hint at threats. It shows everyday scenes between a mother and son disrupted by the introduction of a disturbing children's book. This hints at deeper troubles in their lives and questions the source of the horror.
As the trailer progresses, the mother and son's lives seem to deteriorate along with their mental states. Strange events occur in their home and the mother struggles to convince others and herself that the threat is real. Visual clues suggest the threat may stem from their own grief and instability
The trailer for The Shining uses contrasting shots and a voiceover to summarize the narrative and establish intrigue. It opens with establishing shots of the isolated hotel before cutting to a close-up of Jack Nicholson, foreshadowing his descent into madness. Through juxtaposing shots of Nicholson appearing normal with those showing his instability, it implies he will kill his family. Faster cuts between the family members then show his sanity deteriorating as supernatural elements emerge. The trailer builds tension using contrasting imagery and sounds to tease the psychological horror and mystery of what drove past caretakers to murder, leaving audiences questioning if ghosts are real or hallucinations.
This document analyzes six front covers of the Fangoria horror magazine to understand how they summarize conventions of horror magazines while creating a unique aesthetic. The covers embrace horror conventions like using red, black, and blue colors and focusing on antagonists rather than protagonists. Layout conventions are sometimes altered to highlight individual films, like reducing text for an art film. The level of text formality and types of rhetorical devices used also vary based on the films' genres to appropriately target different audiences within Fangoria's readership. While retaining core brand elements, the covers demonstrate how conventions can be adapted to different films to appeal to horror fans.
Media2014 focus group analysis and linksJake Shelvey
The document summarizes the feedback from focus group interviews conducted to gather opinions on a horror film idea called "The Basement". Participants generally responded positively to the premise but had some concerns about realistic execution. Their favorite films indicated a preference for psychologically complex narratives with unpredictable elements. The interviews informed changes to emphasize the film's dream-reality aspects and show only the devil's silhouette rather than a potentially unrealistic CGI depiction.
The document provides an analysis of conventions used in five horror movie trailers: The Shining, Oculus, The Sixth Sense, The Woman in Black, and The Cabin in the Woods. It examines how each trailer introduces the film, establishes characters, builds tension, and balances satisfying audience expectations with uniqueness. While most trailers follow conventions like opening with an scare or establishing shots, The Woman in Black stands out as more unconventional in its structure. Overall, the analysis finds that the trailers effectively capture the essence of their respective films through their use or subversion of trailer conventions.
This document analyzes conventions in 8 supernatural horror movie posters to inform the design of the author's own poster. Key conventions discussed include:
- Using a simplistic white title at the bottom third
- Partially hiding the main threat to intrigue viewers
- Incorporating common horror elements like haunted children
- Relating the color scheme and imagery to the film's narrative
- Crafting taglines that expand on viewers' expectations
- Following the rule of thirds composition
The author concludes they will apply lessons from the posters analyzed, like using minimal props and a single stark figure, to create an effective supernatural horror poster of their own.
The document provides an in-depth analysis of the front cover of a film magazine. It examines various design elements and how they are used to attract the target audience. These include positioning the website address discreetly, including the date to indicate monthly publication, and using a tagline and headlines in bold colors. Images are also analyzed, such as a photo of Harry Potter making eye contact to engage readers and preview stills of characters in costume from upcoming films. The document discusses how these visual elements are purposefully designed and positioned to draw in audiences.
The document provides details on costume ideas for characters in a horror film trailer, including a demon, ghost, and two little girls. For the demon, long hollow tubes will be worn on the arms to make them appear inhumanly long, and gloves with knives taped on will be at the ends to look like sharp claws. Inspiration comes from Freddy Krueger's nails. The ghost will wear old, bloodstained formal clothing and have a sack over its face with rope at the neck. One protagonist will dress plainly in a shirt and jeans while the other, a young woman, will dress more quirkily.
The Lutz family moved into the Amityville house in December 1975, just 13 months after Ronald DeFeo Jr. murdered six family members there. After 28 days, the Lutz family fled the home, claiming to have experienced paranormal activity. They reported experiences like strange noises, cold spots, a demonic pig apparition, and a hidden red room. While some question the truth of these events, the Lutz family insists they experienced real supernatural horrors in the Amityville house. The story remains popular due to the lack of evidence disproving paranormal activity as the cause of the family's distress.
