My Analysis Of the Front CoverOf ‘Q’ magazine

The magazine front cover uses direct mode of address, whereby the artist on the front cover (Morrissey) is connecting with the audience by using eye contact to draw them in and make the magazine appear more intriguing. This technique also connotes the typical codes and conventions of a music magazine.

Traditionally, the masthead of a music magazine would be the ‘brand’ of which the magazine is; this would usually be large in size, have a unique font and often cover the whole top of the page. However, here the masthead becomes the word ‘MORRISSEY’ – which is following the typical conventions; large in size, unique font and covers across the whole of the page. In addition, it has been placed directly above the head of the artist. Which allows an audience to be aware that Morrissey is the main focus of this edition of the magazine. Furthermore, it is challenging the codes and conventions of a music magazine slightly, by covering parts of the artist’s face.

The brand title however, has now been formulated into a logo, which has also become the pug of the magazine: it has formed an “ear” of the front cover. It is not so large in font (allowing the masthead of ‘Morrissey’ to come into focus), yet its red background has made it stand out – so that readers are still aware of what brand this magazine takes.

The typography of the magazine is generally quite uniform; meaning that one specific font is forming the motif of the front cover – and this font is used in the masthead, both the strip and the strapline, and the main coverlines of each puff. This is because (written in a large size) this font stands out well, and really catches the eye of a reader; enticing them to read the magazine. Moreover, this version of ‘Q’ is a “classic” version, thereby implying that the content of this edition will be more ‘old-fashioned’ and appeal to a specific niche market. Which fans of ‘Q’ will know depends on the issue – as this magazine focuses on telling the latest news about current/popular bands: of whom can be from a range of genres. So, by using mostly uniform typography, it makes the front cover appear more sophisticated and organised– which would appeal to the chosen target audience.

Ultimately, the chosen colour palette of the front cover doesn’t really use any bright or lavish colour schemes to make it stand out to an audience; therefore the front cover has gone the opposite way – employing the use of rather simplistic colours (such as greyish blues, and burnt orange). However, to a younger audience, these colours would appear dull. Yet through the chosen typography the colours still appear bold and striking – they have crisp, clear edges - and as a result, they stand out. So, for the specific niche market of which the magazine is aimed at this colour palette would appear very intriguing; thereby additionally making the front cover more aesthetically pleasing. In addition, the colour palette does also conform to the codes and conventions of a music magazine’s front cover – ensuring the use of red, black and white, that helps to appeal to a reader even more.

The main image is of an artist by the name of ‘Morrissey’, and – even if a reader wasn’t aware of that before by seeing his face alone – then, due to the fact the main image has been placed below the masthead, it becomes clear as to who he is. Secondly, the main image is also conforming to the codes and conventions of a music magazine’s front cover: as it is a close-up shot that has been placed in the centre of the cover. Even though the front cover lacks the portrayal of a barcode, issue date or issue number, the clothing of which the artist is wearing implies that this edition of the magazine may be a autumn/winter issue, due to the fact that he is wearing a dark blue, tartan scarf. Now, not only is a scarf symbolic of winter or autumn, but the colour blue also connotes these seasons – through the idea of the cold, crisp weather.

Additionally, the anchorage which has been placed below the masthead in a white font colour, allows an audience to gain an idea of the possible stories which will be inside the magazine (and are most likely related to the chosen artist). And, through a minimal number of words and the font colour, this anchorage makes the magazine stand out even more.

The selection of puffs and additional images which have been used on this magazine’s front cover are actually challenging the codes and conventions one would expect to witness, as they are covering parts of Morrissey’s image.This implies to an audience that there are other stories and articles in the magazine that are just as (or maybe even more) important then that of the article concerned with Morrissey. Ultimately, it could be said that this reduces the importance of Morrissey as his whole placement as the main image has been overtaken by other images and the various puffs.

Yet this is contradicted by the fact that none of Morrissey’s actual face has been covered (just his hair and clothing). Therefore, by allowing his face to remain clear of any obstruction, a reader becomes drawn into his facial features. He appears to smiling slightly, and has an intense and concentrated expression. Moreover, the colour of his eyes stand out against the black background – and this is intensified through the direct mode of address. Which results in Morrissey still having a significant level of importance upon the magazine’s front cover.

This first puff that has been placed on the front cover also doubles over as the left-third; meaning that it follows the rule of the English language, that we read from left to right.

Moreover, it has been placed at the highest point on the front cover. This factor (along with the fact that the puff has been placed directly next to Morrissey’s face) makes it become the main coverline of the magazine.So this highlights the importance of Morrissey as the main image, as the main coverline is typically seen as the most important story within the whole magazine; and (as Morrissey is the sir name of Steven Morrisey – a member of the band ‘The Smiths’) it becomes clear that this is the most significant article.

Furthermore, the additional subline that follows the main coverline will appeal particularly to fans of The Smiths. The simplistic choice of wording ‘The Truth!’ is short and snappy – metaphorically “slapping a reader round the face” as it shocks them into wanting to read the article (which is emphasised by the exclamation mark). These two words suggest unknown information that fans may not have known, and therefore, they’ll want to pick up the magazine. And the ellipsis further highlights this effect as it creates a cliffhanger, making a reader eager to know more.

