Key signifier/Star marketingUsing the principal of thirds, a large medium shot of David Bowie takes up the front cover of this edition of ‘Q’ magazine. This is star marketing; the key signifier of such a famous face will sell the magazine, so the producers don’t need to worry as much about making other cover lines stand out. This also links to Dyer’s Star Theory; iconic characters like David Bowie are used by media institutions for financial gain. Stars are manufactured by the music industry to make money, each artist usually having their own unique selling point (USP). In the case of Bowie, his USP is the lighting strike down one side of his face and his eccentric hairstyle which, in recent times, he has become quite well known for. Part of the reputation of ‘Q’ magazine is built upon the excellent camera quality and effects often used which are displayed in the large image of David Bowie.

The Guttenberg Design PrincipleThe Guttenberg Design Principle splits a magazine cover into different sections which employs the knowledge of a human’s subconscious line of focus to decide where the most important features of the front cover should be placed. ‘Q’ magazine uses this. For instance, the masthead of the magazine is placed in the primary optical area (top left corner). This is because it’s important and helps to reinforce the brand. By human nature, we read diagonally across the page. As such, ‘Q’ magazine has placed the key signifier of David Bowie in this region. The cover lines and sell points are positioned as flashes and badges along the left and right columns of the magazine so that we notice them all as our eyes follow the axis of orientation.Furthermore, along the bottom line of the magazine, the model credit takes up both the weak fallow area and the terminal point. Merging these two areas provides support to the weak fallow area which is often ignored or else not noticed by readers. This way, none of the valuable space on the cover is wasted.

House StyleIn every copy of the magazine ‘Q’, the general structure remains the same. In this way, in every copy we expect to see the same masthead, typefaces, contents page layout and colour scheme. In the case of ‘Q’, there is a clear House Style of red and white with various fonts used. These are generally serif typefaces in black or white framing the image. It is usually along both the left and right columns but can be just one depending on how the rule of thirds is followed. The use of red, black and white creates a rather sophisticated look which appeals to a large percentage of the readership of ‘Q’, it also reflects the sophisticated nature of the music inside.

MastheadThe masthead of ‘Q’ magazine is the letter ‘Q’ in a large red square, taking up the primary optical area of the magazine. The white serif Q looks very dominant on the red background which makes it particularly striking to someone who would see it. There is a large element of formality here which suits the targeted demographic. Also within this dominant graphic are the phrases ‘Music magazine of the year’ and, in white on black, ‘The world’s greatest music magazine’. In the primary optical area, the masthead can confidently be covered as it is already familiar with its audience. Originally, the magazine was going to be called ‘Cue’ as in the act of readying a record to play, however the name was changed so that, when it was first released, it would not be mistaken for a snooker magazine. Another reason for the large ‘Q’, cited by Q itself, is that the single letter title looks more prominent on newsstands.

Model Credit and main cover lineThe main cover line on this edition of ‘Q’ is ‘Bowie Lives!’ This is arguably a reference to Christian theology in which the word was spread that Jesus was alive after he died. This reference is supported by the fact that Bowie, in the main image, looks as though he is naked; the body parts of him that we can see are denoted as bare. Furthermore, the cover line underneath it speaks of David Bowie’s impact on the world. This reference would appeal to teenagers and young adults who can see the reference. Musical artists often reference this to various responses, as similar to the attack of the press against The Beatles in 1966 when John Lennon famously quoted “We’re more popular than Jesus now.” The attempt at a historical allusion is underscored by the exclamation mark after ‘Lives’. This kind of punctuation is seldom used in print-based media.

The typeface is smart and sophisticated which would appeal to viewers who are older. It is superimposed over the torso of David Bowie which links the model credit with the key signifier. We can also tell that they link as ‘Bowie Lives!’ is the largest piece of text on the cover as well as because of the link between the picture of David Bowie and the use of his name. Bowie’s star appeal in large letters will attract a greater number of readers than the use of a less popular artist as the model credit.

