Olivia Rostron C3497296 - FMP Concept Development

CONCEPT DEVELOPMENT

CONTENTS List of Illustrations Introduction Aims & Objectives What is Reflective Learning?

Why Print?

The Contract Magazine Sector Working with an External Client The Reading Experience Connecting Contract Magazines to Online Conclusion

3 4 5 6 7 8 9 10-12 13 14

Final Outcomes Initial Proposals and Planning Flat-planning Competitor Analysis Workflow Writing and Development Photography Inspiration Magazine Design Inspiration Design Pre-Press and Print Future Implications Blog Mock-up Bibliography

15 16-17 17-27 28-29 30-37 38-39 40-43 44-45 46-51 52-53 54-55 56-57 58-63

2 CONCEPT DEVELOPMENT

LIST OF ILLUSTRATIONS Figure 1 Schรถn, 1983. Reflecting before, during & after learning process. [Online] Available at: https://birmingham.instructure.com/courses/11841/pages/ reflection-before-during-and-after-learning-process-schon-1983?module_item_ id=330419 [Accessed 12 March 2020].

Figure 2 Ramsey, C., 2006. Reflective Learning Model. In: Reflective Learning. s.l.:The Open University, p. 5.

Figure 3 Nielson, J., 2006. F-Shapes Pattern for Reading. [Online] Available at: https://www.nngroup.com/articles/f-shaped-pattern-reading-webcontent-discovered/ [Accessed 15 May 2020].

Figures 4 and 5 Anthropologie, 2018. Anthropologie Imagery. [Art] (N/A).

Figure 6 Whittaker, J., 2008. Copy and Editorial. In: Magazine Production. Adbingon: Routledge, p. 73. [Art] Figure 7 Anthropologie, 2018. Anthropologie Imagery. [Art] (N/A).

Figure 8 Crossland, A., 2020. Gina Pattison Jewellery Imagery. [Art] Figure 9 Anthropologie, 2018. Anthropologie Imagery. [Art] (N/A).

Figures 10, 11, 12, 13, 14, 15, 16, 17 Crossland, A., 2020. Gina Pattison Jewellery Imagery. [Art] Figure 18 Rostron O., 2020. Mixam Paper Samples. [Art] Figure 19 Crossland, A., 2020. Gina Pattison Jewellery Imagery. [Art]

CONCEPT DEVELOPMENT 3

INTRODUCTION

This report aims to present the concept development of a contract magazine commissioned for Gina Pattison Jewellery. This report will discuss the importance of contract publications to businesses in a digital age, understanding the print sector, and how modern technology has impacted this. When exploring print publications, the positive impact of haptics, visuals and layout will be considered - evaluating how print is a form of disruptive technology to a social media-based business. Further to this, this report will also discuss the importance of linking a brand’s online audience to print, and why digitalised visuals are an effective way to engage a wider client base. Throughout the report it is important to recognise that the client ultimately steers the contract publication output, and this can present a series of challenges. Reflective learning theory will be also be considered, explaining how it is useful when creating a contract publication.

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AIMS & OBJECTIVES

• To create a contract publication promoting Gina Pattison Jewellery.

• To incorporate editorial writing styles within a contract publication to make the magazine a destination, whilst also increasing Gina Pattison Jewellery’s conversion.

• To display Gina Pattison Jewellery in a tasteful way that is in keeping with the house style and brand identity.

• To present Gina’s own voice to her readership, in the form of interviews (an integral part of the brand identity).

• To use a variety of writing styles to cater to Gina Pattison Jewellery’s varied audience and to maintain engagement thus increasing brand conversion.

• To differentiate Gina Pattison Jewellery from similar competitors.

• To connect Gina Pattison Jewellery’s already established online presence with a print publication.

CONCEPT DEVELOPMENT 5

WHAT IS REFLECTIVE LEARNING? Reflective practices are vital to learning and development, with Moon stating in 2004 (p80) that “we reflect in order to learn something, or we learn as a result of reflecting”. Schön (1983) also depicts the importance of reflecting before, during and after a process. The below (figure 1) illustrates this process and was useful throughout the creation of this contract publication. Ramsey’s 2006 model (figure 2) also explains how to successfully reflect in order to improve, meaning the contract magazine produced is to the highest possible standard for the client. Reflection is vital in the production of an output for a pre-established brand with expectations that must be met in order for the publication to be used in industry. It is for this reason that reflective practices have underpinned all decisions throughout the creation of the contract magazine for Gina Pattison Jewellery.

Figure 1

Figure 2 6 CONCEPT DEVELOPMENT

WHY PRINT? Contrary to popular belief, print magazines are still highly popular, especially amongst the younger generations (McIntosh, 2017). The online sphere is saturated with information, and misinformation, meaning that users often doubt the credibility of a source. Brooks (2018) argues this, stating that “As audiences are thinking more critically about what voices and information they really trust, they are increasingly seeking out the professionally researched, written, edited, produced and curated content that magazine brands produce across channels”. In addition to this, Cooper (2006) argues that magazines are also seeing successes due to them being a “lucrative cash business” in terms of generating money for businesses through product sales and advertising. It is because of both of these factors that Hennessey (2017) comments on the resilience of the luxury magazine sector, with the likes of Vogue and Glamour showing no sign of decline.

