THE STORY OF NEWS: TOMOR ROW’S CHAPTER PRODUCTION
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FIGURE TWENTY-FOUR: Production Time, London 2014 [own photograph]
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ALEX ANDR A MASTERS N0393173 FASH30002
------------------------------------------------------THE STORY OF NEWS: TOMOR ROWS CHAPTER PRODUCTION
------------------------------------------------------An exploration of how in contemporary society the newspaper can promote seeking knowledge through communicating information and news stories in a visually arresting and fashionable way.
------------------------------------------------------Tomorrows Chapter: Production aims to create a report that expands upon the research to create an informed outcome. The report will go through the story, from establishing the Big Creative Idea to the production and execution of the final product. Throughout the report the research will be referenced and design decisions will be explored and contextualised. The eventual aim is to reflect on a creative outcome based on strategic recommendations that emphasise creativity, communication and promotion.
------------------------------------------------------WORD COUNT: 3,057
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p.57 5 THE FINAL CHAPTER Conclusion:
------------------------------------------------------p.51 DISTR IBUTION Production:
------------------------------------------------------p.41 CHAPTERS, TELLING GLOBAL STOR IES Production:
------------------------------------------------------p.31 RHYTHM OF THE STREET Production:
------------------------------------------------------p.23 CONTENT ON PAPER Production:
------------------------------------------------------p.11 PROMOTING KNOWLEDGE THROUGH STYLE Production:
------------------------------------------------------p.9 CHAPTER ONE Introduction:
‘Don’t make something unless it’s usefu is, don’t hesitate to make it beautiful’
FIGURE TWENTY-FIVE: Print Diagram, London 2014 [own photograph]
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l ,” goe s the Sh ak e r a d age , “ but if it (Howard 2002 p. 32)
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FIGURE TWENTY-SIX: New Direction, London 2014 [own photograph]
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CHAPTER ONE
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BEFORE THE RESEARCH DEVELOPED, it was hypothesized that ‘the newspapers today offer disjointed content in the same archaic format, both in reportage and design. Today there is a need for a coherent newspaper that serves society as the pamphlet did, with a beginning, a middle and an end’. This prediction changed as the research matured, causing the implementation of a strategy for a new newspaper to alter. To compose a string of declaratives stating: newspapers sales are down, there is significant social value in a well-informed society, that digital platforms are taking over, and that we are all swimming in data – would be easy. THE REAL TASK LIES IN OFFERING CREATIVE STRATEGIES AS TO HOW TO IMPLEMENT CHANGES IN THE CURRENT LANDSCAPE OF NEWSPAPERS.
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FIGURE TWENTY-SEVEN: Style, London 2014 [own photograph]
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PROMOTING KNOWLEDGE THROUGH STYLE -------------------------------------------------------
FIGURE TWENTY-EIGHT: General News, London 2014 [own photograph]
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THE VALUE OF KNOWLEDGE NEEDS TO BE PROMOTED MORE CREATIVELY, MORE COHERENTLY, AND MORE STYLISHLY. With the generalist newspaper attempting everything at once, from information to memes, the imperative to have a distinct voice in a market place where everyone is shouting is of increased importance. This was surmised by Ian Leslie (2014) in an article for the New Statesman: News is a commodity. If a newspaper wants to charge more money to readers and advertisers, it needs to be compellingly different in the way it reports and presents its stories.
For news to be compelling requires radical thinking in the 24-hour banquet of sugar. Away from digital data, there is a crack in the wall of newspaper stands (Kalman 2002 p.113). Space for a newspaper that understands this age of flexible structures, and that offers a stylish addition to ones wardrobe:
To repeat the exploration of tomorrow’s chapter of news, the ‘Big Creative Idea’ is to create a newspaper that focuses on the aesthetic value of thoughtful information. A paper that enhances ones style, rather than making attempts to compete with digital. Such a paper has the potential to benefit both the individual and the segment of society it serves. Ultimately, the Big Creative Idea uses art to suggest visual strategies that creatively promote the seeking of knowledge, through communicating news in a more contemporary way. FIGURE’s TWENTY-NINE to THIRTY-TWO were necessary steps to look beyond any abstract intellectual process (Howard 2002 p.32), to see where gaps are prevalent amongst quantative data. The national newspaper sales show that not one paper of quality reportage has the large readerships that the tabloids achieve. Although newspapers sales are universally falling, political, cultural and current affairs magazines are largely seeing a rise in sales (Ponsford 2014). Such publications may not reach an audience as large as the national newspapers, but they are focused on a certain reader, largely addressing the public intellectual (Pointer 2002 p.123). Such a meritocratic approach values talent over monopoly, thus producing quality print products.