This document discusses various horror subgenres including slasher, supernatural, psychological, gothic, and possession films. It provides examples of conventions for each subgenre and analyzes classic films that exemplify the conventions, such as Halloween for slasher, The Sixth Sense for supernatural, The Shining for psychological, and The Woman in Black for gothic horror. The document aims to outline the evolution and expanding popularity of horror subgenres since the 1970s as audiences demanded new ways to be terrified beyond traditional constraints.
The document discusses creating a promotional campaign for a new supernatural horror film called "The Basement". It explains that the campaign will include a trailer, poster, and magazine cover that are linked thematically. The film aims to fuse psychological and slasher elements while retaining a supernatural feel. Researching iconic moments from films like "The Sixth Sense" and "The Exorcist" that continue to terrify audiences will help design promotional material that scares viewers deeply and leaves a lasting impression. The goal is to create a successful campaign that attracts audiences through applying genre conventions.
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
Barbie Movie Review - The Astras.pdffffftheastras43
Barbie Movie Review has gotten brilliant surveys for its fun and creative story. Coordinated by Greta Gerwig, it stars Margot Robbie as Barbie and Ryan Gosling as Insight. Critics adore its perky humor, dynamic visuals, and intelligent take on the notorious doll's world. It's lauded for being engaging for both kids and grown-ups. The Astras profoundly prescribes observing the Barbie Review for a delightful and colorful cinematic involvement.https://theastras.com/hca-member-gradebooks/hca-gradebook-barbie/
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
Matt Rife Cancels Shows Due to Health Concerns, Reschedules Tour Dates.pdfAzura Everhart
Matt Rife's comedy tour took an unexpected turn. He had to cancel his Bloomington show due to a last-minute medical emergency. Fans in Chicago will also have to wait a bit longer for their laughs, as his shows there are postponed. Rife apologized and assured fans he'd be back on stage soon.
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Experience the thrill of Progressive Puzzle Adventures, like Scavenger Hunt Games and Escape Room Activities combined Solve Treasure Hunt Puzzles online.
The Evolution of the Leonardo DiCaprio Haircut: A Journey Through Style and C...greendigital
Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
Unveiling Paul Haggis Shaping Cinema Through Diversity. .pdfkenid14983
Paul Haggis is undoubtedly a visionary filmmaker whose work has not only shaped cinema but has also pushed boundaries when it comes to diversity and representation within the industry. From his thought-provoking scripts to his engaging directorial style, Haggis has become a prominent figure in the world of film.
The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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Our goal is to become the ultimate distribution service of entertainment content. The Digidev application will offer the next generation television highway for users to discover and engage in a variety of content. While also providing a fresh and
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Due to their ability to produce engaging content more quickly, over-the-top (OTT) app builders have made the process of creating video applications more accessible. The invitation to explore these platforms emphasizes how over-the-top (OTT) applications hold the potential to transform digital entertainment.
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
exponentially in recent years. It will grow from
$21.92 billion in 2023 to $28.11 billion in 2024 at a
compound annual growth rate (CAGR) of 28.2%. The
teleprotection market size is expected to see
exponential growth in the next few years. It will grow
to $70.77 billion in 2028 at a compound annual
growth rate (CAGR) of 26.0%.
240529_Teleprotection Global Market Report 2024.pdf
Evaluation 3
1.
2.
3. Throughout the course of this project, numerous conventions associated with typical music magazines
were incorporated and individualised within my own work for Symbal. Primarily, NME served as the
main inspiration in terms of the overall aesthetics and presentation of media – especially seen within
the front cover and double page spread – with Q also being apparent as an inspiration in the
presentation of the contents page. The initial reason why NME was chosen as the primary influence
for my own magazine was largely due to its success and popularity. Evidently, the content matches
that of my own, but the fact that the brand is so established, well-known and successful, meant that I
instantly made the connection between the genre of ‘indie rock’ and the brand identity of NME – and
I wish my magazine to emulate this immediate association and achieve the level of success that NME
has.Q, however, seemed preferable in terms of this contents page layout due to the fact that Q
magazine tends to show one large, central image, with around three smaller images allocated to
specific areas of the page, and this format was emulative of the vision for Symbal’s contents page as it
focused more on information than visual presentation.