Lin (2018) explains that magazines are successful when they have a clear purpose, allowing for brand development and the creation of status in the industry. This explains why the resilience against the demise of print is especially prominent within the contract publications, which involve targeting the customer directly.

Brands such as Gina Pattison Jewellery sell higher ticket items, meaning that there is a risk associated to each purchase. A contract magazine is an easy way for the customer to see the brand’s offering risk free whilst the brand cleverly entices the reader, using carefully considered imagery and written content. Further to this, the amount of ‘noise’ is reduced. Instead of competing for acknowledgment online in a loud marketplace, Gina Pattison Jewellery can target their audience specifically.

Importantly, Lin (2018) recognises that magazines are successful because they’re an offering that the consumer can keep. Consumer’s respond to the tangibles (Caldwell et al, 2014), meaning brand recall is increased and again reiterating the importance for brands to invest in contract publications.

The Gina Pattison Jewellery contract magazine offers high quality imagery and engaging written content. Cooper (2006) explains how entrepreneurs who research their target demography in detail are more likely to launch a successful and profitable magazine. The target demographic has already been established through social media following and previous sales, meaning the contract publication can effectively generate sales. To quote Dadich (2012), “print changes but it never goes away”.

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UNDERSTANDING THE CONTRACT MAGAZINE SECTOR It is no secret that magazine publications have had to adapt to the modern world, with Leslie stating in 2013 that “The internet presents the ultimate challenge for the printed magazine”. Whilst gossip magazines such as Look and Heat have seen a demise, interestingly contract magazines have seen growth (McIntosh, 2017).

Paton (2019) stated “Contract magazines have become increasingly important because they offer advertisers a much more tightly targeted and often more affluent readership than many conventional magazines, and similar or even better standards of editorial excellence”. According to Whittaker (2008, p.22) this “new phenomenon” of custom magazines took off when Redwood Publishing “started business in the mid-1980’s”. Contract magazines are much more tailored to the specific audience meaning that they have the purpose needed to succeed as mentioned previously (Lin, 2018).

When considering the contract magazine sector, British Airway’s ‘High Life’ is a useful case study. Their monthly publication is seen by passengers on their planes, who engage with their content during travel. British Airways benefit from even less ‘noise’ than other contract magazines as their consumers often have limited access to other content whilst in the air. This means that they’re likely to make purchasing decisions with much less outside influence, giving British Airways the perfect opportunity to sell their products. Cleverly, British Airways caters their content to flyers who have an above average income and display specific products accordingly. Turner-Green (2017) estimates that ‘High Life’ has 3.6 million readers worldwide, making this contract publication an extremely profitable example.

Tobak (2014) explains that adaptation of previous successful ideas is vital for future success, evidencing why Gina Pattison Jewellery must adapt the successful formula uncovered by British Airways in the production of their contract magazine.

Product offerings and written content must be carefully considered, ensuring they cater to the Gina Pattison Jewellery target audience.

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WORKING WITH AN EXTERNAL CLIENT Companies who employ contract magazines as a marketing technique are “also engaged in advertising� (Whittaker, 2008, p.22) meaning that the relationship between advertising and editorial is much closer. Whittaker (2008, p.22) explains that most custom magazines are given away free to potential clients, in the hope that the sale of the item will outweigh the cost of magazine production. It is for this reason that clients who fund contract publications are often very particular with regards to imagery used and written content included (Afgan, 2020). This close supervision and predefined brand image/positioning can make working with an external client more challenging than creating a grassroots magazine for instance.

Project management is vital when working with an external client. Afgan (2020) states that setting boundaries, and clear expectations is essential when forming a successful working relationship.

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THE READING EXPERIENCE When considering contract magazines, it is important to recognise the successes of traditional consumer magazines and adapt this successful model to cater for a much more specific B2C publication. Bonner and Roberts (2017) explain that consumers perceive adverts in print magazines to be art and respond more fondly – this is vital to the contract magazine sector and their purpose to sell.

Creasy (2018) states that the revival of the magazine sector is the buying and consumption of a physical product which is a result of the consumer’s attachment to the tangible.

Further to this, consumers are more engaged with print publications as they’re not required to click links taking them away from the content, everything they need is in one place (Mokoginta, 2018). This also explains why some believe that consumers who purchase print magazines do this to escape the online world (McIntosh, 2017). Reiterating the point previously that consumers are seeking trustworthy information and reading content from a brand’s source is important to regain consumer confidence in a world of misinformation online (Brooks, 2018). A study by Shewan (2019) states that readers seek long form articles in magazines as they’re constantly looking for in depth content away from the fast-paced online world.