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The relationship between design consideration and sales: ABC: NATIONAL DAILY NEWSPAPER SALES, FEBRUARY 2014
THE SUN
SALES
2,
[high]
0
4
8,
9
7
7
THE DAILY MAIL 1,
7
2
7,
1
1
8 DAILY MIRROR 9
5
1,
0
DAILY TELEGRAPH
DESIGN
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CONSIDERATION
3
0,
2
4
6
CONSIDERATION
DAILY EXP. THE TIMES 8
2,
4 1
9
8
9
4 0
0,
1
1
[low]
1,
8
6
4
1
3
6
DAILY STAR
i 3
0
DESIGN
[high]
3
3
8
2,
0
THE FINANCIAL TIMES THE GUARDIAN 1
9
6,
4
2
2
6
9,
1
2
5
1 DAILY RECORD 2
2
4,
1
THE INDEPENDENT 6
4,
2
7
9 SALES [low]
FIGURE TWENTY-NINE: Quality vs. Sales, 2014 [own diagrams]
---------------------------------------------------------There is a clear gap for a newspaper offering quality reportage with high sales. Though traffic may not be a wise focus if it means quality is compromised.
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Not one broadsheet newspaper comes close to the tabloids sales - around a quarter of The Sun and The Daily Mail’s. Both papers are the most popular - meaning cheap, consumer content rules the general population.
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The relationship between design consideration and sales: ABC: NATIONAL SUNDAY NEWSPAPER SALES, FEBRUARY 2014
THE SUN (SUNDAY)
SALES
1,
[high]
6
9
5,
2
3
7
7
4
MAIL ON SUNDAY 1,
5
8
6,
2
SUNDAY MIRROR SUNDAY TIMES 8
2
5,
8
8
9
3
1,
6
8
8
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DESIGN
DESIGN
CONSIDERATION
CONSIDERATION
[high]
[low]
SUNDAY EXPRESS SUNDAY TELEGRAPH 4
2
3,
2
8
4
4
THE OBSERVER 2
0,
8
2,
4
0
8
4
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THE PEOPLE 3
2
3 7
9,
9
DAILY STAR SUNDAY 1
0
3
0
1,
1
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7
7
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SUNDAY MAIL THE INDEPENDENT ON SUNDAY 1
0
0,
9
5
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5
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3 DAILY RECORD SALES
2
2
4,
1
[low]
FIGURE THIRTY: Quality vs. Sunday Sales, 2014 [own diagrams]
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Generally the papers stay in the same position, however, the most interesting observation is that the tabloid sales go down, whilst the broadsheets go up - suggesting that the ‘Sunday package’ that the broadsheets provide have a strong audience.
The Sunday Times is the strongest, therefore the cultural supplements that they provide have a perceived importance/ quality from the market.
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The relationship between design consideration and online traffic: ABC: UK NEWSPAPER TRAFFIC JAN 2014
ONLINE TRAFFIC
THE DAILY MAIL 1
1,
7
6
8,
[high]
6
2
0
THE GUARDIAN 5,
0
0
0,
9
5
2 TELEGRAPH 3,
3
8
3,
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DESIGN
DESIGN
CONSIDERATION
CONSIDERATION
[high]
[low]
MIRROR GROUP NATIONALS 2,
4
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9,
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7
1,
0
3
6
THE INDEPENDENT 1,
5
5
1,
1
1
2
METRO 1,
0
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ONLINE TRAFFIC [low]
FIGURE THIRTY-ONE: Quality vs. Online, 2014 [own diagrams]
----------------------------------------------------------The Guardian’s figures are encouraging, and dramatically higher than their print sales - a credit to their digital design and ‘digital first’ strategy (Sabbagh 2011).
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The most shocking thing to get from this map is the sheer volume of people scrolling through The Daily Mail’s side-bar filled with its people-based content. The easy consumption makes it a mindless time-filler.
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The relationship between the quality of reportage (seriousness) and sales: ABC: CURRENT AFFAIRS MAGAZINE SALES FOR SECOND HALF OF 2012
THE SUN
SALES
2,
[high]
0
4
8,
9
7
7
1
8
THE DAILY MAIL 1,
7
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7,
1
DAILY MIRROR 9
1,
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DAILY TELEGRAPH
QUALITY OF
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REPORTAGE
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THE TIMES 8
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4 1
9
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4 9
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OF REPORTAGE
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[low]
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DAILY STAR
PRIVATE EYE 2
9
3
QUALITY
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DAILY EXP.
[high]
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THE ECONOMIST n/a 2
1
0,
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8
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THE GUARDIAN 1
9
6,
4
2
DAILY RECORD 5
2
2
4,
MONOCLE ∧ 7 3, 1 4 9 THE SPECTATOR ∧ 6 3, 6 1 3
SALES [low]
NEW STATESMAN ∧ 2 4, 9 1 0
FIGURE THIRTY-TWO: Mags: Quality vs. Sales, 2014 [own diagrams]
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Despite being evidently low in sales compared to the general, mass market of newspapers, the most interesting thing to note within this perceptual map is that sales are going up for current affairs magazine’s whilst every single newspaper’s goes down. The specific and highly informative reads reveals that there is a particular, though not mass audience of ‘public intellectuals’.
