ALIDA HUSBY BA (HONS) FASHION MARKETING & COMMUNICATION level 5 2013-2014 MIED 511
Communication techniques & strategy 2 Graphic languages Mauricio O`Brien
4. Brief 5. Introduction 6. Hypothesis 7. Frankie Magazine 8. Purpose 9. Diciplines & theories 10. “snap snap“ 14. Key elements 18. Fonts 24. Sections 25. Format 27. Formula 32. Frame 34. Function conclusion
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BRIEF The course focuses on building a set of research skills and tools, which will be identifying the different elements of graphic communication, the basic knowledge in branding, illustration, publishing and new media. The assessment will consist of developing a research that will represent the personal collection of any inputs; images, links or texts developed during the course, both in class plus personal contributions found through additional research. The written research must be 3500 - 4000 word minimum and include images. The project must be handed in a printed format (A4 maximum size), in addition it must include the digital file and PDF format short presentation (max 20 slides) with a visual resume of the research. (O`Brien, 2014)
INTRODUCTION Through the course of Graphic Languages thought by Mauricio C. O`Brien the industry of publishing as an element of graphic communication stood out as a topic of interest to me. Hence I chose to conduct my research upon an Australian magazine named Frankie. Throughout the project the disciplines, practices & theories related to visual communications, rhetoric, semiotics and linguistics will be used as a basis to analyze in-depth the before mentioned magazine. The three issues of Frankie (January/February 2014, July/August 2013 & November/December 2013) are the foundation, in which the research is built upon to conduct and compare a complete analysis. A set objective for this project is to find external and internal invisible connections and through those explain how a magazine can obtain information within its graphic language.
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HYPOTHESIS Frankie magazine utilizes a set of different graphic communicational elements to express identity, values and content. The specific symbols & elements used can be linked with a certain type of lifestyle and target audience. Frankie issues are all the same in key design features and elements.
FRANKIE MAGAZINE Frankie magazine is a bi-monthly Australian lifestyle publication, which was first published in October 2004. Today Frankie is an international recognized printed (and recently online) magazine owned by the Morrison Media publishers. I will focus my research on the printed version of the magazine, as I believe although technology is making greate evolution within the are of publishing, the traditional area is the primary foundation to understand before being able to go further in-depth into new publsihing techniques. The three images shown above portray the covers of the issues I used to build a research foundation to develop the basis of the assignment. They are all issues published within a year; hence the results of the research will supply information about their current situation. “Well, for starters. We’re cool but approachable. Inspirational, but accessible. We’re fresh, opinionated, quirky, creative and sometimes uncouth, but always individual. We are a niche-style publication with mainstream appeal. We are for music, for fashion, for crafts, art, life and laugh“ (Frankie_mediakit, 2014) As Frankie magazine celebrated their 50th issue being published in 2013, they launched a new style to their covers. It no longer includes photography, but focuses on simple expressive illustrations and minimal text. In 2012 and 2013 the magazine was awarded the title of “Australian magazine of the year“ (YouTube, 2014).
Today Lara Burke (creative director), Jo walker (editor) and Louise Bannister (publisher) are the leading responsible professionals for both the visuals and content of the magazine. Frankie magazine is unique in their obtained readership as well as their way of communicating through both visuals and content. The visuals will be seen throughout this assignment. The content and style of writing can resemblence a conversation. The reading contract between the two parts ask for a highly engaged readership. The writers use words as “we, think, believe, sure, you, feel, don`t you? “ to create a platform where it is natural for the readers to reach out and communicate. “frankie readers share an attitude, influence and discretionary income that make them a highly sought-after audience. they`re early adopters, forward thinkers, opinion-formers. they`re media-savvy, tech-loving, enthusiastic, street-smart, creative and bright. they`re the kids who are onto the latest thing way before the masses, seeking inspiration in fashion, music, art, design, photography and craft. they have a strong sense of style and independence. they`re young, brand-aware and incredibly loyal.“ (Frankie_mediakit, 2014) Frankie values include amongst others; authenticity, creativity, inspirational, vintage, community, individuality and quality.
