LO4: Final Pages

 Front Cover

Contents

Double Page Spread

LO4: Exporting Final Magazine Pages

LO4: Exporting Final Magazine Pages

Front Cover

I saved the front cover as a TIFF as it's the industry standard file type for this document, therefore reducing compression to create the highest quality image possible. 

Contents Page

I saved the front cover as a PDF as it's the industry standard file type for this document, therefore reducing compression to create the highest quality image possible. 

When saving as a PDF, I adjusted the preset to 'high quality print' to preserve image quality.

Double Page Spread

I saved the front cover as a PDF as it's the industry standard file type for this document, therefore reducing compression to create the highest quality image possible.

To minimise compression, I selected the max image quality setting which was pertinent due to the larger size of the image file due to it's happenstance as a double page spread (double the size of the front cover and contents). 

LO4: Sub-Editing

LO4: Sub-Editing

Interview with a not-so Mardy Bum

The sky was charcoal grey. In the back of a non-descript bar, the other band members prepared their instruments for the upcoming gig. I sat in the dull gaze of the overhead light. Across from me, arms crossed, feet up, sunglasses brazenly disheveled atop his head, Matt Lewin, lead singer of the legendary Sheffield band, The Midnight Train, sat there before me. His eyes were distracted by the congregation waiting to get inside. The star singer likely keeping his voice well prepared for more than just me. Under the subtle buzz of people and the muffled symphony inside; this was to be the setting in which our interview took place. I won't spare a detail, nor will I keep you waiting any longer. 

Q: What other bands or artists inspired your genre of music?

A: "A band that inspired me personally would be the Beatles and The Who but the current band inspiring me at the moment is Red Hot Chili Peppers."

Q: What first got you into music?

A: "I think it was my brother. He got a guitar when we went to America (I think it was Disney we went there for) and he knew how to play it straight away and I was terrible. It took me a few years to get used to it but it was that drive to be better than my brother, which is terrible really."

Q: If you could collaborate with any other Artist, who would it be?

A: "Simply Red, I'd like to collaborate with Mick Hucknall or Shaun Ward from Simply Red... Paul McCartney, either of them."

Q: How do you feel the internet has affected the music industry?

A: "It's great in one way, not so great in another. You've got to think that Spotify; every time someone streams a song that artist gets 0.0005 pence every time. They're not getting all the money are they? Back in the day there used to be singles that used to be £1.99 and a lot of the profits used to go to the artists themselves but it's a lot harder now to be a musician, it's a nightmare!"

Q: Are there any pre-existing songs you wish you had written?

A: "Any pre-existing songs that I'd written? I'd say... Ed Sheeran's Photograph. It's so obvious. I don't really like the song particularly but it's so obvious. Writing a song about a photograph. Everybody's had a photograph, they've got it on their keychains. When I listened to it on the radio I thought 'that's gonna be a number one hit'."

Q: What's your favourite gig you've performed at and why?

A: "We did a charity event in Frecheville, The Fairways (a pub). We were in the back of a lorry and it was amazing. We did a full two hours. Actually the electric went halfway through (*laughs) because a generator had gone down but it was amazing; It felt like we were playing at a festival. We do a lot of pubs; we do a lot of working men's clubs so it was a bit different."

Q: What made you and your fellow members want to start The Midnight Train?

A: "Actually the others, Richard was part of a famous band back in the 90's. Rocket 88 I think it was called. These guys have been in many bands: Pete, the guitarist, he's in three bands including ours. They love it that much they'll play wherever whenever. I had to audition to this band, I think there was about twenty people; did my first audition and was straight in, straight giggin'."

Follow-up Question: What made you stand out from the other twenty who auditioned?

A: "What made me stand out? I'd say my voice but it's not that great (*laughs). Probably my personality I suppose. I think as I was leaving I said 'does anyone want a hand, I can move some stuff out for you?' Then they messaged me about five minutes later saying I got the part. I'd say my voice, it has to be my voice."

Q: Do you have any advice for other people want to start their own band?

A: "Make sure you have a variety of different songs. Don't just have your Blink-182. Easy power chord songs just to push yourself a bit. Try and do stuff from the 80's and other eras. This pub tonight, there's a variety of people here; you've got to try and get at least one person so if you do a wide variety of songs in your gigs, you're going to at least hit one person."

Q: Do you feel nervous before every gig, or does it start to feel more natural?

A: "No, I feel nervous all the time. I feel nervous now doing this. I'm a nervous person altogether but when I'm on stage it's different. I'm, what do you call it... introverted. I keep myself to myself but when I'm on stage it's like playing a character. You're a band member. You're a rockstar. It's easier. I find singing easier than talking... most of the time." 