This puff follows similar conventions to that of the previous one. It uses the same font for its main coverline and subline, and also employs the same use of short, simplistic sentences.

Also, this puff could have a double meaning. It is evidently an article on a different band – however. Fans of Joy Division may be aware that their latest album at the time that this edition of ‘Q’ was released was titled “Unknown Pleasure” – and was often described by critics as a piece of work that, for the band, was “their finest hour”. So by using these words in the subline, it creates double meaning. But only fans would possibly see this within the clever choice of words. And ultimately that could create pleasure for an audience; and such pleasure could also result in consumer loyalty.

These last two puffs which have been placed on the front cover of this music magazine once again are supplying very little information about two different bands. However, such little information is what results in the magazine becoming attractive and thus; aesthetically pleasing. Also, the various bands mentioned on the front cover all belong to a specific lexical field; that is rock and roll. Each band belongs to this sub-genre of music, and that highlights again how the magazine chooses to aim each issue at a specific niche market (which is, in the case of this edition of ‘Q’ – the subculture of ‘rockers’). Moreover, the fans of whom belong to this specific subculture, who’s music taste spreads out across all of these bands, will be aware that they were all created in Manchester: a message which is further highlighted by the anchorage which has been placed below the masthead and contains the word “Manchester”.

Ultimately, this supplies the magazine with a sense of originality – making it appear unique. And for a target audience this formulates a stronger connection; it’s like the magazine was made for them personally; and, as the magazine is so unique, it feels as if they are holding a once-in-a-lifetime opportunity in their hands when they pick up this magazine. In addition, this feeling would most likely result in an audience becoming permanent readers of ‘Q’ (which one again suggests the idea of consumer loyalty).

Despite the fact that the main image, colour palette and font all make the front cover appear sophisticated and organised, the additional use of a sort of “buzz” image contradicts the rest of the magazine’s front cover.

Firstly, the two images on the left of the magazine are both a form of ‘puff’ and (as mentioned before) “buzz” image. They are each images which are linked to the written puffs placed around the magazine – for example, the bottom picture shows two members of the rock band ‘Oasis;. And what this does is create reader appeal, and makes the magazine attractive in various ways. So if an audience finds the written puffs and main coverlines of no interest, possibly seeing an image of a band/artist they associate themselves with may result in a desire to own the magazine.

Secondly, the images on the right of the front cover don’t show artists or bands that are related to the content of the magazine, but rather conform to the interests of the chosen target market. A stereotypical dress code which belongs to the youth subculture of rockers involves the idea of accessories. And it is often assumed that people who are interested in the rock sub-genre of music like to collect items that represent that interest, i.e; badges and pins that they can place on bags, hats, jackets etc. that make it evident as to where their musical interests lie. Therefore, by using images of badges on the front cover, it becomes a direct representation of a typical rock fan, and makes the magazine appear a little less organised; cluttering the page, and making it appear even more attractive to an audience.

This strip which has been positioned along the top of the magazine’s front cover employs the use of a number of different factors.Firstly, it has the brand logo of the magazine – which would stand out alone to a loyal reader; however, as it is not the main focus of the magazine, by placing it in a red shape it stands out against the black background of the front cover and so – the brand logo is still easily recognisable.

Secondly, the words that have been placed next to the logo are what form the actual strip of the front cover. And it contains the words “ultimate” and “collectors”. As previously mentioned, people who belong to the musical sub-genre of rock are often associated with the activity of collecting items as a way of representing the music they like. So by stating that this edition of ‘Q’ is specifically for ‘collectors’ it becomes an immediate buzz word for a reader as it conforms to the stereotypes of this subculture; if they can ultimately build up their collection of merchandise then, for a fan, this also increases status as a dedicated listener of such music, and as a reader of ‘Q’: therefore they will most definitely want to buy this magazine.

Additionally, the strapline that has been positioned right across the bottom of the magazine’s front cover, has employed the consistent use of buzz words that follow the same colour scheme as the strip that is on the top, however; they use a much bolder font – thereby becoming more attractive. Ultimately, the buzz words that have been used in the strapline stick to the expected codes and conventions of a music magazine. They are short (with the maximum of two words) and are also very vague. Yet to a loyal consumer these words probably don’t seem so incomprehensible; for example the miniature phrase of “new order” may connote the possibility of investing in new merchandise; which, for a fan of this sub-genre of music, is one of the things they desire most when reading the magazine.