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PURPOSE 8
The purpose of coursework 1 will be to apply the skills obtained through class participation, as well as independant research. The focus directed towards the tools and the significanse of meaning in graphic languages and graphic communication will create the axis, which this project will be built arround. In further detail the purpose is to shed light upon the function of a printed magazine (from the area of publishing) and how it is mergeing with design in order to send cohisive and clear messages and signs. Through the project it will be a goal to describe obtained knowledge of well established theories and concepts behind communication languages, select approriate visual techniques and concepts and adapt own preformance accordingly & possess a general comprehension of the communication environment. The project will also have the purpose of proving that a graphic language will show the mental process of design brought to reality in a tangible form, and as an accurate message in communication. Show how all technical presentaions are aimed to convey withouth ambiguity, the messages intended and leave no room for misinterpretaion or an inaccurate conclusion.
DISCIPLINES
& THEORIES
The diciplines and theories, which have been either consulted, drawn inspiration from or compared with the infromation retained from the analysis of the magazine are listed below: Semiotics, “the study of signs and symbols and their use or interpretation.” (Pedranti, 2014) Lingusitics, “the scientific study of language and its structure, including the study of grammar, syntax, and phonetics. Specific branches of linguistics include sociolinguistics, dialectology, psycholinguistics, computational linguistics, comparative linguistics, and structural linguistics”. (Oxforddictionaries. com, 2014) Rhetoric, “the art of effective or persuasive speaking or writing, especially the exploitation of figures of speech and other compositional techniques” (Oxforddictionaries.com, 2014) Graphic design, “the art of combining images and text elements in advertisements, magazines, or books.” (Oxforddictionaries.com, 2014) Visual art history, “the history of the expression of human creativity and imagination, in a visual form such as painting, drawing, photography, producing works to be appreciated primarily for their beauty or emotional power” (Esaak, 2014). Johannes Itten & color theory, “defining and identifying strategies for successful color combonations. Through his research he devised seven methodologies for coordinating colors utilizing the contrasting properties. These contrasts add other variations with respect to the intensity of the respective hues; i.e. contrasts may be obtained due to light, moderate or dark value” (Mykland, 2011). Psychology of pictorial representation, “classic study of image-making, explores old and new ideas on matters as the imitation of nature, the function of tradition, the problem of abstraction, the validity of perspective and the interpretaiton of expression” (Gombrich, 1960). Cognetiv & preceptual theories, (Larsen, 2010).
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SNAP-SNAP
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KEY ELEMENTS Colors and fonts
others regarding contrast, rhythm & feeling. (Mykland, 2011)
In the two previous pages named “snap snap“, which is a tool to express the general atmosphere of the magazine, the use of color is distinctive.
In order to analyze the colors individually and as a whole to retain meaning it will be divided into two subcategories: “Graphics and illustrations“ & “photography“.
The colors used in Frankie is perhaps the first graphic design element to differentiate itself from others. As seen on the next page the pallet shows some of the colors found in the magazines, such as pastels, earthy tones and clear primary colors. The use of color is different however when it comes to images, illustrations and graphics, hence it is important to understand that the pallet is just a visual aid and not a bottom line description. As seen through the basic color theories supplied by visual art lectures and Johannes Itten, colors are significant alone, but also in relations to
Colors and combinations can be used as elements to enhance, merge and create a graphical depth and assosiations to a design concept. The contrast between black and white is the most powerful contrast, therfore this is often used when it comes to textfont and background for main text. Complementary contrast can be used to enhance or break up a composition. See page 17 (woman and drawers), the red and green colors creates a contrast and vibrence. The contrast draws the attention of the eye straight to this point and therfore also the woman in the front of the image.