In addition, consumers crave authenticity, with Gilani (2019) stating that interviews are important for consumer confidence. This again contrasts with the online world and evidences a hunger for traditional publications. This Gina Pattison Jewellery contract magazine caters for the target market and focusses on the reading experience. The Gina Pattison Jewellery brand relies on a human face to the name, Gina uses her jargon online to instigate a relationship with consumers, an important factor in the success of her business. It is for this reason combined with a study by Gilani (2019) that interviews will be the backbone of this contract magazine, allowing Gina to speak to her customers directly in print form.

When considering the reading experience, it is important to consider Nilsen’s 2006 ‘F shape’ reading theory (figure 3). It was argued that most readers follow this pattern when consuming written media. The idea is that consumers read from left to right, and then vertically down the left-hand side, repeating the left to right motion further down the page creating the letter F. This theory means that some information on the right-hand page is lost when a magazine is read. It is for this reason that Gina Pattison Jewellery contract magazine follows this theory, using large titles and carefully considered text placement to maximise engagement, a vital factor when achieving the aims and objectives laid out at the start of this report. The below articles seen in Anthropologie’s contact magazine provide visual inspiration whilst also incorporating Nilsen’s (2006) theory (figures 4 and 5).

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THE READING EXPERIENCE

Figure 3

Figure 4

Figure 5 CONCEPT DEVELOPMENT 11

THE READING EXPERIENCE Haptics are also important when aiming for the most successful reading experience.

The Oxford dictionary defines haptics as “the perception of objects by touch and proprioception, especially as involved in non-verbal communication”. In other words, the tactile feel of a magazine is vital for consumer engagement (Caldwell, 2014).

Contract magazines have the unique task of catering to the offline consumer whilst maintaining cohesion with the online brand offering. As previously mentioned, Leslie (2013) argues that print and online outputs should work collectively, and this must be clear in the choice of magazine haptics. This feeds into the aim and objective that the contract magazine should “connect Gina Pattison Jewellery’s already established online presence with a print publication” – haptics is a method of achieving this. Researchers such as Sibler (2016) argue that haptics are the reason for the resurgence in print, consumers order tactile products compared to online offerings, paving the way for a secure print media future. This combined with the success of contract magazines means that haptics is a very important consideration, especially when competing in the custom magazine sector.

Given the importance of haptics, and Gina Pattison Jewellery’s audience’s engagement with high quality imagery, Alex from 4ord Productions was commissioned as a photographer/videographer. The contract magazine is an amalgamation of different types of written content, with a look book feel whilst incorporating more substantial editorial-style articles. Leslie said in 2013 that content and design “establishes the project’s identity”. The nature of small pieces of jewellery meant that a professional photographer was required to display the intricacies of the pieces. Sibler (2016) states that strong designs have a direct impact on purchasing behaviour, meaning that the look book side of this publication relies heavily on imagery to tell the brand’s story and convince the consumer to purchase the product. In a world comprised of visuals, imagery is essential for a brand to stand out, and engage when a consumer is simply browsing (Leslie, 2013).

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CONNECTING CONTRACT MAGAZINES TO ONLINE Contract publications have the sole purpose of generating sales, by using placed products in a traditional magazine layout and using written content to reinforce the need to purchase (Cook, 1998). In the modern age, small business sales are mostly made via the internet, or after an internet search has taken place. This is for a variety of reasons, but one large factor is a reduction in overhead costs as businesses retail store space is no longer essential upon brand commencement (Hufford, 2019). It is for this reason that it is vital to connect print publications with the brand’s online presence. Lombard (2013) argues that linking the two provides a “seamless brand presence”, making the overall brand more credible to the consumer. This channel association is often capitalised, often with an overall greater engagement across both (Lombard, 2013).

The New Yorker magazine is a successful example of linking the online sphere with print. Leslie (2013) explains that in 2012, The New Yorker magazine’s front cover featured a blurred version mascot Eustace Tilley with a “download icon”. This icon marketed the launch of the magazine’s iPad app. Using this case study, this Gina Pattison Jewellery magazine is supported by video to bridge the gap to the online world (Abell, 2009). Lin (2018) explains the consumers respond when they are able to access multimedia content that is interactive, explaining the importance of including modern technologies.

QR or quick response codes are an effective way to marry together online technology and traditional print. Neagu (2018) explains that the code stores information, allowing the user to scan the code on their smart phone, and the phone will translate this message, allowing instant access to online content. It is for this reason that the manufacturing section of the Gina Pattison Jewellery magazine incorporates a QR code. This QR code links to a video of the manufacturing of a necklace, marrying together with the construction explanation in print.

Importantly, the video is embedded in the Gina Pattison Jewellery website, thus increasing traffic to an online sales platform. This ultimately means that the consumer subconsciously visits the platform for sales meaning the contract publication has performed its role in guiding the consumer to ultimately lead to purchases. This connection to online is also reinforced by the prompts to visit the Gina Pattison Jewellery website and social media channels throughout. The contract magazine acts as a consolidation tool and is a modern adaptation of the print industry.