As can be seen above, Q (on the left) retains a rather simplistic layout, with a wider range of
significant pages in the magazine covered, while NME (on the right) divides the page into imagebased sections so there is no primary focal point or detailed information on the actual content of the
magazine. Symbal largely follows the layout of Q as it wishes to exemplify that simplicity and focus
on the music itself that was mentioned in the mission statement. Furthermore, the colour scheme of
the contents page of Q is simplistic but bold, contrasting to the newsprint-esque black and white of
NME magazine, and the alignment of the masthead is situated in the top left corner as opposed to
dominating the entire uppermost point of the page as it does in NME, and these are conventions that
are prominent within Symbal’s contents page. Ultimately, like Q, the magazine strives to be eyecatching but entirely music-focused, and this can be seen in the application of primary colours in the
matching colour scheme (red, white, black) but also in the equalised text/image layout, showing a
4. substantial proportion of both aesthetically pleasing material and text-based persuasive language. In
accordance with this point, however, the language and presentation of the language itself is generally
more similar to NME, with the various colloquialisms and slight humour also represented on both the
contents page, front cover, and double page spread of Symbal. Moreover, Symbal also uses the same
font as NME, and this can best be seen in comparing a typical NME front cover and the front cover
for Symbal, where a mixture of the ‘Bebas Nue’ and ‘Times New Roman’ font is utilised. The reason
for emulating this mode of address is that Q magazine generally aims to a much wider target
audience, with its inclusion of various genres, and subsequently adapts its use of language to fit a
wider variety of people, and in Symbal it seems much more important to connect to the audience and
enable them to familiarise themselves with the mode of address, as it is more exclusive to the more
limited range of genres in the magazine. This is shared with NME in all but the masthead, where an
almost retro font is used for Symbal in order to represent the culmination of both new music and
classic mainstream music shown in the magazine, and the almost electronic aspect of the font allows
the reader to understand that subgenres such as electronica will be integral to the ideals of the
magazine.
Unlike the front cover of NME magazine shown here, the general colour scheme of Symbal is
reciprocated within its front cover, as opposed to the challenging of it shown in NME with its use of
different colours. Essentially, however, the similarities in conventions outweigh the differences, as the
masthead, sell lines, and positioning of the band are all aligned similarly in accordance with
stereotypical associations with the indie rock genre. Despite this, it can be said that Symbal expands
on these associations by challenging them with some of the artists shown, while simultaneously
5. presenting them in the same way as typical bands of the genre. Artists such as Grimes and The White
Stripes are loosely linked with ‘indie rock’ but tend to fit more into the lesser known subgenres, and
by presenting them on the front cover as Symbal does, it emphasises the more alternative aspects of
the magazine and promotes the subgenres as an integral part of the Symbal franchise. Based on
research into magazines such as Mojo, Pitchfork and Uncut, this seems to differ from the front covers
of any other typical indie rock magazines (excluding the multi-genre platform Q) in placing emphasis
on the mainstream and non-mainstream bands and artists, showing that both hold equal value to the
general ideas around which the magazine is based on. Also, although puffs and promotional
incorporations are shown, they are significantly less prominent on the front cover of Symbal, once
again based on the thesis that the music the magazine is based around will be the primary benefactor
to its success and it consequently does not need to consistently attempt to captivate the audience with
subscription offers, competitions, and other such miscellaneous gimmicks. However, contrasting to
the idea that information is the primary focus of the magazine, the double page spread consists of a
dominative central image with a relatively small amount of text, which subsequently challenges the
magazine’s own ideals. The reason for this is that it allows for the next series of pages for the article
to be entirely text-based, with only the first two pages focusing on captivating the reader visually – an
idea mimicked only on occasion in magazines such as NME and Mojo. Due to the general absence of
this layout, it seemed a good idea to apply it to Symbal as it is, quintessentially, a fresh way of
presenting a band to the audience and will consequently gain more publicity for both the magazine
and the band consecutively.