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Brand Essence Model: Chapters, telling global stories To promote seeking knowledge through communicating information and news stories in a visually arresting and fashionable way.
What is it?
How is it better?
What does the company stand for?
A more visually seductive and contemporary newspaper that is informative, accessible and beautiful. It is a paper that aims for a consistent style, as opposed to what seems to be a jumble of information in the current newspapers. It aims to communicate news stories using creative and artistic methods, thus telling news stories in a way that could not be found in the online sphere.
As well as conveying the importance of information through words, Chapters heralds design, art and visually arresting imagery. There is an understanding of a lack of time allowed for reading and therefore a variety of different entry points have been designed for the reader.
To promote general and worldly knowledge and communicate news in a way that brings the information to life.
AN INFORMATIVE PAPER THAT ENHANCES ONES STYLE, AS OPPOSED TO COMPETING WITH DIGITAL What is it for? In an age of abundant information and citizen journalism, it is a paper that promotes the seeking of knowledge and information through enhancing ones style. Matters of a trivial and superficial nature have become engrained within society, particularly in Generation-Y who have never had to face times of hardship. It is hard to press serious and political matters that were once vital during the World Wars that now seem to lack relevance in a culture of consumers. TO CREATIVELY PROMOTE SEEKING KNOWLEDGE THROUGH COMMUNICATING NEWS IN A MORE CONTEMPORARY WAY What does it do? Chapters offers the reader engaging and visual content on current news stories and events. The current newspapers on offer are restrained by external powers and archaic forms [columns, journalism, bias] and on the whole, are written by forty year olds, for forty year olds. Chapters aims to attract a more youthful audience, not accustomed to purchasing newspaper or engaging with global stories. A PAPER THAT BOTH INFORMS AND ENGAGES THE READER, WHILST OFFERING A STYLISH ADDITION TO ONES WARDROBE
PROMOTING THE VALUE OF KNOWLEDGE AND THE UNDERSTANDING OF IT USING ART How is it different? The core element of differentiation is that the paper is not guided by pre-existing formulas or obliged to support particular political powers. Chapters is also intelligent and articulate, but not derogatory or alienating for the reader. COMMUNICATING USEFUL INFORMATION IN MORE CREATIVE AND STYLISH WAYS
How do people feel about it? Currently, the adjectives young people use for news and newspapers are ‘boring’ ‘serious’ depressing’ (based on an online self-initiated survey of 42 participants). There is a certain amount of negativity and a feeling that there is a lack of truth in what the media portrays as fact. People that do buy newspapers seem to buy them as a routine. There is also the feeling of ‘Why should I buy something and can find free online?’ ONLINE INFORMATION IS FREE, PRINT NEEDS TO BE VIABLE BY BEING DIFFERENT How do they respect it?
Society needs to delve deeper than superficial concerns and engage with circles wider than their own in order to understand, empathise and engage. BRINGING INFORMATION TO LIFE BY USING CREATIVE METHODS OF COMMUNICATION
What are the aims? News doesn’t have to be too trivial or too serious, it can be storytelling, stylish and considered. To achieve wider and younger audiences for the newspaper and to keep the physical consumption of news in business, thus taking people away from their screens. To create a newspaper that one would want to carry around like Vogue – promoting knowledge through style. To promote seeking knowledge through communicating information and news stories in a visually arresting and fashionable way. To make news and intelligence aspirational TO PROMOTE SEEKING KNOWLEDGE THROUGH
The newspaper has connotations, depending on whether it is a broadsheet or tabloid, of uppermiddle class conservatism. A sort of statement of gentrification, and intelligence that can be judged immediately by which paper a person selects. CHAPTERS SEEKS TO BE A PAPER WITH THOUGH PROVOKING INFORMATION INSIDE PRESENTED SO THAT ONE WOULD LIKE TO CARRY IT AROUND LIKE VOGUE
FIGURE THIRTY-THREE: Brand Essence, 2014 [own diagram]
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COMMUNICATING INFORMATION AND NEWS STORIES IN A VISUALLY ARRESTING AND FASHIONABLE WAY.
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The rise of such print products demonstrates that consumers pay more for a brand because it represents a lifestyle choice and a set of ideas (Editors of the Economist 2002 p.62). Monocle magazines ‘guide to better living’ (Monocle) may be a prime example of this. As ever, editorial designers are creating identities of both a publication and its reader, as stressed by Mark Porter (2013). The Big Creative Idea, a newspaper named Chapters, will aim to achieve a distinct tone of voice wrapped in a visually seductive package that is thought provoking, accessible and beautiful; composed in a content specific style. To create a strategy that embodies all of these elements the creation of a Brand Essence Model was essential, as visualised in FIGURE THIRTY-THREE. To return to the New Statesman and its ever-provocative discussions of the future of news, Ed Smith (2014 p.27) suggests that a ‘vintage revival’ of news is about to occur. The titles that Smith (2014 p.27) mentions to be within that bracket – the Financial Times, the New Yorker, Monocle and the Economist correlate with primary research. One research trip involved talking to newsagents based in West, West Central, Central, East Central and East London. Though London-centric and therefore cosmopolitan, the Financial Times cropped up with regularity. The Financial Times with its distinct apricot tint and highbrow content immediately states ‘I am a person of business’ (see page 16 of CASE STUDIES).