CONCEPT DEVELOPMENT 13

CONCLUSION

To conclude, arguably online advancements have challenged the print industry, but print is fighting back, and contract magazines are at the forefront of this fight for survival. There is a need for cohesion across online and offline media to satisfy consumer expectation, and incorporating modern technologies, such as QR codes successfully achieves this. As mentioned previously, consumers are craving physical content to slow down the world of journalism and escape the overwhelming online world. Gina Pattison Jewellery’s contract magazine successfully merges an established online presence with the need for a tangible product.

Investing in tangibles can increase brand recall, minimise noise from competitors and increase sales.

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FINAL OUTCOMES The above theory surrounding the magazine industry and contract publications can be combined with Whittaker’s (2008, p.73) model of the magazine creative process, to explain the decision-making process. This diagram can be seen below (figure 6) and is the basis of the below subsections explaining the process of completing the final outcome.

Figure 6

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INITIAL PROPOSALS AND PLANNING According to Whittaker’s model above, planning is an essential part of the magazine production process (Whittaker, 2008, p.73). Initially, it was proposed that the magazine produced would be an independent publication, promoting northern-based creative businesses. Using Ramsey’s (2006) reflective learning model above, and reflecting on the viability of this publication, action was taken to move into the contract publication sector. Whilst this initial proposal was viable, the lack of financial stability meant that the issues surrounding the editorial market still stood, meaning the success of the publication would be in doubt. Cooper (2006) explains that a publisher of a publication must be financially minded, especially when competing with the new phenomenon of instant online content. Wilkes (2019) reports that a large number of independent magazines fail in the first year, mostly due to the lack of financial consideration.

This is an especially important factor in the current economic climate where consumer spending is down across the majority of sectors (Wilkes, 2020). Hennessey (2017) comments on the contract magazine sector’s “sense of buoyancy”, again reinforcing the decision to favour contract publications.

Robertson et al (2017, p.2) stresses the importance of narrowing down ideas and having purpose before rushing into the creation of a new product. Research into the custom magazine side of the editorial B2C business revealed that consumers are hungry for tangibles, and crave longer-form, slower content (Shewan 2019). Furthermore, consumer’s feel overwhelmed by the excess of information online, and their scepticism is growing as the amount of content increases (Brooks, 2018). A contract magazine offers a solution to this growing problem as its content can be trusted (Brooks, 2018). Ultimately, magazines survive when they are used as a marketing tool by advertisers (Leslie, 2013). A consumer publication importantly links together advertising and editorial magazine styles, a formula that has allowed for sector growth (McIntosh, 2017).

It is for this reason that the decision to combine the theory of catalogues/look books and editorial writing was taken. Using the successes of two sectors means that the publication offered represents the brand fully. As mentioned previously, Sibler (2018) stated that imagery is vital in the purchasing process – this is fed to the consumer by the look book type imagery.

The consumer’s need for more content is provided by the editorial style pieces. Cooper theorised in 2006 that the success of the editorial market is dependent on successful engagement through the form of education and generating a call to action that is relevant to the target demographic – combining two writing styles achieves this.

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INITIAL PROPOSALS AND PLANNING An argument for less titles on the news-stand is justified, with Silber (2018) stating that consumer behaviour has changed, and less titles would allow successful development of the stronger titles. This opinion shows the importance of authentic content. It is this theory - combined with the view that magazines are seeing a resurgence - that has steered the decision to produce a magazine with a very home-grown feel. Importantly, this colloquial style fits with the Gina Pattison Jewellery brand.

Gina Pattison Jewellery is an ideal brand for a contract magazine, with an established online following (40,000 likes on Facebook, 3600 followers on Instagram) the brand has a predetermined target market. Based in Guiseley, Leeds, Gina Pattison Jewellery marries together the initial proposal (promoting northern brands) with the more lucrative contract magazine business. Armstrong (1997) argues that small to mid-size businesses, such as Gina Pattison Jewellery, benefit hugely from contract magazines to “raise their profile” within their relevant industry. Armstrong (1997) also argues that contract magazines should be a standard when considering a brand’s “advertising mix” (Armstrong, 1997). Whilst the benefits of consumer magazines are clear, evidenced by the fact that “of the top 50 UK companies, 28 have customer magazines”, it is important to monitor the success of the publication. Ultimately, the target audience’s desire to be educated and entertained must be fed (Silber, 2018).

FLAT-PLANNING In order to feed the consumer, a carefully considered layout must be created. Whittaker (2008, p.74) describes flat-planning as “a map of the magazine, detailing where everything will go from the front cover to the back”. Whitaker (2008, p.74) stresses that each subsection should have a “minimum of four pages”, both for reader journey and practically for printing. When an editorial is printed, four editorial pages are placed on one piece of paper, meaning the pagination must be divisible by four (Ambrose et al, 2008). The below images show the development of flat-plans for this contract publication - all plans are a multiple of four for printing.