As can be seen, it utilises the same consistent colour scheme as the rest of the magazine, which is
essential to the continuity of the Symbal fanbase in establishing familiarity and recognisability with
the magazine. Anchorage text is provided in the form of a continuation of the main pull quote, which
is white in order to provide the most clarity and contrast with the comparably dark image, and a drop
6. capital is used to draw attention to the text and expand on the simple white ‘Times New Roman’ font,
giving it colour and clarity. Moreover, as previously mentioned, the Symbal double page spread
largely challenges the conventions of typical indie rock double page spreads, even in ones that match
its general ideals in terms of presentation; such as the ‘Gentleman of the road’ NME one shown
above. The positioning of the main title and anchorage text is substantially different across the two
pieces of media, with significantly more information prominent within Symbal, and greater emphasis
on a wider range of contrasting relevant colours is also evident in Symbal as opposed to the simplistic,
image –based NME. Indeed, the content of the image itself is different in that NME shows the artists
in a natural environment, whereas the band in Symbal are facing the camera directly and clearly
distinctive against the background as the only two figures available. Again, the reason for this
avoidance of typical conventions in the double page spread is to consolidate the magazine as unique
and individual, and also to contrast to the contents page and front cover which do follow typical
conventions of indie rock magazines to an extent – balancing the familiar and the fresh.
In accordance with this, Symbal typically represents those that are educated in a variety
of music genres, which is emulated in numerous aspects of the magazine. Although a
basic colour scheme is recurrent throughout the magazine, a variety of other colours are
also used in the purpose of attracting all ages, not a specific audience who will merely
follow the magazine due to the similar colour scheme to NMEs. Essentially, the reason
for this is that NME is largely aimed at a specific age and gender group, with a focal
interest in the indie rock genre, and this audience consequently expects to have their
simple needs addressed with a simple magazine; reflected in the single genre the
magazine is based around. IPC Media (the media company that markets and promotes
NME) states:
NME READERS AGREE THAT:
They spend a lot of money on
clothes – 45%
It is important to be well
informed about things -92%
It is worth paying for extra
quality goods – 71%
It is important for them to look
well-dressed -71%
NME READERSHIP:
Male -69%
Female-31%
Average age-24
Working full time-52%
Working part time-7%
Still studying-29%
Generally, Symbal strives to differ in terms of its readership in order to be a more
equalised, balanced magazine amongst a variety of social groups. The magazine aims
for a more equal percentage of both male and female readership, and it aims to achieve
this by including significantly more female artists on the front covers of its various
issues than any other magazine of the relative genre. Indeed, this will be easier for a
magazine such as Symbal as it expands on the typical indie rock genre, taking numerous
other subgenres into account, and by doing so will consequently allow for a wider
representation of women. Although it is generally uncommon in indie rock magazines, it
is also necessary to note that female artists/bands will not be sexualised unnecessarily
anywhere in the magazine, as one may find it lends to the degradation of the music in
which these artists represent – instead merely drawing attention to their body image.
Sexualising them would differ greatly from Symbal’s aforementioned ideals, outlined
7. more elaborately in the mission statement of the magazine.A typical female artist
representative of Symbals values would be Grimes, and she can indeed be seen on the
front cover shown in the practical work. Grimes embodies the idea that women do not
need to be represented sexually in order to attract the reader – she is an upcoming artist
whose latest album was recently voted ‘the best of 2012’ by AllMusic and represents the
warped genre of her music in the way she dresses and how she performs, all of which
would be captivating to the typical target audience member.
Proceeding on from this, the other aspect of these statistics that differs from Symbal
magazines fundamental aims is the large proportion of NME’s target audience who
consider it important to be well dressed, and the average age of the reader. Symbal
strives to achieve a balanced target audience in terms of age, catering for those with a
taste in old and new music and thus aiming for a higher average age of the target
audience due to its wider appeal. With NME, the low average age of the reader
coincides perfectly with how important the target audience believes it is to be ‘well
dressed’ – exemplifying the image-based personality of the younger generation, and
therefore why the editors of NME have to adjust the magazine accordingly to fit that
need for image-based professionalism. It is also indicative of the upper middle class
target audience, as these are the likely candidates to be able to afford putting time and
care into their appearance. Moreover, with Symbal, a slightly older average age for the
readership would increase the likelihood of the more mature target audience being
focused on the content of the magazine, as opposed to the presentation of the content.