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Graphics and illustration: The colors seen in the magazine can be related to many concepts, some being “happy colors“, “soft colors“ & “earthy tones“. Happy colors are the stronger more vibrant colors often warm (yellow, read and orange). In Frankie magazine the happy stronger colors are mostly used in patterns (which is a huge part of Frankie)
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As seen in the images given as examples to support this statement (see to the right), it becomes clear that the happy stronger colors are often merged with others to create contrasts (complementary & light/dark). The first image shows how a shade of orange and blue together create a vibrant pattern. Blue and orange, purple and yellow & red and green are the complementary contrast combinations. Red, blue and yellow are primary colors, whilst green, orange and purple are secondary colors. (Mykland,2011) The combination of colors (in addition to shapes) can be associated with the retro style and therfore with the 60s & 70s. Hence this particular use of color and combination can signify nostalgia and comfort to the old days, in addition the use of such colors can help direct attention and flow of the page. (Mykland, 2011) (Pendranti, 2013)
Soft colors or pale colors obtain higher levels of white and therefore has a soft, innocent & comforting look. As seen here on the image to the right the color pink in two shades is combined to create a geometrical pattern for the background of the “Frankie bits“ section. The two shades of pink work together and create a light/dark contrast, however since it is the same base color it can be considered a subtle background that emphasizes the products shown. In the example one can also see the use of white background for selected texts and images, which is a tool primarily used in order to avoid the content being “lost“ or to assign extra differantiation. The next example, which is a handmade watercolor illustration, can be categorized with soft coloring.The technique of watercolor allows the background to shine through if desired and this creates a sheerness to the illustration. In Frankie, watercolor is the primary technique for illustrations and they are delicate and light. It is visible to the viewer that the illustration is handmade, the flow of color is visible (not a densed filled shape). In the leaves the background is used as an element to enhance the lighting and shadows in the drawing. The sheerness of color and use of background as lighting makes this illustration more 3D than the vector geometrical strong patterns seen below. The last illustration on the right side is a flat graphical vector illustration, which combines the concepts of earthy and pale color use. It shows that the colors in Frankie magazine are not limited to one style of patterns, illustrations or one style of graphics, but is it is rather mixed and crossed to develop new and exciting imagery. The grey-brown color represents the earthy tones, whilst the cold mint expresses coldness, fresh and winter. The illustration as a whole expresses a soft look, with low contrast, hence the eyes read the illustrations through following the shapes and not the contrast of color (From top left corner and along the road). (O`brien, 2014) (Mykland, 2011)
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Photography and photos:
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Photography is a main part of Frankie`s visual identity (equal of perhaps more important regarding the composition and grid). Hence photos are a key element to develop a research about. They style and alterations made to the images are similar in most and affect the colors greatly. As seen on this double spread these nine images has certain similarities. The use of saturation and filters to infuse external noise creates a characteristic look, related to old imagry. (Mykland, 2011) Although the images are high quality and digital they are altered to resemblance the images created by analogical cameras from the past. The colors in the images therefore become more saturated, and soft in their expression. The earthy and dusky colors make the images look vintage, although they are not. In few images the contrast between colors is allowed to remain natural (seen in the second image in the top row), but more images fall under the same genera as the image in the bottom row to the left. The colors are calming and it creates an interest in the images, and therefore it can be studied for a longer amount of time.
Text in image breaks are eye is automatically displayed.
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FONTS In Frankie magazine (besides the use of handcrafted & customized fonts) there are four main typeface-families used; Courier, Futura, Quicksand & FF DIN. Out of these four, DIN is the main font for primary text and Quicksand for headings .
Courier
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The typeface family named Courier & Courier new are both monospaced
Normal
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slab serif typeface. The courier fonts are mainly used in the promotional sections of Frankie. The creator (Howard Kettler) designed the font in
New
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1995. The font can be directly related to the style of a typewriter. The function related to the use of this font is primarily the assosiation
the assosiation obtained to the “typewriter“, which may continue the semiosis process and lead to other associations and signals like vintage and 50s. Another function the use of this font obtains, is to seperate clearly the different sections in the magazine. (O`Brien, 2014) (Rowe, 2013)
Futura The font named Futura is a san-serif typeface. It was designed by Paul Renner in 1927. This particular typeface was developed in close relation with the Bauhaus and International Swiss movement and geometrics. This font is therefore directly linked with the straight, clean structure regarding photography inside format composition in certain sections. For example the travel guide. The font is present in the magazine only in small sections and areas, and mainly used in the beginning of the magazine where the information and contact-page is, as well as in advertisements. (Rowe, 2013) (Mykland, 2011) (O`Brien, 2014).