Flat-plans usefully show content flow, or in the case of flat-plan examples one and two, a disjointed final product. Again, incorporating Ramsey (2006) and Schön’s (1983) reflective models mentioned above, once the flat-plans were complete, refection and action were taken to improve the overall consumer journey. Leslie stated in 2013 that “Design should help the reader, and rules have developed over many years to achieve this goal”. The decision was taken to add sub-chapters to allow to reader to access specific content.

Sub-chapters include an explore section to inform the reader, and a styling section for a more gossip style read (this is evidenced in flat-plan 3 below. Being the editor, writer and designer of this project allowed for large decisions to be made promptly, contrasting with many large publications (Leslie, 2013).

CONCEPT DEVELOPMENT 17

FLAT-PLAN VERSION ONE

18 CONCEPT DEVELOPMENT

No clear journey through the publication, with articles feeling disjointed and random. Also very little evidence of long-form content (very similar to an online blog style).

Very little imagery throughout.

Pagination is a multiple of 4 for printing.

CONCEPT DEVELOPMENT 19

FLAT-PLAN VERSION TWO

20 CONCEPT DEVELOPMENT

CONCEPT DEVELOPMENT 21

FLAT-PLAN VERSION TWO

22 CONCEPT DEVELOPMENT

CONCEPT DEVELOPMENT 23

FLAT-PLAN VERSION FINAL

24 CONCEPT DEVELOPMENT

CONCEPT DEVELOPMENT 25

26 CONCEPT DEVELOPMENT

CONCEPT DEVELOPMENT 27

COMPETITOR ANALYSIS Carrie Elizabeth Jewellery:

STRENGTHS

• Clear house-style.

• Calligraphy matches brand offering, • Celebrity endorsement (Fearne Cotton).

• Products for varying amounts of disposable income.

• Blog included within online offering.

• Strong online presence.

• Personal connection to Carrie herself.

OPPORTUNITIES

• No contract publication/brochure of products.

• Expansion into different styles of jewellery, e.g. chunky pieces.

28 CONCEPT DEVELOPMENT

•

•

•

WEAKNESSES

• Product images are all very similar, it is difficult to differentiate between products.

• Style of jewellery is very similar, all pieces very slim/dainty.

• Lack of organisation, and reader journey online.

THREATS

• Other brands have a more comprehensive offering.

• Imagery is very geared to social media, wouldn’t easily adapt to print.

CONCEPT DEVELOPMENT 29

WORKFLOW TIMELINE ONE Goal Number

Specific Goal What? Where? Why?

Measurable How will I know when it is accomplished?

1

Finalise FMP proposal with the help of university.

I will have accomplished this goal when I am ready to proceed with gathering material and interviewing people from each key segment.

2

Begin to interview individuals for each section (fashion, music, photography etc).

Consider incorporating photographs for later use visually.

I will have interviews ready to transcribe and build upon.

3

Transcribe all interviews, noting the environment of the interview to give context. Also highlight key quotes that can help with the overall magazine visuals.

I will have achieved this goal when I have a range of transcripts to build upon further on in the magazine production process.

4

Research the interviewee's topic further, adding to the overall description. Include sensory descriptions to improve readership.

I will begin to comprise a document marrying all information together, ready for sub-editing and improving.

30 CONCEPT DEVELOPMENT

s

ial

er n

r

Attainable How will this goal be carried out?

Relevant How will this goal help to achieve an overall objective?

Time-bound When does this need to be completed by?

I will carry out this goal by further researching the feasibility of my idea and understand what is essential in successful magazines. I will also ask my peers for their opinion on my proposal, shaping it to fit the demographic.

Finalising my FMP idea gives a January-February 2020. clear direction to pursue meaning I successfully fulfil the brief and entertain my target audience.

I hope to carry out most interviews in personal, as I believe meeting someone gives more material to work from. Meeting people also contextualises them better, making for a better piece.

I plan to use email based interviews as a back-up option.

Collecting interviews will give authentic coverage of the north, making for a better overall piece and helping build consumer trust.

I will carefully transcribe each interview, giving enough time to accurately transcribe everything spoken in the interview.

This goal forms the foundation to February-March 2020. the finalised piece. The interviews are an authentic way for me to educate myself, and allow for a more accurate picture to be built up.

Research is key for this goal, I will use my research and interviews to inform my writing.

This goal is a step towards a finalised document. This will be the first example of the overall feel of the magazine, but will require a large amount of subediting.

February-March 2020.

March 2020.

Goal Number

Specific Goal What? Where? Why?

Measurable How will I know when it is accomplished?

5

Sub-edit and improve work.

After this goal, I will be left with the successful elements of the first document, and will have a clear direction moving forward.

I la fo o re

6

Focus on the magazine visuals, taking photos and editing the final layout.

Once this goal is achieved, I will have a sub-edited document and a draft final layout, helping to steer my final piece.

T vi u in

7

Continue adding and sub-editing all copy, working to achieve active writing that is engaging and representative.

This goal will be accomplished by a developed draft of copy that is a considerable improvement from the first draft.

A re

8

Collate all copy and visuals into a final document to take to print.

A finalised document will be produced.

T In co w

32 CONCEPT DEVELOPMENT

Attainable How will this goal be carried out?