Badge/FlashesA wide variety of badges are used to display the contents of the magazine so that readers are aware of what they will find inside. In this case, the flashes and badges appeal to fans of ‘Suede’ and ‘Palma Violets’. Inside the circular red graphic feature, it advertises that this copy will feature ‘124 album reviews’. It suggests that the magazine has a lot of contents which will persuade someone to buy the magazine

Barcode/date/convergent mediaThe barcode and date are necessary features of a magazine at the point of sale and as general information. In this area we also find a link to the magazine’s website. This is convergent media. Convergent media is especially important on recent magazines as print-based media is going out of date. Providing a website means that ‘Q’ magazine can extend their viewership. A website is important to readers as it provides a source of more information that can be quickly updated. These days, people are less inclined to buy magazines as they are expensive and all of the information inside them can be found quickly and easily online. There is also a limit to how much information they can provide and how often. With a website, usually alongside links to social media, ‘Q’ can extend the magazine company beyond its monthly released paperback prison. Convergent media also appeals to a younger and a more modern demographic.

Target audience and genreThe target audience of ‘Q’ is more affluent than the readership of other popular magazines. According to a recent questionnaire, 68.3% of ‘Q’’s readers are male and 35.5% are between ages 15-24. Despite this, a large proportion of readers are also between the ages 25-34. To cater to this wide demographic, the magazine retains a large degree of formality by using smart typefaces and cover lines aimed at various age groups. Similarly, the house style regularly uses a colour scheme of red, white and blue which, whilst being striking and noticeable which a young readership would appreciate, retains a very sophisticated aesthetic look. Unlike magazines such as ‘KERRANG!’, ‘Q’ magazine does not ever use amateur photography but sells itself by advertising its use of professional photographers. The model credit references the large image of David Bowie, an English singer who was popular in the 1970s. As well as this, the artist is also quite popular among young people, especially those of whom are likely to purchase a copy of ‘Q’ magazine. The magazine genre is an amalgam of alternative and classic rock, thus appealing to people with interests in music from this genre.

House StyleIn Mixmag, the House Style remains the same in every issue. The masthead remains the same and the model credit is in the same position with the same typeface. However, in some editions the colour of the masthead is different, depending on the colour in the mise en scene. The people on the cover are never the main focus and are often anonymous, reflecting the genre of the magazine as being dance. Similarly, the majority of the badges and flashes are a white font with a black background. In general, effects are usually added, like the blur and the ‘reflection’ or like the bright colours and the graphic pen lines in these other editions of Mixmag. There are often a large amount of cover lines on Mixmag. This house style is recognisable by people who regularly buy the magazine. The typography used is quite futuristic, connecting dance, pop, electro and club music.

MastheadThe masthead for Mixmag consists of the magazine title and slogan, which is ‘The world’s biggest dance music and clubbing magazine’. Here in the slogan, the masthead captures the genre of music that the magazine covers so as to immediately catch the attention of people who are interested in dance music and clubbing. The masthead is, conventionally, the same on every issue, thus creating a symbolic link between the Mixmag covers and the Mixmag brand. Likewise, the masthead is partially covered by the head of the person in the main image which tells us that the magazine has a very well established brand. The word ‘mix’ is insistent upon the image of DJs and turntables, thus connoting the dance genre. Mixmag uses a curved sans-serif typeface with all lower-case letters. This creates a simple yet sophisticated look which will appeal to people who are in their mid-20’s. Similarly, the lower-case letters capture the magazine’s informality.

Model CreditThe model credit on this edition of Mixmag is ‘Sub Focus’, the name of the artist featured in the key signifier. We can tell that they link becayse this feature uses the second biggest text on the cover (after the masthead) and covers an unimportant part of the main image. The typeface is quite futuristic and creates a pixelated look representing the electronic and dance genre. This is further accentuated by the black graphic feature behind it. There is a certain informality to the position of the model credit which, once again, reflects the genre of the magazine.

Target audience and genreThe target audience of Mixmag is a demographic of people aged 20-35 which is reflected by the information given about the contents in the cover lines and the photography displayed. There is an element of formality to the cover such as the typefaces used and the position of the cover lines, yet there is a noticeable degree of informality which suggests that it is targeted towards young adults. Not only that, the informality tells us that it is a dance and clubbing magazine. It is music that builds up its popularity based on the sound, not on the lyrics. We can see this genre mirrored in the photography, masthead and typefaces.