Smith (2014 p.27) continued ‘It is a mistake to think of substance and style as being in opposition’; though newspapers understand this, they are restricted by conventions, monopoly and history. However, indisputably marketing ploys like ‘collect tomorrow’s coupon for a free latte at Costa’ are disrupting the potential for such a revival orientated around style. Something the Financial Times understands. The Big Creative Idea aims to tackle such visual solutions that deflate the promotion of knowledge, by offering a creative and stylish product. When editorial designer Mario Garcia is commissioned for a project he often finds that the publication will express whether they are digital or print focused, to which Garcia replies ‘lets focus on the story first’ (Stack 2012). THE AIM OF CHAPTERS IS TO COMMUNICATE NEWS STORIES IN A STYLISH PACKAGE
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NEWS [nooz, nyooz] noun ( usually used with a singular verb ) 1. a a re inte info
report of cent event; lligence; rmation
2. The presentation of a report on recent or new events in a newspaper or other periodical or on radio or television. 3. Such reports taken collectively; information reported: There’s good news tonight. 4. A person, thing, or event considered as a choice subject for journalistic treatment; newsworthy material. 5. Newspaper. FIGURE THIRTY-FOUR: News Office, London 2014 [own photograph]
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FIGURE THIRTY-FIVE: Roll of Newspaper, London 2014 [own photograph]
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CONTENT ON PAPER -------------------------------------------------------
FIGURE THIRTY-SIX: Guradian Weekend Package, 2014 [own photograph]
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THE CULTURE OF INSTANT REDUCES OUR ABILITY TO IMAGINE (Howard 2002 p.34), this is precisely what Chapters will contest. Comparing FIGURE’s TWENTYNINE AND THIRTY, reveals that The Times, a broadsheet, sells fewer than 400,000 as a daily, but as a Sunday sells over 800,000. Yet The Sun, a sensationalist tabloid, sells over 2,000,000 as a daily, but 1,600,000 at the weekend. The Sunday papers began life in the 19th century as a way to round up the news for humble folk who could not afford the daily paper (Hutt 1973 p.51). It was considered with such disregard, that there was even a stigma surrounding it – a statement of a lack of wealth (Hutt 1973 p.52). Today, as stressed by Mark Porter (2014), there is trend emerging towards a ‘weekend product’. So it would seem that the reverse is happening of previous centuries, as digital has disrupted the role of daily news. Considering that print cannot compete with the immediacy of digital, Chapters will be a weekend product with reflective, thought provoking and cultural content. Mario Garcia (Stack 2012), an editorial designer of hundreds of newspapers and publications, says that content is about discovery: Print that succeeds is when you have two things going on: reaffirmation ‘we already know you know this, but we’ll give it to you very quickly’ and that is thirty percent. Then, discovery - the more discovery you have in your magazine or your newspaper, the more that print becomes viable.
Viability is paramount, and to achieve it means arousing and retaining interest through engaging content. Acknowledging the wise words of editorial designers, the content has been approached to encourage discovery in communicating information in a ‘compellingly different’ way (Leslie 2014). To gather the content, creative minds were asked to ‘create a response’ to a story, thereby opening the brief to interpretation. Rob Alderson (2014) reacted to this proposal by stressing the context - this is a paper filled with news, not an art project. It is a matter of finding a balance of substance and style. One publication that has achieved this is Bloomberg Businessweek. Richard Turley has turned dry business material into informative pieces of art, as analysed on page 20 of CASE STUDIES. Burgoyne (2014) described Turley’s design work as ‘powerful storytelling’. The way that Turley creates themed issues, like that of the American election, allows for unparalleled coherency. Therefore, the content of Chapters focuses on one story to form the basis of design. In having a focus, the production can act as a foundation for the future in demonstrating a clear format.