Relevant How will this goal help to achieve an overall objective?

Time-bound When does this need to be completed by?

I will carry this goal out over a st larger amount of time, allowing for careful considerations in terms of what to keep and what to remove.

This goal will help keep my overall document on track and close to the initial plan/brief.

March-April 2020.

This goal will be carried out by visiting exhibitions/locations or utilising photography taken at the interview stage.

This goal is vital for to take the publication to market, visuals are key to stand-out and be purchased.

Without this visual goal, the overall magazine wouldn't be viable to market.

April 2020.

As before, this will be achieved by reviewing all copy repeatedly.

This goal helps to produce a finalised document that I am proud of.

April-May 2020.

This goal will be carried out using InDesign to visually represent the copy and individuals in the best way possible.

This goal is the final stage in my magazine production process, and unifies all previous work.

May 2020.

y

m

WORKFLOW TIMELINE TWO Goal Number

Specific Goal What? Where? Why?

Measurable How will I know when it is accomplished?

H

1

Finalise FMP proposal after tutorials.

I will have accomplished this goal when I am ready to proceed with gathering material and interviewing people from each key segment.

I b f u s a o t

2

Contact a potential collaborator and discuss my proposal.

I will secure a brand to base my contract magazine on, and have a signed consent form from the relevant brand.

I o m p p is r c a

3

Research the jewellery sector, understanding strengths, weaknesses, opportunities and threats.

I will have achieved this goal when I have extensive research of the sector.

I r b

4

Cement a meeting date to photograph all imagery, film a construction video, and interview the brand's director.

Commission a photographer for professional imagery.

I will begin to comprise a document marrying all information together to present to the client, and arrange a date for meeting. Communicate this with the photographer once agreed with the client.

R I t in

34 CONCEPT DEVELOPMENT

al

y e e

t e

Attainable How will this goal be carried out?

Relevant How will this goal help to achieve an overall objective?

Time-bound When does this need to be completed by?

I will carry out this goal by further researching the feasibility of my idea and understand what is essential in successful magazines. I will also ask my peers for their opinion on my proposal, shaping it to fit the demographic.

Finalising my FMP idea gives a clear direction to pursue meaning I successfully fulfil the brief and entertain my target audience.

January 2020.

I will contact potential clients online via social media (using my fashion based account), providing evidence of my previous work. Once a client is secured, I will then ask the relevant person to sign a consent form, securing them as a collaborator.

Securing a client will give the magazine a marketing purpose, helping me to refine my skills.

January 2020.

I will carry this out by researching online, reading books and journals.

This goal forms the foundation to the finalised piece. The research will inform decisions further down the line, such as article content and visuals.

February 2020.

Research is key for this goal, I will use my research to plan the collection of imagery and interviews.

This goal is a step towards a finalised document. This step is vital to the finished product.

March 2020.

Goal Number

Specific Goal What? Where? Why?

Measurable How will I know when it is accomplished?

5

Complete the above.

I will have a series of professional imagery, clips for a video and a comprehensive interview with the brand.

T vi co

6

Sub-edit the interview, and finalise other articles in the magazine. This goal needs to be placed into a flat plan layout, and the initial document needs to be built based on this decision.

Once this goal is achieved, I will have a sub-edited document and a draft final layout plan, helping to steer my final piece.

T u d

7

Continue adding and sub-editing all copy, working to achieve active writing that is engaging and representative. Begin the final layout with visuals from photographer.

This goal will be accomplished by a developed draft of copy that is a considerable improvement from the first draft.

A re

8

Collate all copy and visuals into a final document to take to print.

A finalised document will be produced.

T In co w

36 CONCEPT DEVELOPMENT

Attainable How will this goal be carried out?

Relevant How will this goal help to achieve an overall objective?

This goal is vital for to take the publication to market, visuals are key to stand-out and be purchased.

Without this visual goal, the overall magazine wouldn't be viable to market.

March 2020.

e

This goal will be carried out by visiting the client's studio with the commissioned photographer.

This goal will help keep my overall document on track and close to the initial plan/brief.

March 2020.

o

This goal will be carried out by using research to inform the decision making process.

As before, this will be achieved by reviewing all copy repeatedly.

This goal helps to produce a finalised document that I am proud of.

April 2020.

This goal will be carried out using InDesign to visually represent the copy and individuals in the best way possible.

This goal is the final stage in my magazine production process, and unifies all previous work.

May 2020.

y

m

Time-bound When does this need to be completed by?

WRITING AND DEVELOPMENT

The second section of Whittaker’s (2008, p.73) diagram is writing and development, explaining it doesn’t matter how stunning the designs are “if they don’t reflect the tone of the written content”. Featherstone et al (2006, pg. 140) stresses the importance of choosing the right story for the client’s brief. Weldon (2006) agrees with this explaining that when she reviews a story, she questions “have we already done it, and is it relevant to my readers?” (interviewed by Featherstone et al (2006 pg. 140)). Using theory mentioned previously, the magazine comprises of both long form and short form pieces peppered throughout to maintain consumer engagement. Ultimately engagement is vital to selling Gina’s products so copy must be suitable for the target audience.