The general information section of the magazine is in very small text at the bottom right hand corner, giving the reader the website link for the website, especially useful to Mixmag’s young readership.

The Guttenberg Design PrincipleThe masthead of Mixmag is conventionally placed to take up the primary optical and strong fallow area of the magazine cover, making it one of the first things we notice when we look at the cover, reinforcing the brand. The sell-lines are in columns along the left and right side of the cover in columns which we read following the axis of orientation. Often, the House Style of Mixmag will involve placing a large graphic feature into the weak fallow area (bottom left corner). On this cover, however, that often ignored corner presents the caption and photograph rights for the main image. These details are important to consider when using somebody else’s photography but are not significant to the success of the magazine, so they are placed in that corner. In the terminal area, there is a flash which contains a short list of information entitled ‘PLUS’ which refers to the fact that it is the last one you will read. The barcode and price are also in this corner for use during the purchase and selling transaction of the

Key Signifier/Main imageThe photograph on this cover is of Sub Focus, an electro-house musician. The photograph is very much edited, with a blurred and sepia effect. The photo is seemingly cut in half along the middle by Sub Pop’s model credit. This main cover line appears to cut the image in two and creates almost a reflection/line of symmetry effect as the image is flipped on the bottom of the magazine. These Photoshop effects seem to distort reality and, in this way, represent the unreal club scene. Little attention is placed upon the artist’s face or costume which implies that the focus is not on who is in the image but how it makes the reader feel. Sub Focus is not a very famous musician outside of strong club fans and it seems unlikely that he is being used to sell the magazine. As it is captioned and referenced in the weak fallow area, we can assume that the photograph is appreciated and used for the excellent photography skills that it displays. It captures the genre of the magazine and appeals well to an audience of young people in their 20s.

Badges/FlashesMixmag uses a large amount of badges and flashes in almost every edition as part of its house style. Some examples from this one include ‘Ibiza Madness’, ‘Inside The Swedes’ final UK gig’, ‘DJ History’, ‘20% OFF Beatport downloads’, ‘DJ lookalikes’, as well as a ‘PLUS’ heading with multiple more. Evidently, the magazine is aimed at people with a background understanding and knowledge about different DJs and dance groups. Flashes such as ‘Ibiza Madness’ and ‘20% OFF Beatport download’ tell us that the magazine is aimed at people in their mid-to-late 20s. Ibiza has become famous for its association with nightlife and the electronic music that originated on the small island. As it is unlikely that teenagers or middle-aged people would be interested in the nightlife in Ibiza, we can see the intended readership. In the same way, the Beatport downloads inside would interest young adults more than other potential readers. The purpose of telling people that there is ‘20% OFF’ inside provides a further incentive for someone to purchase the magazine. There is a great abundance of cover lines on Mixmag, however there is also a section that begins with the word ‘PLUS’. This acts as a buzz word, it suggests that, aside from what has been mentioned, there will be a great deal more inside the magazine. It is a marketing technique which encourages more people to purchase a copy of the magazine under the belief that there is a lot of content.

House Style‘Kerrang!’ tends to use a colour palette of red, white and black. Despite using the same colours as ‘Q’ magazine, it does not give off an aura of sophistication but manipulates them to connote rock music, passion and danger. ‘Kerrang!’ is a very busy magazine as very often the key signifier will feature bands and music groups rather than individuals. The masthead of ‘Kerrang!’ is the same in every issue. There tends to be a strip cover line along the top and the bottom of the magazine. Likewise, the artists on the cover are often photoshoot images which include a direct mode of address from all on the cover.

The magazine is not very formal as the target demographic is mostly teenagers and some young adults. It is often very busy with lots of cover lines and graphic features. Most editions of ‘Kerrang!’ offer a noticeable incentive to buy the magazine, generally in the form of free posters or exclusive, rare pictures.