Q: What's next for you?

A: "What are my next gigs? We have one, I think It's in Rotherham, Sitwell Arms. In the next three weeks we've got four more gigs. We do constantly get them but from doing them we've got more regulars. we've got more places wanting us which is great because a lot of landlords come to places like these and say 'oh we'll have you as well'. We sometimes have a month where we only do two but depending on if someone says, 'are you free next Saturday?' we usually say yes. Sometimes we've got a full month of gigs, around 6. Tiring.

Double Page Spread Article

Sheffield has been the home-town for some of the most iconic British bands in recent history. Pulp playing on The Fat Cat pub and The Arctic Monkeys bringing our Mardy Bum to the rest of the world. Now we're looking for the freshest artists that are going to echo throughout the steel streets of our beloved city.

The Midnight Train has been alternating from session to gig and have finally arrived at Sheffield Station to be introduced to you. Beginning as a cover band comprised of artists such as Richard Grayson (a former member of Rocket 88), Will Buxton, Peter Watters and star singer Matt Lewin. This caravan has recently begun creating their own singles to show the wider world that this city has more to show for itself than its vibrant history. 

Earn your chance to win a free ticket to the next Midnight Train gig at Sheffield Arena for their most electrifying performance yet! Join our poll on the official Casbah Clash Instagram page to earn your seat among the greats.

Feedback Changes

Feedback Reflection

Minor grammatical errors such as comma splices or inclusion of commas following relevant sentence structure have been changed to follow sub-edited feedback. The length of the leading paragraph has been restructured to focus more on the content of the magazine within the rock genre and the teenage target audience who aren't likely to read extensive pieces of text. This is evident in the different lead article paragraph within the 'double page spread article' section in comparison to the highlighted screenshot (the previous iteration). The idea of using synergy to merge the magazine with its social media pages to engage audiences through free gig tickets was also implemented as suggested within the final DPS paragraph.

LO4: Evaluation

LO4: Evaluation

Changes from Proposal

Front cover

My front cover was likely the page which underwent the most change; the primary reason for this was the feature. Initially planned to cover the local band 'The Pneumatics' issues arose and I was forced to switch the feature to a different band named 'The Midnight Train'. The effect of this would alter the main cover-line and main cover image: in turn this altered the representations of the magazine in a positive way. The initially planned representation for the main cover was of an older male which would appeal to an older demographic however, now with a younger male representation, the model now reflects the target audience therefore, furthering an ideal self; the low angle, medium-close ups assist with this through dominant connotations. The house style colours worked together to convey the zeitgeist of the 1990's when vibrant neon-lit colours characterized night clubs and rock music of the time. The brief was met through evidencing Sheffield as the local representation through using a pun in the main coverline 'arrives at Sheffield Station'; then conveying the music genre through denotations of rock instruments and connotations of rebellion evident in the juxtaposing costume to body language and shot types which are conventional of rock. The other coverlines assist with this, including the pull quote, through denoting music (singer, artists, CD single, starting a band, gig guides etc.) 

The tools I used to create my assets were mainly adjustments within the 'edit' image tab, posturizing the background, the shape tool and brush tools to create banners and edit the colour/lighting of the photography to make them reflect my house style colours more effectively. The effect of these created a kind of spray painted aesthetic which, the connotations of, fits within the motif of rebellion which is synonymous with rock/music. Furthermore, the use of the shape tool to edit the sub-image was intended to give the effect of a print-out photograph, linking to the 80's/90's nostalgia.

The final page for my front cover, I believe, meets the conventions of the rock/music magazine genre, through its similar style to other rock magazines like Kerrang! and meets the conventions of the brief through local features on the main cover and sub images. I also believe that through the house style colours, the nightclub, 80/90's zeitgeist in culmination with male representations of the time, appeal to a mature teenage/young adult audience who have nostalgia for the time.