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Quicksand
Bold
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Dash
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Light
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This font-family is relatively new (designed in 2011, by Andrew Paglinawan). This font is one of the most used throughout Frankie, except FF DIN. It is used for the single page headings in “Light“ and for image captioning headers & quotes “Dash“ is used. (Mykland, 2011). The typeface is san-serif and has a contemporary, soft and playfull look. The dashed version can resemblance the technique and look of hand-stitching or the “cut-here“ lines found in scrapbook templates.
FF DIN The typeface FF DIN was designed by Albert-Jan Pool in 1995. It is an open type font that includes both lining figures and odstyle figures. (Identifont.com, 2014). The fontfamily FF DIN has 20 weights varieties ranging from FF DIN light (which is used for the primary text elements within Frankie) to FF DIN condensed Black Italic. As stated by FontFont.com “The typeface has pervaded corporate and publication typography, and found its place in posters of cultural institutions“. The function and benifits obtained by utilizing this typeface for Frankie magazine is a clean and modern look. (Fontfont.com, 2014) The typeface is ledgable and stylistic. Although the main text throughout this assignment is written with the FF DIN Regular, the one applied to Frankie is Light. Frankie also uses the different weights as a way to devide text and importance of elements. For example in the short articles the main text is “Light“ and the first paragrahp is “Regular “ (See page 11, image 3).
Regular
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Overall function of typefaces and their combinations The combination of the previous discussed four main fonts in additon to the handmade and customized typefaces (including illustrated etc.) send and convey a professional, yet homemade, warm and soft feeling. The use of different typefaces in different sections makes the division more clear to the viewer. Frankie manages to merge the concepts of handcrafted with modern in an elegant and unique way that reinforces their messages and values.
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White background to emphazise and separate sections. Can also be related to the cut and paste old school graphic design that resemblece scrapbooking.
Quicksand “Dash“ typeface.
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Background pattern goes all the way to the edge.
Quicksand “Light“ typeface for long headers and captions underneeth. It is aligned to the center.
FF DIN all caps (bold and light) aligned to the center, which creates a balance in the otherwise empty page.
Quicksand “Dash“ typeface for qoutes.
Text is written with FF DIN. Here: light, but also in other variations of the font. Dense and aligned left. Leading aprox. 10
Typeface ZapfDingbats (the symbol signifies end of text)
Typeface Curier for the promotion section.
Typeface Curier New for the promotion section.
Background color (Pink). Makes the piece more seperatd from the other.
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Typeface handwritten scrip. This pages shows the introduction to the section of DIY herbs and plants, hence the typeface is appropriate (linkes to the aspect of creating something beautiful from scratch.
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The categories found in the lifestyle publication (Design, art, photography, fashion, travel, music, craft, home and life). Alle the categories concern creative fields. This is handwriting (it is uneven and same letters have minor differences).
This magazine cover has titles like “DIY space exploration “, on the cover, which are also handwritten. It can be said that the titles on the cover are light and delicate, they are there for the people who seek to read. Newer editions of Frankie do not have titles on the cover.
The logo The logo of Frankie magazine is aligned to the center on the cover. The name “Frankie “ itself was chosen to be suited for both females and males. As stated by the founder of the magazine “we thought Frankie was a cool boys and girl name. It is unique and fresh.“ (YouTube, 2014). The logo is bold, white, san-serif and no caps. As seen the logo is simple and customized for Frankie. The letter “e“ is rotated to the left 30%, which is the main characteristic of the logo. It is places in the same position on all covers.