However, in appealing to a slightly older audience, it is also important to reduce the
price of Symbal so it is one of the cheapest among its peers, meaning that it can appeal
to the larger majority of lower middle class/middle class citizens, thus generating a
larger fanbase.
In terms of distributing the magazine, IPC media was the most suitable choice
as a media institution, largely due to its highly renowned status as one of the
top media magazine institutions, its accessible website and coherent statistics,
and its consumer feedback. Here is a short presentation on the benefits of using
IPC media, as well as an introduction to its previous successes with brands such
as NME.
8.
9.
10. However, there are drawbacks of using such an institution. A sense of independency,
commonly associated with upcoming alternative magazines, would certainly have to be
sacrificed in order to generate this larger readership, and this may make readers feel that the
magazine have ‘sold out’ to the corporation. There would also be less control over promoting
the magazine, and although the original design would remain largely the same, IPC Media
may have to alter it slightly to fit marketing needs, and this could potentially damage the
brand identity of Symbal. Despite this, it is clear that the advantages of joining such an
institution outweigh the disadvantages, and therefore IPC Media continues to serve as a
promising institution to handle the magazine.
The typical target audience for Symbal magazine would be aged around 30 years old, be working
full time, and would fit within the lower middle class/middle class category. Despite efforts being
made to make the magazine as non gender-specific as possible, it is still likely that the majority
of the target audience will be male as it is the gender most commonly associated with all music
genres excluding pop and perhaps dance. The magazine will be aiming primarily towards creative
individuals with a broad range of interests, not just in music, but also in various cultures, arts,
films and other such works. Subsequently, this may be reflected in the profession of the said
individual, perhaps in that they are a graphic designer or work in the media industry itself.
Although the majority of the target audience will recognise the importance of dressing well and
taking care in terms of fashion, they may not necessarily apply it to themselves as an integral
attribute to their personality and/or lifestyle, and the ideal candidate for a buyer of the
magazine will be opinionated and passionate about his/her interests. They will be looking for
affordable ways to satisfy their needs, whether it is shifting through discounted CDs or looking for
deals in terms of subscriptions for their favourite magazines. Above all, the target audience will
love music, and recognise it as one of the key aspects of their lives in both influencing their dayto-day actions and general lifestyles. For a more detailed profile of the typical target audience,
one should consult the target audience profile in the research and planning.
Essentially, Symbal magazine is primarily based around the theories of Blumler and Katz in
terms of ‘reaching out’ to its audience. The magazine aims to help gratify the reader in
terms of personal identity, in allowing the reader to identify with both the magazine and
the artists inside. It reinforces their values and gives them models upon which they can
base their behaviour, appearance, and fashion sense. Symbal does this by getting worldfamous artists such as Bono or Thom Yorke and personalising them, to an extent not seen
in any magazine of its kind before. Furthermore, it promotes these artists’ individual
lifestyles in intimate interviews, and in-depth coverage of their time in the studio, and this
in itself will allow the reader to feel inspired to achieve their own individual aims in
accordance with these artists. Indeed, this in itself interlinks with Maslow’s hierarchy of
11. needs – and Symbal certainly caters for these needs too, as seen here in helping the reader
to achieve self-actualisation alongside establishing their own identity and personal values
through inspiration and guidance by famous artists. Moreover, the magazine is also
tailored to fit the various social needs of the reader and their desire to integrate into a
wider community; I want the audience to feel like the magazine is a substitute for a real life
companion. This is achieved in several ways prominent within the magazine but can
primarily be seen in the mode of address. Ultimately, the tone is informal and light, mainly
focused on the topics at hand but with incorporations of humour and colloquialisms
throughout in order to ensure that it appeals to the conflictions of character that the typical
reader possesses – serious when it comes to music, but humorous, social, and slightly
rebellious in all other aspects of life. The mode of address will remind the reader of a
mature, knowledgeable friend who reciprocates their passion for music and everything
music-related, and will thus feel more engaged and socially integrated with the identity of
the Symbal readership. Evidently, this also gratifies the readers need for social interaction
and integration, tying in with Blumler and Katz’ theory of what the reader will be using the
magazine for. Also in accordance with this theory, the audience will typically be using
Symbal as a form of entertainment and escapism, which will certainly be easy due to how
the magazine was constructed. Articles within the magazine are designed as both
aesthetically pleasing and hugely detailed, covering a wide range of topics that the reader
can easily immerse themselves into, due to the accessibility of the text presented in
creative ways. Escaping into the world of music should serve as a form of entertainment
and escapism to the typical target audience member, and Symbal allows for that to happen,
with feature articles on artists they love, in-depth interviews, and exclusive news and
reviews that will enable the reader to see how exclusive the magazine is. For more
information on both the hierarchy of needs and the Uses and Gratifications theory, please
consult the videos available on the blog.