Contents

The contents page was structurally altered from what was planned, primarily from its initial design as a double page spread then turning into one page so that it fit within regular music magazine conventions. To also further these conventions, an editors note was included to replace one of the photos. However, the representations within the contents page are conventional of rock, a guitar denoted in the editors note and a stylistic high-angle seen in other music magazines like Mojo on their respective contents pages. Furthermore, the house style colours remained consistent from the front cover, using high-key pink-tones that juxtapose the low-key costumes of the photography to allow them to stand out more and signify a 'clash'. I emphasised the page which the feature/interview is on too to fit within magazine conventions. Additionally, I used a slug beneath the headline to fit within conventions set by other magazines like Rolling Stone which give some additional context/meaning to whatever the headline is. The organisation of the page numbers also altered slightly to use conflicting fonts to denote the numbers, creating another 'clash' and to convey connotations of rock through rebellion/non-conformity. This on top of a spray painted banner furthers these connotations of music. To also fit within conventions of music magazines like Mojo, Kerrang! & Rolling Stone, I wrapped the text/page numbers around the model. Overall the contents was successful despite some major changes from what was planned compositionally however, the text and purpose of the page remained as planned. The target audience of 16-25 males was targeted through similar representations they can relate to (e.g. the editor's note and model) however, the pink, non-stereotypically masculine, colours challenge audience's preconceptions, allowing this male audience to question stereotypes (Richard Dyer 1983). This is then reinforced through how audiences can expect what else they'll see in the magazine through the page following composition conventions of rock seen in other music magazines like Rolling Stone. 

Like my front cover, I used the brush/blender tool to create a spray paint effect and I used the lasso tool to cut an image of my model into the background to fit within conventions of other music magazines like Mojo and Rolling Stone, which do a similar effect in their contents pages where the text wraps around the model.

My contents page appeals to a local, male, 16-25 audience for largely similar reasons as the front cover through male representations of the same description and neon-lit house style colours that evoke the nostalgic, nightclub, late 1900's zeitgeist. Conventions of the music genre are met through denotations of music genres, music instruments and local gigs, as well as student information which appeal to the target audience. Examples such as costume are clashes of formal and informal connotations (formal attire worn casually/mixed with casual clothing) which conveys the rebellion of the rock genre. 

Double Page Spread

The DPS changed significantly throughout its different versions, altering the layout to match something like Kerrang! I decided to merge both Kerrang! and Rolling Stone on my second page through using multiple pieces of photography rather than one. The photography, through low angles of every band member, appeals to the young male target demographic through empowering connotations; the spectacle of the band all playing together paired with the interview helps with creating an ideal self for the audience and furthers the exclusivity of the magazine. The main headline altered from a serif font to a sans serif font which allowed it to be read easier and clash more with the word 'star' which is written and subsequently emphasised in a serif style. The articles/interview are also formatted as planned however, with the inclusion of a background, now have a banner to make them easier to read. Furthermore, this separates the text which makes it seem like there is less to read therefore, appealing to a teenage audience. A small stroke was implemented to segment the photos which I applied a weathering effect to; this created a vintage effect on the magazine which appeals to the millennial target audience. The drop cap used in the article, the introduction before the interview and the segmentation of page numbers (with the masthead in the corner) are all conventional of other music magazines like Rolling Stone. The primary difference between the planned DPS and the final version was the background however, its implementation was successful to anchor the headline 'star singer' to the background and interview. This page successfully follows the brief through conveying the music genre by following formatting and photography conventions (e.g. denotations of instruments/band playing, rebellious connotations). The local part of the brief is then conveyed within the articles as local events and Sheffield's history are mentioned throughout, as well as referencing Sheffield/Yorkshire dialect like 'Mary Bum' in reference to local musicians, The Arctic Monkeys. The organisation of photography on the right side of the page was intended to reflect conventions set by Kerrang! which uses a similar composition. 

 

Like my front cover, I used the shape tool to create an old photo effect/border, a screentones brush overlay and a posturize layer to allow the photos to stand out and create connotations of 80/90's nostalgia. I also used the brush tool to create some assets such as the introduction to the interview and the columns where the main article and interview takes place, which are organized conventionally. I also imported one of my images to create the background which I then edited into black and white through the 'edit image' tab.

This page appeals to my target audience through denoting male representations through a mix of low-angle wide and close up shots which allow for an ideal self in the audience; empowering them through intimate close ups and the spectacle of the band playing in the wide shot. Denoting a local band playing at a gig is something conventional of music magazines like Kerrang where exclusivity gains purchase through behind the scenes shots and interviews of featured stars. 

LO3: Following Codes & Conventions

LO3: Following Codes & Conventions

Photography

Branston & Stafford (1999) claimed audiences could gain reassurance for what to expect from a given media product; this is dependent on the genre. Therefore, within my photography (and my house style colours & assets) I tried to convey the rock genre as efficiently as possible. This is evident within the front cover: the first photo (for the main cover image) uses a low-angle medium close up to convey a stereotypically strong and dominant male representation (which conveys Tim O'Sullivan's 1998 representation theory). The same representation, through a cowboy shot, is also signified in the other cover image. The effect this created was an ideal self (Carl Rogers 1980) for the target male demographic by seeing other successful males in positions of power. 