Size: 270 mm X 210 mm The magazine is smaller than an A4 page. The cover and back paper is 300gr matt-heat-laminated paper, whilst the inside paper is textured matt 150gr paper. This cover along with others do not have any titles, it remains simple, minimalistic and clear. The magazine uses the technique of perfect binding.
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SECTIONS All issues of Frankies have the same sections, as listed below, however not in the same order.
24 First thoughts
Arround the world
Your say
Meet the elders
Frankie bits
Promotion
Look at this
Pretty pictures
Something to say
Mind your business
Piece of me
Crafty
Creative people
Mantelpiece
Music talks
Road test
Good people
Arround the house
Experience
Your business
Rant
Writers’s piece
Learn something new
Know your retro
Fashion editorial
What a good idea
Looks we like
Roadtrip
Try this at home
DIY
My project
Head in a book
Silver screen
Our project
Style
Bye bye last page
FORMAT seen on the first image on page 20 the captions are in the Quicktime Dash font. The captions As seen on the previous spread the Frankie logo either is the name of the product, explain the is quite simple in design, however the function product, name of the designer or a cleaver twist of a logo is still quite complex. A logo is a symon words. bol that identifies a company or brand. The logo represents the “Frankie brand“ and is a part of Another form of image captions found in the Frankie`s visual profile. Any logo must be cohemagazine can be seen on page 16 (bottom row, sive with the values and identity of which it shall far left). This caption is simply a way to break represent. In the description of Frankie a few up the image and force the eye to move towards key words can be found and linked with the acit. The information there is mainly the name of tual design of the logo. Cool, yet approachable, photographer and name of image (other credits fresh and quirky with a mainstream appeal. relevant). (O`brien, 2014) Since the logo is san-serif and bold it is approachable and attention-grabbing. The quirkThe sub-headers of the articles in Frankie are a iness can be found in the twisted letter “e“ and merger between a sub-header and caption and the fresh and coolness in the minimalistic white therfore it will be explained here. They are often design the logo has. On the covers of Frankie descriptive and give a general overview of the the logo stands out as the background is often a articles content. In addition they are often colpattern, solid color or illustration. ored and ignoring formal writing rules (capital letters). See image 7, page 34.
Logo
Size of the magazine
The magazine measures 210 mm x 270 mm, making it a bit smaller than an A4 page. This helps with the mobility of it and supplies information towards the usage, hence where it will be read. It is an easy size to bring along and therfore, it can for example be taken along for travelling and on-the-go situations. However the paper and it`s thickness sugests that it is a indugense read, hence it might equally often be read in the home of the readers.
Captions In the section of the magazine named “Frankie bits“, which tells about products and new things that they believe their readers will be interested in. The section is basically divided into five images on one page, each of the images is accompanied with a caption and a text explanation. As
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FORMULA Frankie magazine focuses on both visuals and content. It is a magazine made for the equal minded of the creators, it was stated by the founder (YouTube, 2014).
Articles in the magazine The different types of articles take advantage of different graphical and visual tools to differentiate in order to make it clear to the reader and visually show that the articles are not all equal. Interviews are divided into small paragraphs with aproximately 6-8 lines in each, and the questions or statement, which the interviewee answers too is always in bold (Se example on the left page). The writer`s piece as well ass the promotional section has a colored background (yellow in Frankie # 56) and the font typeface Curier & Curier new, in addition the use of three columns instead of two . Other type of articles found in the magazine are profiles, travel guides, tips & recomendation
Lenght of articles In relation to the different types of articles present in this magazine the length of articles change accordingly to what type they are. The shortest article is one page (sometimes including images, sometimes not), while the longest articles measure 6 pages. As will be seen in the composition, grid and margins “a page“ in Frankie is not similar to a page in any another magazine. The graphic language and way off communciation makes a difference and the amount of text within Frankie is not equal to the amount in for example Vogue.