Initially, in order to attract this kind of audience for the magazine, a questionnaire was
carried out on likely candidates who fit the general requirements of the idealistic target
audience. As can be seen in the research and planning, 95% of the 20 people who took part
in the questionnaire agreed music played an important role in their life, and when asked
what bands/artists they would like to see in their ideal magazine, several bands were
recurrent and all results managed to show a broad range of subgenres covered. Due to the
fact that each person that fully completed the questionnaire served as representative of my
target audience – in all aspects apart from age – the finished media product was designed
largely around their desires and what they expressed to want from a music magazine. This
was done by applying the most recurrent and most representative artists/bands to both the
front cover and contents page of Symbal, but also by presenting them in a minimally
12. stylistic way to ensure that the focus was on the music as opposed to trying to attract
readers to the band for their style or charisma. Artists such as Grimes, Jack White, Queens
of the Stone Age and TDCC are amongst these recurrent music figures, and consequently,
the majority are given their own feature articles illustrated on the front cover and contents
page, and this works perfectly in accordance with the genres Symbal will cover. However, to
ensure that the magazinedoes fit the needs of its target audience, post-production
research is vital, and this has been undertaken in a variety of ways.
FEEDBACK
1. Upon completion of the front cover, contents page, and double page spread, the three
pieces of media were subsequently uploaded to Facebook, in the hope of gathering
constructive criticism and/or positive feedback. As seen here, the three pieces of media
mainly gathered a positive response from friends on Facebook, with one friend even stating
that it appealed to them ‘more than any other music magazine’ of its kind. However, one
friend (with a particular interest in the genres that the magazine embodies) was
complimentary of the front cover and double page spread, but suggested that the contents
page did not fit in with the more sophisticated approach of the other two pieces of media.
When privately messaged about any potential improvements that could be made to it, the
friend commented on the ‘cartoonish’ font of the title and suggested a more sophisticated
font consistent with the rest of the magazine. This further illustrates how the typical target
audience of Symbal does not care for anything that may render the content of the
magazine as childish or merely stylistic, as it was suggested that the font used on the
contents page may have done.
13.
14. 2. In order to gather information on what the original
questionnaire recipients thought of the finished
product, another questionnaire has been created and
distributed to the same 12 legible people that finished
the original questionnaire, plus an additional 13
people who displayed an interest in the magazine
during its production. Each was shown all three
finished media products in their fully edited state,
before being subject to the questionnaire shown on
the adjacent page.
15. 1. Are you male or female?
Male
Female
2. What age are you?
13-14
15-16
17 and over
3. Overall, do the finished products for Symbal magazine appeal to you?
Yes
No
4. Which is your favourite part of the magazine? Explain your answer.
Front cover
Contents page
Double page spread
5. What would you change about the magazine? If nothing, continue to next question.
6. Do you think £3 is a reasonable starting price for this magazine?
Yes
No
7. Would you buy this magazine?
Yes
Maybe
No
8. Would you recommend this magazine to a friend?
Yes
Maybe
No
16. Generally, the magazine will also attract the reader by advertising on websites such as
Facebook, as well as promoting itself on billboards and posters in busy public areas. A
discounted price to subscribers will be available to all who sign up within a designated time
period, and this will largely be the main offer used on these areas of advertisement in order to
attract the target audience. Train stations, buses, popular websites, Piccadilly Circus – all of
these would be utilised to maximum effect in terms of advertising, in accordance with
Blumler and Katz’ ‘Hypodermic needle’ model. In relation to promotion and advertising, the
magazine will be ‘injected’ into the sub consciousness of the public, specifically to those who
have an interest in the advert, and will reside there until they come across a copy of the
magazine. This will tempt them to buy it.