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FIGURE THIRTY-SEVEN: Save 2p Here, 2014 [own photograph]
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I am creating a newspaper: Chapters, telling global stories that aims to be a weekly newspaper (please see the basic mood board attached). The sort of newspaper you would want to carry around like Vogue, but still withholds the intellectually engaging and informed content we know the newspaper for. That said, the disjointed content of the conventional broadsheet is equally something I would like to tackle. There is no saving the newspaper/print industry, but there is a gap in the market for a newspaper that understands the information age. Though the Independent has made some interesting moves, there have been discussions that it could have been more radical. I am wondering if you would be interested to ‘create a response’ to a story - I have decided to focus on the story ‘Poundland Nation’ that says that Poundland is to be bigger than Sainbury’s (see link). The story has some scope for graphics, illustration, a Larkin-esque poem, some economic comment, a story, a photograph - etcetera. http://www.independent.co.uk/news/business/news/ poundland-nation-britains-middle-classes-flock-todiscount-chain-9137137.html Also … http://www.bloomberg.com/news/2014-02-18/ u-k-discounter-poundland-confirms-ipo-alongsideexpansion-plan.html […] Kind regards,
Alex Masters
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The story of focus for the launch issue is ‘Poundland plans to be bigger than Sainsbury’s’ (Neville 2014 p.7). The budget stores expansion will change the landscape of Britain both physically and socially, and will therefore affect us all, particularly Generation-Y, as budget stores lose their stigma. An email template was created to send out to potential contributors:
Noting Turley’s intelligent use of design, where content and design become one, the design of Chapters will embody the Poundland takeover, thus creating the character of Chapters. Encouraging consumers to hand over cash for information becomes more and more of a challenge (Frost 2004 p.1), but the content is composed to be reflective, opinion-based and culturally relevant, in hope of being less daunting than the current newspapers. Most crucial in creating a purpose for Chapters in the market is to create content that is not anything readily available via Google; CHAPTERS IS TELLING ITS OWN STORIES.
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FIGURE THIRTY-EIGHT:From A to B, London 2014 [own photograph]
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From A to B redux: Sweet stink of the hookah, couscous, kebab, exhaust fumes of a bus deadlock. 98, 16, 32, standing room only – quicker to walk! Escapes from St Mary’s, Paddington: expectant father smoking, old lady wheeling herself in a wheelchair smoking, die-hard holding urine sack, blood sack, smoking. Everybody loves fags. Everybody. Po l i s h p a p e r, Tu rk i s h p a p e r, Ara b i c , Irish, French, Russian, Spanish, News of the World . Unlock (stolen) phone, buy a battery a lighter pack, a perfume sunglasses, three for a fiv life-size porcelain tiger, gold Casino!’
your pack, pack, er, a taps.
(Smith 2012 p.39)
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FIGURE THIRTY-NINE: Aluminium Plate Rhythms, London 2014 [own photograph]
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RHYTHM OF THE STREET -------------------------------------------------------
FIGURE FORTY: Pound Texture, 2014 [own photograph]
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NEWSPAPERS HAVE SPENT CENTURIES REFINING THEIR DESIGNS, THOUGH PREVIOUSLY THEY WERE GOVERNED BY THE INNOVATION OF PRINTING MACHINERY. Today the limits of design have dissolved with the distinctions between mediums. This has caused a lot of chaotic graphic activity to be ‘depressingly common’ says designer Quentin Newark (2002 p.270), but most detrimentally these graphics ‘have nothing whatsoever to do with helping understand a news story or narrative’. The title of Newark’s article (2002 p.270) was most resonant in tackling the design of Chapters – ‘Least designed and most read’.
The clarity of design of Chapters aims to tell the story; visual storytelling and identity are of increased importance (Franchi 2013 p.143). Managing a consistent reading structure, whilst allowing for the digital atomisation of the content is one of the major challenges in contemporary design. Coherency was the key element stated within the initial hypothesis, however after acknowledging the contemporary consumer, it is naïve if taken literally. When it comes to the design of the content, Burgoyne (2014) expressed that the pace of a publication is the editors imperative. Such a pace must allow for different entry points as the readers journey is not linear like that of the pamphlet:
‘Most people will dip in and out, so you need a variety of ways to engage with the reader’ – Burgoyne’s (2014) emphasis on pace prompted reflection on the newspapers history. The newspaper has always been an integral part of the rhythm of the street, with the news literally being sung in the sixteenth century as it was passed from person-toperson in the market square (Pettegree 2014 p.10). The choice of content for the first edition of Chapters was also chosen with this in mind – Chapters needs to have an essence of the rhythm of the street, as both the domination of Poundland and the changing landscape of the newspaper industry are altering the pace of the pavement.
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FIGURE FORTY-ONE: Initial Mood, 2014 [own image]
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FIGURE FORTY-TWO: Mood Revisited, 2014 [own photograph]
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FIGURE FORTY-THREE: DIE ZEIT, 2014 [own photograph]
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The initial mood board of FIGURE FORTY-ONE developed into FIGURE FORTY-TWO as the content matured (the development is featured in the DESIGN document). With the content and the context in mind, the image, type, icon and texture were created using the approach of Richard Turley; content and design become one. The design lacks value when fussy or complex, as there is the potential to undermine the content. Adding to this is the need for clear navigation, as readers generally do not read the paper from front to back. The gap mentioned within the hypothesis has proved to be the result of change in societal habits, a decrease in free time and an increase in distractions. The approach to design and the weekend distribution aim to tackle such factors.