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First section & last section
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The first section of the magazine as seen on page 24 (overview of sections) is called “first thought“. It is Frankie`s answer to an editors letter. The first image on the left is an example of this particular section. In all issues of Frankie the set up of this page is equal. The background is a pattern. There is a textbox with a white background. Quicksand and FF DIN light typefaces are the fonts used. The Quicksand typeface with dots is a customized font for Frankie. Around the white textbox there is a dashed 1 pt. frame. This frame is quite interesting and it is repeated in the section of promotion and is a unique graphic tool. It can resemblense the stiches done when sewing or from a pattern, where it is the template to cut. This page is the only section of the magazine where the background pattern respects the margin, creating the white boarder arround. The primary text is also aligned to the center. The last section is named “bye bye last page“ and the naming itself signifies that this is the last page and section of the magazine. In the image which can be seen on the opposite side it is a picture of a potato and the text is directed towards DIY. It is a short interesting article to leave the readers hungry for more, however the function is also perhaps to reinforce the most common indside composition and content.
Photograph style Within the color section the elements of hue, color & contrast in images are mentioned briefly, therefore this section will go more in depth on composition, depth, balance, angle and salience. On the right hand side are 4 images from different sections. The first visible connection between all the images is the level of visible static set-up. The images telling a story (four top ones) are medium/long shots (they include some of the surroundings and environment in the image and therefore the setting. When it comes to these images the point of view is lightly above the image, also known as bird perspective. The salient element in these photos are the people, they are positioned in the front and engage in an indirect or direct eye-contact with the viewer. The use of the 2/3 makes the salient more clear. (See image 1 & 2 on this page). In the two top images there is an invisible diagonal line from abov the persons head following the sight of the person. Color, image and layout determine what is the salient. In the 1st. image the warm/cold contrast in the wall creates a vibrancy in the image and the eyes of the viewer is directed to look ta it longer to comprehend the image information. (Larsen,2010) The body language display in the chosen examples is open and relaxed. The people in the images seem content and comfortable. Symbolism is a tool in photography, which can be visible or invisible to the viewer. The difference between the conscious cognitive functions and subconscious functions can read different information and what one sees is accoring to how it is read (preception). The woman standing in image 4 can be an example to symbolism within the photo. The drawing she has behind her head can be seen as something more, it can be interoperated as a crown, hence symbolizing glory or authority. Image number five is quite different than the others. It is part of the fashion editorial section of the magazine and shot birdview. The salient is the glasses/bracelet due to the contrast. In the landscape images have a depth and showcase details. (Rowe, 2013)
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Illustration style As stated before the visual elements are highly important to Frankie magazine. It is a big part of their identity and image, so therefore illustrations are equally important as images.
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The main used illustration style is watercolor, however other styles and techniques like flat graphic vector design, line illustrations with high contrast or pencil drawings mixed with watercolor. To the right there are five images of illustrations. The first illustration is aquarelle, the second pencil and computer, third image is also watercolor, but a bit less realistic and more dense. The fourth image is from the section in the magazine named “road test“ a regular section testing different products, but instead of using pictures they use watercolors. This takes away some of the corporate feeling and infuses the delicate and light nature of the watercolors. As seen in the art period of the Impressionism the artists felt they could create something that had additional value to what a photo would do (capture the reality). There is a way to express something more than what a camera knows. The colors used in the illustrations are softer and relates directly to the feeling, pallet and art created by the impressionists, like Monet and Degas. The third image is perhaps the one to differentiate itself furthest from the “stereotypical” genera of illustrations used. More abstracted and techniques or perspective and depth is not followed.(Mykland, 2011) (Rowe, 2013)
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FRAME
Composition & Grid
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The composition also known as the placements of different elements (in Frankie) is planned in detail. The magazine is spacious yet structured simultaneously. This is developed through the composition & Grid. The use of large white areas lets the pages breathe and the text which, is quite dense becomes a part of the visual impact. The composition follows mainly the theory of international Swiss style, where all elements has a place in relation to the rest (Nothing is put at random). The one page articles composition is divided in two horizontally, where the top is either an image or white space, whilts the bottom is two colloumn text. However Frankie also utilizes juxtapositioning in the section of “Frankie bits“. The frames, texts and images are not aligned and following the concepts of International Swiss style. The juxtapositioning creates a contrast between the different elements within that page, and also other sections. The name “bits“ is showd clearly within these page designs, where the flow is easy, and the eye follows “bit“ by “bit“ (“element by element“). Normally a magazine is likely to rely on one grid where the grid lines and guide lines baseline-grids, margins, columns and gutters are designed to create solid visual and structural balance, however it can be said that Frankie magazine relies on more than one (or chooses to break the grid depending on the article). The function of this can be that the magazine wants a more handmade feeling to it, hence develop the design based on what each piece needs to be aesthetically pleasing to the eye. Therefore I will explain the main different types
of compositions they are using. Story based articles have two text columns and the composition with two columns is most common. “Road test“ or intormative articles use four columns. The reason for both not being part of a four columns grid (and the pages with two text columnts filling two) is due to the gutter-space differing between the columns in each versions.