This representation was furthered through body language and costume; the denotation of a guitar also furthering the conventions of rock magazines. This was done by a classic 'coat over the shoulder' and posing the bassist to be leaning on his guitar and the surrounding equipment as they look at the camera confidently to create connotations of heedlessness which are iconographic of rock and rebellion. A shallow depth of field edited into the photos during production would further emphasise these aspects of the artists and signify them as the centre of attention. Additionally the costumes are fitting for the rock magazine genre through contrasting formal attire with boisterous attitudes; this imagery and connotations are iconography for the rebellion which is so synonymous with rock. 

I continued these representations within my contents page through another medium close up and full shot; the medium close up of the bassist with his back turned to the camera was intended to convey the carelessness of the player to what is going on around him, and instead focusing on his instrument.

Within my double page spread, I wanted to create connotations of teamwork in which an audience could lose themselves in the spectacle of getting to know the band intimately through the interview with the lead singer and other photography which uses shot types, body language and costume to characterize each member for the audience.

The low-angle close up of the lead singer, wearing sunglasses indoors advances the rock connotations of rebellion; the close angle creates the sense of intimacy further (for a male audience) through dominant male representations. However, seeing the band play together in a wide shot, allows the audience to feel as if they are part of the scene; this would create the gratification of escapism (Blumler & Katz 1972). The neon lights also convey my house style colours, evidencing them as being conventional to the rock/music magazine genre. 

DPS Body Copy (See LO3: Body Copy Draft Articles)

The interview and prerequisite introduction serve to create the feeling of exclusivity that comes with the intimacy of knowing behind the scenes information about the feature band of the magazine. Because of this, the interview layout, introduction and main article all fit within the conventions of a typical music magazine: using colloquial and boisterous language which is intended to appeal to the younger male demographic who are interested in music; in this case rock. The way this would be further achieved would be by using, to remain consistent with the rest of the magazine, a mix of sans serif and serif fonts; likely sans serif for the interview responses to create connotations of the clash between formality and colloquialism which has been a motif due to the rock genre. The layout of the article and interview are conventional to the same style Rolling Stone (music magazine) organise their body copies: containing an interview with the feature, an introduction to the interview itself (where they are to set the scene) and an article relating to the artist's work. This immersion would further an ideal self (Carl Rogers 1980) in the audience through understanding more about the feature, someone who is made to be looked up to via the photography (e.g. through low angles). Furthermore, the information which the article and interview provide add to the gratifications of entertainment through the 'rock-like' casual mannerisms, especially in interview responses, and potentially social interaction (Blumler and Katz 1972) from the advice the text gives them into starting their own band/music. This kind of cool-headed and absent minded representation of the lead singer ('sunglasses brazenly dishevelled atop his head') and the spectacle of imagery of fans waiting to get inside the venue ('His eyes were distracted by the congregation waiting to get inside') are also stereotypical/conventional of the rock genre (Tim O'Sullivan 1998). 

Following feedback/sub-editing, my articles/interview was changed to fit into a column layout, conventional of other magazines; the content of the article was altered to be shorter and place greater emphasis on the feature band. The reason for this was to follow magazine conventions set by other music magazines like Rolling Stone, where a double page spread typically represents the magazine's feature in full. This would appeal to the target audience who are interested in music (and vicariously music magazines) through setting expectations of what audiences are going to see through following conventions of other music magazines (Branston & Stafford 1999). I challenged conventions somewhat through non-traditional segmentation of columns with the interview, instead segmenting/categorising the text to make it appear as if there is less to read therefore, further appealing to a teenage (target) demographic.

(Body Copy - See Sub-Editing for detailed articles)

Final Designs

Front Cover

The composition of my front cover is akin to other music magazines like Kerrang: this is done through the denotation of my main cover image which takes up the majority of the front cover, the main cover-line signifies what band the feature/model is for the magazine through anchoring it to the image. The cover-line 'Meet the star singer' also anchors to this image through its positioning next to the model's face therefore, symbolizing his significance as an ideal self for the audience via the portrayal of a real 'star' singer. The title of the band/feature is also conventional of music magazines, particularly Kerrang through its denotation as the main cover-line. Other cover-lines surround the model and give insight into what the magazine entails, conventional of other music magazines through adding to the model's appearance rather than taking away by placing a cover-line above the image. That right reserved to the main cover-line (like seen in Kerrang) due to its contextual significance. Furthermore, the masthead is positioned and sized equivocally to other music magazines like Kerrang; the banner above which gives further insight into what the magazine holds is present in both examples. The secondary cover image is also positioned equivocally with supporting text that acts as a hook to entice an audience to buy the magazine (tips to starting your own band & a 'special CD single' against a 'free Panic! art print'). The photography is also conventional through portraying men in positions of power, signified by low angles where they look directly at the camera either confidently or scrutinizing the audience, to further the rebellious and boisterous connotations of rock (magazines).