The readership is mostly UK based, and is varied from 18-65, meaning that a full use of English mostly throughout is important to engage with such a diverse demographic. The contract magazine will use The Guardian’s house style guide in terms of the use of English, and spellings as Wright (2019) argues that a house style guide simplifies the writing process. As mentioned previously, the magazine is an amalgamation of editorial, look books and gossip style magazines. For this reason, Gina’s personal colloquial language will be included in interview style articles. From a marketing perspective, this is vital to the sales of products.

Featherstone et al (2006) stress the importance of meeting the interviewee, so their body language can be evaluated, making for a more substantial article.

Moreover, Featherstone et al stress that interviews must inform but also entertain.

Relaying this entertainment is much easier in the form of a face to face interview, and punctuation allows the reader to engage with the interview and ultimately the brand. A great example of this is Gina’s husband calling her as a “sinister jewellery-octopus” – Gina ultimately needs to sell but also is portrayed as a person.

Taking inspiration from Anthropologie’s contract magazine, profile pieces are also included to engage the reader. This is an effective way to understand Gina as an individual, using profile pieces to give the reader information regarding her inspirations. Again, as mentioned before, Gina being personable is vital to her brand, and is arguably a reason for it’s success. Contract magazines must constantly maintain a financial outlook (Cooper, 2006), and this content feeds the overall goal of selling Gina Pattison, thus selling the jewellery she produces.

38 CONCEPT DEVELOPMENT

WRITING AND DEVELOPMENT

Figure 7

CONCEPT DEVELOPMENT 39

PHOTOGRAPHY INSPIRATION

40 CONCEPT DEVELOPMENT

CONCEPT DEVELOPMENT 41

PHOTOGRAPHY INSPIRATION

42 CONCEPT DEVELOPMENT

CONCEPT DEVELOPMENT 43

MAGAZINE DESIGN INSPIRATION

44 CONCEPT DEVELOPMENT

CONCEPT DEVELOPMENT 45

DESIGN MAGAZINE SIZE AND FRONT COVER The third stage of Whittaker’s (2008, p.73) model mentioned above is design.

Leslie stated in 2013 (p.114) that “magazine design is more complicated than most books because the content is so varied”. Given the purpose of this contract magazine is to sell, the magazine imagery is all focussed on Gina Pattison Jewellery products. Using Anthropologie’s contract magazine as a main source of inspiration, a minimalist approach has been adopted so focus stays on the visual content. This is essential as the Gina Pattison Jewellery audience respond to imagery well.

Harris et al (2011) discuss that magazines come in a variety of sizes, and that the size of magazines link to the publication’s main purpose. Given that this publication is a contract magazine, it is important that the magazine is easy to distribute and transport, so customers keep it for future reference. Again, this magazine must act as an editorial merged with a look book, the size of the publication reflects this. Using theory by Harris et al, this Gina Pattison Jewellery contract magazine will be 17cm x 23cm, which is just smaller than A5 (the same size as Harrod’s contract publication).

Figure 8 46 CONCEPT DEVELOPMENT

DESIGN Anthropologie’s front cover is impactful and endorses their product (figure 9).

Leslie (2013) argues that the front cover “establishes the project’s identity”. It is for this reason that this magazine’s front cover is simple and displays a key motif for the brand – a gold heart seen on the ‘One Love’ ring. Whitaker (2008) explains that brand logos normally work best in the top quarter of the page. Using both Anthropologie’s magazine and Whittaker’s theory, the below image (figure 10) shows the finalised front cover.

Figure 9

Figure 10

CONCEPT DEVELOPMENT 47

DESIGN COLOUR AND FONT CHOICES Whittaker (2008) discusses the importance of tone of voice and house style. Given that this contract magazine is to fit into a pre-established house style, font and colour choices are crucial to giving a cohesive message to the customer. The original Gina Pattison Jewellery logo utilises a sans serif font. This font choice represents “modernity” (Harris et al, 2011) , relaying brand values to the consumer subconsciously. Throughout this Gina Pattison magazine, the logo sans serif font has been teamed with a serif font. This creative decision was taken as serif fonts have connotations of elegance and intricacy, working perfectly with the jewellery sector. The two font styles work well together and can be seen below (figure 11) Colour is also important to relay messages to the consumer. Incorporating the black used in the Gina Pattison Jewellery logo is essential to maintain house style, an essential part of the magazine according to Whittaker (2008). This black is teamed with a nude pink throughout the contract publication, again linking back to the house style and website design. Interestingly, Bourn (2010) explains that nude pinks have the connotations of “universal love of oneself and of others. Pink represents friendship, affection, harmony, inner peace, and approachability”. This works perfectly with the heart motif in the Gina Pattison Jewellery logo, and the product offering. Whittaker (2008) also comments on the impact of an increase in leading stating that it “can give a light, airy feel”. Again, this is vital to achieving the brand’s overall house style.