Target audience and genreThe target audience of ‘Kerrang!’ magazine is teenagers and young adults. It is published cheaply on a weekly basis so it can be regularly purchased by readers without a regular income. There is a great element of informality and amateur publishing to this magazine which suit the intended demographic. In the same way, this reflects the rock/metal genre of the magazine which is often denoted as informal. Rock and punk artists are often viewed as those that do not conform to social standards.The colour scheme in the magazine’s house style is red, black, white and yellow. These are used to represent the danger and passion often associated with Rock music. It is a very busy magazine with a lot of content. Often, this content includes features from small or upcoming bands and groups and competitions that appeal to younger readers of the magazine.

General informationThe barcode and website are given in the weak fallow area of the magazine. This is necessary information. The website also appeals well to the young readers of ‘Kerrang!’

The Guttenberg Design PrincipleThe masthead of the magazine takes up the primary optical and strong fallow area of the magazine. This positioning reinforces the ‘Kerrang!’ brand and makes it very noticeable for readers. The cover lines are usually accompanied by pictures and are placed in columns down the left side of the magazine. Sometimes there are some on the right hand side but usually not as many. By nature, most people look at something as if they’re reading a page of words; by positioning them along the left side, it is assured that everything will be seen and read (they partially follow the axis of orientation). The weak fallow area, in this edition, contains a cover line and the general information such as the date of the issue release, the barcode and the price. Furthermore, the terminal point of the magazine contains a yellow graphic feature shaped like an arrow encouraging the reader to open the magazine.

Key Signifier/Star marketingThe key signifier on this cover of ‘Kerrang!’ is an image of the musical group Paramore taken from a photoshoot. All members have a direct mode of address and aren’t smiling. The girl in the middle, Hayley Williams, is gritting her teeth. These facial expressions suggest that Paramore are quite rebellious and noncomformist. These represent general bands that are rock, punk or metal. Likewise, their costumes all follow the colour palette of ‘Kerrang!’ magazine.

The full bodies of the members of Paramore are depicted in the main image. The photoshoot has used this technique to incorporate the model credit and signature cover line of the magazine into the image itself. The band hold a sign with this written in ink, highlighting once more the informality of the magazine and the target demographic.

Badges/FlashesBadges are used in a column down the left hand side of this issue of ‘Kerrang!’ to merge pictures with cover lines. This appeals to the younger demographic of the magazine brand.These badges use star marketing to inform readers as to whom they can find inside the magazine and to persuade people to buy them. Also, if a reader likes the look of an artist inside that they may not have heard of before, seeing what they look like can encourage them to explore new content.Another badge on the cover tells the reader that the magazine comes with a pull-out poster inside. This provides an incentive to buy the magazine as it makes it seem like you get more for your money.

Model creditThe model credit on this front cover has cleverly been incorporated into the image itself. The members of Paramore are holding up a sign with their band name on it and information about the contents of this issue of ‘Kerrang!’ relating to them. It is made to imitate a handwritten sign but we can tell that it is printed. The typeface is designed to imitate handwriting which, alongside the words expressed in the model credit, captures the informal nature of the magazine brand.

The model credit here is the second largest text on the front cover, after that in the masthead, and is positioned in the image. Main cover lines are generally superimposed over the key signifier so we can tell that this is it. It also uses the band name ‘Paramore’ with the band featured behind it. Paramore are a very popular band so attract readers as a model credit.

MastheadThe masthead of ‘Kerrang!’ magazine constitutes of just the magazine’s title. Its name, ‘Kerrang!’ is an onomatopoeic term deriven from the sound an electric guitar makes when the power chord is strummed. This connotes the genre of the music ‘Kerrang!’ features: rock and metal. Similarly, there are lines through the letters that are supposed to symbolise broken glass. This effect may be interpreted as the smashing of glass, most likely hinted to be a result of the symbolic electric guitar that caused the ‘kerrang’ sound. Without the effect, the typography used is the stereotypical look of simple graffiti letters. The letters are a vibrant, striking red colour which, interwoven with all of the aforementioned elements, connote the rebelliousness and aggression behind rock and metal music. The masthead has been partially covered because of the strength of ‘Kerrang!’’s band identity, they can cover part of the name without worrying that people will not recognise it. As such, we can see that, despite ‘Kerrang!’’s niche audience, it is still very popular.