The design was equally influenced by DIE ZEIT, a German newspaper that approaches news design in the same vein as Turley- the design relates to the content. On page 22 of CASE STUDIES, DIE ZEIT and its supplements are looked at in more detail to analyse successful design features. Although Chapters has not acquired the volume of content as would have been liked, the design has used what was available to create an easy read that one could relax with at the weekend. The design of Chapters hopes to achieve radical clarity in design as a basis, to then use creative tools to market and brand the paper. THE RELATIONSHIP BETWEEN CONTENT AND DESIGN SHOULD HAVE UNITY.
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FIGURE FORTY-FOUR: LIDL, 2014 [own photograph]
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CHAPTERS, TELLING GLOBAL STORIES -------------------------------------------------------
THE MARKET PLACE [NON READERS]
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------------------ INFLUENCE ON DECISION TO BUY
CHAPTERS DESIGN
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CHAPTERS/ NEWSPAPER
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ADVERTISING -----------------------
DISTRIBUTION
RETAILERS
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CONTENT SPECIFIC MARKETING
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READERS
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CHAPTERS.COM
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--------------SOCIETAL INFLUENCE [INFLUENCE NOT FOR SALE]
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NEWSPAPER CLUB
RAW MATERIALS Interpretation of The Influence Model, Hal Jurgensmeyer, 1978 [Meyer, 2004 p.7]
NEWSPAPER CLUB LABOR
FIGURE FORTY-FIVE: Influence 2.0, 2014 [own diagram]
TAXES
OVERHEADS
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A PUBLICATION OF ANY KIND NEEDS A COVER THAT SAYS ‘I WANT TO HAVE A CONVERSATION WITH YOU’ (Paul 2014). Through dynamic covers, Chapters aims to achieve an engaging conversation with its readers immediately. Based on the outcome, and the landscape that surrounds the newspaper industry, a Chapters Influence Model (2.0) has been created as a way to inform the viable placement of Chapters within the overwhelming landscape of news. The Newspaper Club (Alderson 2014) has enabled the democratisation of the newspaper as a format, giving the opportunity to create Chapters. Though the printing of a newspaper still relies on vast amounts of resources, they are no longer a first-hand concern for those publishing a low volume product. The unfortunate consequence of second-hand production is that the potential for innovation is minimised. A design element that would have been effective would be to use a coloured recycled paper, like the Financial Times’ apricot tint. Nonetheless, through the textures created by the Poundland sign, the cover still has a presence in its design. This has also been tackled by creating a bookmark, as inspired by Mark Fishman (2014) and the Guardian Print Centres innovations. The removable piece would be used here as a way to create a keepsake, a little piece of art to persuade the consumer deliberating at the newsstand.
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FIGURE FORTY-SIX: P.E.A.R and Pound, 2014 [own diagram]
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The agriculture paper P.E.A.R inspired the design in how it used a circulating arrow design to give the paper a strong presence on newsstands (see page 28 of CASE STUDIES). Most of all, such design creates effective promotion tools – if the cover begins a conversation, the initial battle is won.
The first consideration before designing was at whom the conversation would be aimed at, and why (Frost 2003p.13). This is displayed within the MERCHANT booklet. Though established within the research document that Generation-Y are the reader, the outcome has also been guided by questionnaires, of which two (of fifty) of the most influential responses are featured within FIGURE FORTY SEVEN. At Sunday Papers Live the most specific line of questioning was asked. When responding to a leading question about whether Chapters would be of interest to them, two of the most critical participants wrote: “What would make it better than the Guardian, Sunday Times and the Observer?” “This doesn’t sound like news, which has no tidy narrative”
Both statements are true, provoking a change in the thought process to not try and be ‘better’ than the established papers, but instead to offer a contemporary alternative. Chapters has used its own tools for communication, however the outcome is not as varied or expansive as hoped initially, due to the small volume of contributors.
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FIGURE FORTY-SEVEN: Q’S, 2014 [own scan]
---------------------------------------------------------His reponse to the (leading) question of Chapters made me question what the project was aiming to achieve and where next to take it.
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An interesting point from this respondent is that he mainly buys the Sunday paper, but does not have a relationship to one, but instead looks at a selection - perhaps to see how they have differently cooked the same news stories.
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This respondent is far more critcal and focused - she ‘sometimes’ purchases a paper, but only the Sunday Times, both supporting the ‘Sunday package’ and the need to build a relationship - she clearly has a preference for the Times and therefore serious broadsheet journalism. When asking for an opinion, Chapters is taken apart curated is ‘inappropriate’ and it certainly was thought provoking to think that the news is schizophrenic - because it is, and not just a matter of presentation.