My AnalysisOf the Contents Page

Of ‘Q’ magazine

The immediate difference in the contents page is the change in both the layout and the text format.Firstly, the masthead has taken on a different font to that seen on the front cover – here the chosen font type is much slimmer and more sharp around the edges. However, this chosen font also makes the masthead look slightly old-fashioned, which allows a continuation of the sophisticated and organised theme which one witnesses on the front cover. However, the masthead is still remaining true to the codes and conventions of a music magazine; it is large in font and covers the whole of the top of the page – thereby standing out and making the purpose of the page clear (which is to inform a reader of what to expect throughout the magazine). Similarly this chosen font is used for each of the sublines which are scattered around the contents page. And by doing so, it is clear to see that these sublines are also headings – determining the different sections of the magazine’s content. Which highlights once again the constant use of an organised theme, as the writers have chosen to categorise and organise each of the individual stories underneath a specific heading. Therefore, if a reader wants to focus on one specific section alone, they can, through this use of categorisation; which is portrayed even more so by the page numbers that have been placed next to the title of each separate article; bringing the level of sophistication and organisation up even more – as now, a reader can even pick out single stories, not just single sections.

Furthermore, the layout of the page is quite simplistic. The background of the page is a dullish shade of white, and employs the use of a bleed; whereby a picture of a sign has been spread across from another page. Conclusively, the colour palette which has been used helps a reader to clearly identify each of the masthead; the different sections; and the page numbers. Also, the contents page conforms once again to the specific codes and conventions by placing the same colour scheme as seen on the front cover (of red, black and white) onto the contents page. Which further helps to make the most important pieces of information stand out in a very clear way; and this also results in an easy passage of reading for the audience, as there is no confusion as to what each factor is or means.

Next, the lack of uniformity in terms of font size further implicates the idea that the text format has been designed in a way that helps a reader to easily identify the most important pieces of information. For example, next to each page number is a miniature subline that acts as the title for the individual story that belongs to that page. And this title is placed in both larger and bolder font than that of the text below it. In addition, each of these miniature titles contain another typical convention of a music magazine – that is, buzz words: such as ‘Rave On!’ and ‘The Ex-Smiths’ speak!’ (there is also the use of an ellipsis). Ultimately, each of these formulate the typical intention of attracting a reader attention and making them want to read the stories. And really, the very small text which is below each of the titles does not stand out very well, and is not that easy to comprehend, however; through the use of larger ‘buzz word’ titles, one does not even need to pay attention to the collection of tiny words written below. Therefore, this is proof of the effect buzz words have on grabbing the attention of an audience.

However, one expected convention that this contents page lacks, is that of the brand logo – which is usually known to carry on being seen throughout the whole magazine; here it is not the case. So if, for example, the magazine was left open on the contents page for an unwilling audience member to see, then they would not be able to clearly recognise the identity of the magazine. Also, the lack of an issue date or number also decreases the ease of recognition for a reader – as they’re not aware if this is an older issue of an old magazine, or if it’s an upcoming magazine which is new to the market. However, due to the idea of consumer loyalty, if someone is a dedicated reader and knows the unique format and layout of ‘Q’, then a brand logo wouldn’t be needed. And as for the issue date/number, if a reader had observed the front cover first, they shall be aware that this issue is a unique collector’s edition and therefore, one-of-a-kind.

My AnalysisOf the Double-Page Spread

Of ‘Q’ magazine

The background of this double page spread uses a lot of empty white space – which has the main copy placed across in four vertical columns; thereby sticking to the expected codes and conventions of a music magazine. In addition it also supplies the double page with both a simplistic and minimal layout; which could be said to make the magazine aesthetically pleasing. However, by doing so it remains true to the desires of the magazine’s target audience. Such simplicity is seen on both the front cover and contents pages, so throughout the magazine, the loyal consumer is never disappointed.

The chosen colour palette goes against the ideology through the expected conventions seen on the front cover and contents page. It is still incorporating the use of black and white, yet the edges of both pages on the spread have yellow within them. This slight change in the colour scheme creates variation in the magazine; if the conventions remained too consistent then a reader may get bored – so by changing the colour to a mustard yellow, it keeps the reader interested: ensuring that they wont put the magazine down.

The double page spread doesn’t have a masthead positioned anywhere, however; this makes the main coverline witnessed on the right-hand page stand out even more. This coverline is a snippet taken from the article – it’s like an advert for a new movie – you are given an idea of what to expect, but you have to invest to discover the whole story.

Additionally there isn’t one main image which formulates the bleed traditionally seen on a double page spread; but there are two separate images (the largest ones) upon each individual page. Not only does the size make it clear that they are the main images, but the vintage, black and white format of the images does also. Ultimately, the vintage house-style once again appeals to the niche target audience; the older generation, who prefer a more sophisticated and old-fashioned style. Moreover, both of the images have an anchorage placed in their top right-hand corners; thereby also becoming the individual pugs for each image. As a result, this allows a reader to understand what the image is portraying, and the link it has to the rest of the article.

Additionally, both parts of the double page spread have smaller “buzz” images scattered around in an unorganised and rather quirky fashion. Overall, each image (including the main images) show pictures of people, in various states of wealth, dress and emotion. However, it is the smaller images specifically which help to entice the target audience in; and they too have an individual anchorage to supply minimal but intriguing information for a reader, before they the read the whole article. And the organisation of these images also helps appeal to younger readers, as they may like this less sophisticated and ‘grown-up’ fashion.

At the start of new paragraphs, one letter is written in a larger/bolder font, which draw a readers attention, if they want to skip to a specific section.