Contents 

My contents page is conventional more to the Rolling Stone music magazine in layout however, the editors note, the overt colours and the way the text wraps around the model are more conventional of both Mojo & Kerrang! The same is true for the way the page numbers are presented which are intended to convey connotations of rock. This is through conflicting serif and sans serif fonts which parallel the model's casual body language and use of formal attire to create a juxtaposition of formality against rebellion which is conventional of rock, similarly to the appearance of Mojo magazine's model in the contents. The topics covered in the contents and the column layout are also conventional between all examples; including the co-text/slugs which support the headlines that categorize the information. The flamboyant use of camera angles in the examples, the main model and editors note (via full-shots & a mix of overtly high or low angles) are also conventional between rock music magazines.

Double Page Spread

As with my contents page, my double page spread takes influence from Rolling Stone however, I altered some compositional choices to dissuade any inherent, overt similarities. The example from Rolling Stone featuring Wu Tang is evident of this as I follow conventions through anchoring the feature to the page's coverage by making the background into the singer (distinguishing the page) and including an image of them, on the second page, with a pull quote similarly to Kerrang! The house style colours are consistent throughout the page and magazine, and I included a worn-out effect on the borders, like Kerrang!, to convey the grungy conventions of rock. Each shot within the page uses a low angle; the two of the main singer both further the motif of carelessness/rebellion present in the rock genre through denotations of informal sunglasses, emphasised through a close up) that juxtapose their formal attire (this true as well for the drummer in the bottom-right corner). The other uses a low angle to emphasise these rebellious connotations through glorifying them via an ideal self, signified by the low angle and the spectacle of being a non-cholent 'star'. This spectacle of stardom is furthered by the interview which gives audiences personal insight into the band, therefore, furthering the magazine's exclusivity and tying into conventions set by Rolling Stone as an exemplary music magazine. The wide shot of the band playing together then adds to this as the audience gets a snippet of seeing The Midnight Train and the guest feature in action; vibrant lighting, highlighting them, juxtaposing the low-key setting to convey the stardom of the band. Furthermore, in reference to the background, the idea to use it as an anchor to the headline and interview, since the first page is about the 'star singer' therefore, a large image of him singing in the background felt appropriate and sat within conventions of other music magazines like Rolling Stone.

LO1: College Magazine

 

LO1: College Magazine

Magazine Cover V.1

The photography and the effects (via effect mask/adjustment) work well together in characterising the UTC via representation and colour that signifies traditionalism in businesswear and therefore, practicality in business, as well as creativity in those non-traditional, blue colours and obscure pose. However, the house style colours determined by the banners conflict with this somewhat rather than creating an appealing contrast like I was hoping therefore, I would tweak them to fit together better. 

Magazine Cover V.2

LO1: Prelim For College Magazine

 LO1: Prelim For College Magazine

College Magazine Examples:

Front Covers

Common Conventions:

• Text follows consistent house style colours, never varying beyond 2 colours in total.
• Most feature a medium close-up or medium shot of the models
• Each feature some form of ideal self through connotations of success in costume and props (law books on the last example and an athlete on the first)
• Contain relatable cover-lines that appeal to the target audience with examples like 'make money on campus' and 'should I break up with my major' in a peer-peer mode of address
• Most mastheads follow a lexical theme/field of school with language like 'student' or 'college' as a part of them which clearly denotes genre and target audience
• Mastheads are positioned behind model; they're well established brands

Contents

Common Conventions:

• Sans serif font makes texts easier to read therefore, appealing to a teen/student audience
• Most use photos within contents pages of student/young adult models to appeal to the audience
• Clearly defining sections of content pages with colour to categorise text, making the page more accessible; sub-headings categorise information 
• House style colours are consistent with what is shown on cover, no more than 3 colours are used across these too
• Layouts are top-bottom, left-right
• Include the logo of the institution 

InDesign

InDesign is a desktop publishing program; this would be industry standard software that can create print products such as novels or magazines. 

The contents and double page spreads of my magazine will be laid out on InDesign, the assets created in Photoshop and organised in InDesign.

Column Gutter - Spaces between columns

Slug - Bookmarks articles in magazine 

Bleed - The tolerance you give the printer for images without compromising the layout (i.e. a page with large margins will have more bleed/tolerance than an image which takes an entire corner and could be cut off in printing).

Contents Version 1

Adding text

Adding Images, Drop Cap & Drop Shadow