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CHAPTERS, Telling Global Stories
TELL YOUR STORY
CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERCHAPTERS CHAPTERS CHAPTER CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERCHAPTERS CHAPTERS CHAPTER CHAPTERS CHAPTERS CHAPTERCHAPTERS CHAPTERS CHAPTER CHAPTERS CHAPTERS CHAPTER CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTERS CHAPTER FIGURE FORTY-EIGHT: Chapters Online, London 2014 [own digital image]
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To ignore the digital landscape that has transformed and expanded the globe would be naïve of changing consumer behaviour. Therefore an online platform would promote the paper in a blog like-format with a scrolling navigation, whilst also borrowing the Mail’s successful side-bar format. The main aim of the website would be, like Burgoyne’s (2014) approach with Creative Review, to utilise digitals immediacy by posting additional content and inspirations so as to guide the next week’s paper. Using the sub-title ‘Telling Global Stories’ the online site will offer the ability for readers to tell their own stories relating to the current weeks. Thus creating a platform to build a community of readers engaging with the subjects and each other. It will aim to be entertaining, useful and non-promotional, particularly considering the initial building of trust surrounding the new service of news. The online site will have a consistent aesthetic as a foundation (as seen in the DESIGN book) that will then be tailored to the story of the week. This process of transformation will aim to be a key feature of the brand. Ultimately the outcome is a service for the ‘public intellectual’, engaged with the world, although perhaps disenfranchised. CHAPTERS OFFERS A SERVICE OF EXPRESSION, BOTH IN CREATIVE RESPONSES TO STORIES AND IN ALLOWING READERS TO TELL THEIR OWN.
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FIGURE FORTY-NINE: Standard Piles, London 2014 [own photograph]
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DISTRIBUTION -------------------------------------------------------
FIGURE FIFTY: Poundland + Chapters Bag, 2014 [own image]
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AS A LAUNCH ISSUE, CHAPTERS MUST ENTER THE MARKETPLACE WITH AUTHORITY. When it comes to making an entrance the evening standard knows how. Early afternoon, as was observed at Kings Cross, the heavily branded Evening Standard vehicles deposit the paper onto the street, literally creating rhythms on the pavement. The rushing commuter can pick-up the paper with ease. In the very nature of the paper, and the focus on a strategy that embodies the story, the first issue of Chapters will be distributed in pound shops as well as newsstands with a price of one pound. In order to get the attention of the consumer of Chapters, a Guerrilla marketing strategy would be put in place by placing advertisements of Chapters on budget store bags, as is visualised in FIGURE FIFTY. It is worth mentioning that the outcome of both the paper and package are prototypes and will need to be revised to achieve the said price and be financially viable. These bags would also be placed with the Poundland launch issue inside to sell, as well as an item from Poundland to add some entertainment value. The focus would be on newsstands in cities in the idea that the bag could be picked-up with ease to be read leisurely at the weekend. Though a costly exercise, this method of initial marketing and distribution would both utilise test marketing (Kotler 2010 p.63) to see the reaction from potential readers and build momentum around the newspaper. This is with a view to get the attention of possible financial contributors, having used Kickstarter to initially build funds.
Kickstarter would be the only platform to initially fund the venture, but if it were sustained would ensure a focus on quality over traffic (Meyer 2004 p. 39). There are also the practicalities that such a strategy and paper could not be achieved to such a standard every weekend, so it would need to be carefully organised. A launch timeline is featured in FIGURE FIFTY-ONE as a process to ensure that the paper is constantly ensuring the brand values are in place and the business is progressing. The timeline is a basic outline from January 2015 through to March 2015 to demonstrate the constant process of publication, analysis, reflection and refinement. There is every possibility that the paper may not persuade readers away from their handheld devices, however the launch timeline would aim to try and increase the desirability of the paper in its discerning selection of where it will be sold. The following issue of Chapters would be ‘Our Truman Show World’ referencing the 1998 film. It would look at the invasion of privacy as the world is digitalised and globalised, looking at the democratisation of publication, and much like the Poundland issue, delve further into issues of the global economy, capitalism and monopoly. Details for the weekend package would include instructions of how to set-up a television, as a way to continue creative details that communicate the story of focus.
This initially UK-centric approach would test the market for Chapters, before further plans could be put in place. The distribution and advertising of Chapters would constantly focus on the ‘public intellectual’ looking at current affairs, cultural and reader-specific content. In other words, as prompted by Burgoyne’s approach to Creative Review, Chapters will not aim for high volumes of traffic, but serve the particular segment of society; the thinkers, the makers, the readers. CHAPTERS AIMS TO INCREASE SOCIETY’S PERCIEVED VALUE OF KNOWLEDGE, THROUGH ENGAGING CONTENT ADVERTISED AND DISTRIBUTED IN INTERESTING WAYS.
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------------------------------------------------------------------------------------REFINEMENT
------------------------------------------------------------------------------------REFLECTION
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------------------PAPER 5.
-------------------
EUROPE, THE MODERN BRITISH EMPIRE
PAPER 6.