Throughout the course of this project, numerous technological skills had to be learnt or
expanded upon under a variety of media platforms. These include:
With Nikon/Canon software and Microsoft Office, it is necessary to note that I already
possessed sufficient skill in using them for both curricular and extracurricular activities,
and that I therefore gained no particular extra knowledge through using them in this
project. However, it can certainly be said that Microsoft Word and PowerPoint were used to
great effect throughout the course of this project, especially considering that I attempted to
create each piece of work in its own individual style – done through using various alternate
fonts, page colours, borders, backgrounds etc. It was evidently a primary aim to balance
both presentational aspects and detailed content equally, and upon analysing the
completed research and planning, this aim has been achieved with great success.
Furthermore, using a Canon in the shooting of the front cover photograph was significantly
more challenging than using a Nikon, as this is the camera that I have owned for two years
and therefore I am more familiarised with it. If one were to look at the finished photo product
of the front cover, however, then it can certainly be said that the photo was a great success
17. for a first-time user of a Canon, as the subject is central to the image and there is no reverb
from flash or wobble.
Concerning the other technologies, however, there was a substantial amount of difficulty
involved. Blogger.com and Slideshare altered my pre-production work quite badly when I
uploaded them onto their websites, thus forcing me to backtrack in my work and adjust the
fonts and page positioning accordingly so that it could be suitable for these sharing sites.
Moreover, I found blogger.com to be bland and simplistic in terms of its approach to
blogging, and consequently believe that other blogging websites such as Tumblr would be
more appropriate and easier to use than the one used for this project.Tumblr would have
been more effective as it is a blogging website specifically focused on making the blogs
aesthetically pleasing, and this is something Blogger fails to do. It does this through using
‘themes’, and there are a huge variety of these to choose from, in order to present the work in
a more stylistic and sophisticated way. Also, Tumblr allows for Word and PowerPoint
documents to be uploaded directly, as opposed to having to go through a website such as
Slideshare first, and has a more established status as the most prominent blogging site in
the world.
InDesign was not used at any point in the construction of these products as I found it
unnecessarily overcomplicated, and it often succumbed to various technical glitches.
Because of this, I constructed the entirety of my three products on Photoshop, which was
much more accessible and easier to use, as I have been familiarised with it for years now.
The editing process itself was simple, and there were few issues due to the fact that
simplicity was one of the key aspects of the magazine, and the fact that the images were
already of a high quality. There was little need for editing the image, apart from boosting the
levels of contrast and using the spot remover tool. Generally, the whole process of editing
was easy and enjoyable, and although I was already familiarised with using Photoshop, I
learnt how to combine image and text in an aesthetically pleasing way, also learning how to
download new and exciting fonts suitable to my magazine. Overall,there are few things I
would change about the product produced, as I believe it fits the needs and desires of the
typical target audience very well and looks aesthetically pleasing, retaining brand identity
throughout all three pieces of media.
Ultimately, this project has progressed greatly from the original preliminary task of creating a school
magazine for sixth formers. When the preliminary piece of work was initiated, the knowledge I
possessed of technological devices – primarily Photoshop – was largely limited, and this was
subsequently reflected in the work on the magazine front cover. The main area where the preliminary
cover for ‘Sixth Sense’ magazine failed was in the editing, as opposed to the general structuring of the
page which was adequate and coherent. As a blank background was unavailable during the
construction of this project, the main image was subject to the magic wand tool, meaning it was copied
onto a background created entirely on Photoshop. Generally, this was a failure, as the original lighting
of the main image failed to suit the neutral colouring of the computer-generated background, and also,
the image was not copied smoothly, leading to jagged edges that fail to look professional. Furthermore,
since this failed so drastically, I decided to use a blank background in real life when taking the photos
for the main image, and this eliminated these issues in terms of lighting and using the magic wand tool;
it was no longer required, and was therefore a much simpler experience. In terms of other areas of the
project, my mock ups are now far more representative of the final product in both colour and layout, and
18. significantly more background research has been conducted in accordance with Symbal magazine.
With the aforementioned progress in using various technologies, I have also greatly improved my
Photoshop skills, and this can be seen in the professional editing of the front cover, contents page, and
double page spread of my music magazine.