Figure 11 48 CONCEPT DEVELOPMENT

DESIGN IMAGERY Harris et al (2011) stress the importance of optimising imagery for print. All images used are in colour mode CMYK and 300 DPI ready for printing. This can be seen in figures 12 and 13 below. As previously mentioned, Sibler (2016) states that strong designs have a direct impact on purchasing behaviour. This theory reinforces why the only jewellery imagery used throughout is by Gina Pattison Jewellery.

Figure 12

Figure 13 CONCEPT DEVELOPMENT 49

DESIGN VISUAL DEVELOPMENT Leslie stated in 2013 (p.114) that “The pace and variety of the layout from page to page needs consideration to encourage movement through the pages and provide highs and lows of visual intensity”. Linking to the F shape theory mentioned previously, the below paces were formed to abide by this. Initially the ring stacking article read solely left and then right, but after reflecting (using Ramsey’s (2006) model), action was taken to change this to reflect Nielson’s theory. This can be seen below in figures 14, 15 and 16.

50 CONCEPT DEVELOPMENT

F

Figure 14

DESIGN

Figure 15

F

Figure 16 CONCEPT DEVELOPMENT 51

PRE-PRESS AND PRINT

Leslie (2013) discusses the UK based publication Grazia’s move to “gravure printing on matt stock” (Leslie, 2013, p.214) compared to the traditional glossy fashion magazine finish showed the huge change in attitudes within the magazine sector. Further to this, Gina Pattison Jewellery is hugely focussed on recycling.

Based on primary research conducted (figure 17) and Leslie’s 2013 theory of a change within the sector, the contract magazine will be printed on thick recycled matt paper. This reflects the Gina Pattison Jewellery brand ethos but also gives the consumer the feeling of quality – vital when selling items such as jewellery.

Again, based on primary research, the magazine will be perfectly bound so more information can be displayed on the spine. This is useful for brand recall and therefore sales as mentioned previously.

A bleed of 3mm has been used to ensure high quality printing, again important when relaying brand message. This was decided after speaking to the team at Mixam who often work to a 3mm bleed. Whittaker (2008) explains the importance of a bleed for printing overspill, and efficiency when printing, to keep magazine manufacturing costs low.

52 CONCEPT DEVELOPMENT

PRE-PRESS AND PRINT

Figure 17

Figure 18

CONCEPT DEVELOPMENT 53

FUTURE IMPLICATIONS

Whilst the future of print seems steadier that predicted, many large corporations invest in other revenue streams to solidify their businesses as a whole. Condé Nast vice president Scott Dadich discusses the idea that charging for online content allows for extra funding for print publications. He explains that this funding allows for “More pages, better paper stock and improved production values. The magazine becomes more of a keepsake” (Dadich, 2012). The launch of the Apple App store in 2007 (Apple, 2020) “presented publishers with a much better opportunity to charge people for digital content” (Leslie, 2013, p.216). It is for this reason that investment into the digital sphere makes business sense for many publishers.

Gina Pattison Jewellery could also benefit from this ideology, offering an extra revenue stream in an era of a saturated online marketplace, especially surrounding the jewellery market. Using The New Yorker case study mentioned previously, further print publications could be adapted into an app. This would allow the younger, more time-conscious demographic to access content more readily. New plug-ins

by Adobe for InDesign allow for the easy transformation of print publications into online content without having to learn to code (Leslie, 2013, p.216). Danish (2012) reported that The New Yorker’s app in the USA resulted in “16 per cent of the magazine’s sales”, explaining Condé Nast’s move to online app-based services.

54 CONCEPT DEVELOPMENT

FUTURE IMPLICATIONS

Further to app-based subscriptions to content, an app could successfully link together Gina Pattison Jewellery’s impressive social media presence, giving more clout in the online sphere. Online app-based magazine content could then be shared with other parts of the digital world, growing the brand. Another consideration when creating a Gina Pattison Jewellery app would be linking to pay systems, such as Apple Pay. This would mean that products seen throughout the online publication (via an app) could be purchased much more easily, thus increasing sales and therefore profit. When considering apps, it is also important to consider PDF based publications that can be launched on Apple’s Newsstand which could be another successful alternative for Gina Pattison Jewellery.

Another credible alternative is a blog that would also cater for a younger demographic. Leslie (2013, p.214) explains that “blog and magazine live side by side, supporting each other through their distinct roles”. An online Gina Pattison Jewellery blog would challenge competitors, namely Carrie Elizabeth, and allow for a more responsive approach to latest trends. Fisher (2018) argues that online publication’s ability to react quickly and publish post by post rather than in a large batch are the reason for online success. This differentiation would allow for Gina Pattison Jewellery to produce both long and short form pieces and would maintain relevance in the ever-changing online space. A mock-up of a Gina Pattison Jewellery blog can be seen below (figure 19):

CONCEPT DEVELOPMENT 55

BLOG MOCK-UP

56 CONCEPT DEVELOPMENT

Figure 19 CONCEPT DEVELOPMENT 57

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