CONVEYOR BELT EDUCATION ------------------PAPER 7.
DAILY MAIL SOCIETY -------------------
OUR TRUMAN SHOW WORLD
ISTANBUL STILL CRIES GAS
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FIGURE FIFTY-ONE: Launch Timeline, 2014 [own diagram] REFINEMENT REFLECTION
ANALYSIS
ANALYSIS
THE BOOK OF FACES IS ABOUT TO DOES BRITAIN DIE NEED A CROWN?
POUNDSHOP TAKEOVER ------------------PAPER 1.
------------------PAPER 2.
------------------PAPER 3.
------------------PAPER 4.
PAPER 8.
JANUARY 2015
FEBRUARY 2015
MARCH 2015 PAPER 12.
------------------PAPER 10.
------------------PAPER 9.
WHITE CUBE ECONOMY
------------------PAPER 11.
APRIL 2015 REVIEW:
HAPPY MOTHER RUSSIA DAY
HAS TRUST FORMED BETWEEN CHAPTERS AND THE READERS? Further Notes: THE ORGANISATIONAL STRUCTURE WOULD INVOLVE THE SAME TEAM CONTROLLING BOTH PRINT AND DIGITAL SO AS TO CREATE A UNIFIED NEWS SERVICE - THE ONLINE SITE WOULD BE REFINED ON A DAILY BASIS.
THE DRONES ARE COMING
------------------GROUNDHOG DAY TELEVISION
THE STORIES ARE EXAMPLES, AND WILL BE CHANGED BASED ON SUBJECTS DISCUSSED ONLINE AND THE NEWS STORIES CIRCULATING AT THE TIME.
ANALYSIS ------------------------------------------------------------------------------------REFLECTION
------------------------------------------------------------------------------------REFINEMENT
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FIGURE FIFTY-TWO: Poundland Stencil, 2014 [own photograph]
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‘What is the good of your stars and trees, your sunrise and the wind, if they do not enter our daily lives?’ HOWARDS END (Forster 1910 p.135)
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THE FINAL CHAPTER
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IN THE TWENTY-FIRST CENTURY there is too much news, sold to us so frenetically that society as a whole turns to stars and consumer obsessions. Chapters aims to offer an antidote by reporting valuable news stories through the use of art and a focus largely on a particular story or theme. This offers an accessible and beautiful offering of valuable stories – and the understanding of them. CHAPTERS TELLS GLOBAL STORIES.
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THE FUTURE REQUIRES NEW WAYS TO EFFECTIVELY COMMUNICATE AND PROMOTE THE SEEKING OF INFORMATION, AND THE UNDERSTANDING OF IT.
------------------------------------------------------WE HAVE PLETHORAS DATA, NOW IT IS A MATTER OF DISCOVERING HOW BEST TO COOK AND PRESENT IT.
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TO PROMOTE KNOWLEDGE IN MORE CREATIVE WAYS WOULD BE TO INCREASE THE PERCEIVED VALUE OF INFORMATION BY SOCIETY, AND THEREFORE PROMPT MOVES AWAY FROM THE SUN.
------------------------------------------------------TO FOCUS ON PRINT AND ITS AESTHETIC VALUE AS AN ASPIRATIONAL TOOL TO ENHANCE ONES STYLE, RATHER THAN COMPETE WITH DIGITAL HAS THE POTENTIAL TO BENEFIT BOTH THE INDIVIDUAL AND THE SEGMENT OF SOCIETY IT SERVES.
------------------------------------------------------PROMOTING KNOWLEDGE THROUGH STYLE.
------------------------------------------------------THE REAL TASK LIES IN OFFERING CREATIVE STRATEGIES AS TO HOW TO IMPLEMENT CHANGES IN THE CURRENT LANDSCAPE OF NEWSPAPERS.
------------------------------------------------------THE AIM OF CHAPTERS IS TO COMMUNICATE NEWS STORIES IN A STYLISH PACKAGE
------------------------------------------------------CHAPTERS IS TELLING ITS OWN STORIES.
------------------------------------------------------THE RELATIONSHIP BETWEEN CONTENT AND DESIGN SHOULD HAVE UNITY.
------------------------------------------------------CHAPTERS OFFERS A SERVICE OF EXPRESSION, BOTH IN CREATIVE RESPONSES TO STORIES AND IN ALLOWING READERS TO TELL THEIR OWN.
------------------------------------------------------CHAPTERS AIMS TO INCREASE SOCIETY’S PERCIEVED VALUE OF KNOWLEDGE, THROUGH ENGAGING CONTENT ADVERTISED AND DISTRIBUTED IN INTERESTING WAYS.
------------------------------------------------------CHAPTERS TELLS GLOBAL STORIES.
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‘His reticence was not entirely the shoddy article that a business life promotes, the reticence that pretends that nothing is something, and hides behind the Daily Telegraph’ HOWARDS END (Forster 1910 p. 117)
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