Inside formats The inside formats refers to the use of columns, & fonts (previously discussed), flow of composition within a page & space, alignment of text and the relationship between images/visuals and texts. The inside formats are differed depending on the type of article. However some main elements factor in all different sections. The safe margins; all text is placed within the safe margins unless it is a page with a background/pattern-illustration or advertisement (then it fills to the edge). The inside formats are spacious. The primary texts are aligned left, however the headers and sub-headers (also the ones placed on individual pages before the longer articles) are mainly aligned centered horizontally. The headers of the one page articles break with the grammar rules and follow design over grammar (ignore the use of capitals and punctuation). In addition the captions are colored. The relationship between images and text is balanced, this because the text itself becomes a element of design when given much white space and density. Visuals and text have a more of 50/50 importance relationship. As seen on the two next pages there are
choicen example of the different inside formats that have been explained. The text and images breathe within the margins. This is a clear designed element to have the magazines content flow throughout and have a main structure, in spesific since there different compositions and usage of more than one grid. (O`Brien, 2014) (Mylkand, 2011).
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Competitors Frankie magazine has no direct competitors, however the magazines; Lula, LOVE and Betty are indirect competitors. They target the same type of audience, however not with an exact similar product, they are more directed towards style and fashion. And Frankie is a lifestyle magazine.
Lula is quite simple a beautiful, British magazine. It’s for girls who love the quirky side of fashion, photography and style and it’s one of the most stunning products we sell. The publisher is using words like ethereal and whimsical and who are we to disagree. It’s highly collectable and sometimes hard to find, but we think we have the best value subscription of Lula in all the land (whether you are in Japan, the USA or Australia or the UK). (Newsstand. co.uk, 2014)
Love Magazine is a full on inspirational brick of a magazine from the former editor of Pop magazine. It’s only twice yearly and the current issue has 2 different covers - get in touch by email or phone to let us know if you would like the Kate Moss or Carla Delevingne cover. Taken from the promo : “Fashion is part of a creative cross-cultural dialogue and, for this reason, LOVE opens its readers to the most exciting developments in music and art as well as fashion to reveal the shape of tomorrow’s aesthetics in its purest form.” (Newsstand.co.uk, 2014)
Beautiful design, gorgeous imagery, high production values and fascinating content meet in this rather wonderful biannual publication. Betty is an absolute treat of a magazine. This exquisite ad-free mag is perhaps best described as a lifestyle publication, featuring things to do, make, eat and wear (though not all at once). It offers plenty of fashion ideas, outside activities, helpful and friendly advice, lovely artwork and photography desirable products, beauty, crafts and delicious looking recipes. It has an undeniably British air about it, with more than a hint of the mid20th Century – muted pastel colours and understated yet stylish design. (Newsstand.co.uk, 2014)
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FUNCTION
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& CONCLUSION
The aim of Frankie is to create a highly valued magazine that supplies and interacts with its audience in order to inspire. Their aim is to merge old and new, trendy and nostalgic, be individual and make sure that their readership understands they are valued and appreciated.
I found it intriguing that such important connections are not discovered right away, however after analyzing and additional research it becomes very clear and may have supplied some answers to why people like this magazine.
Through this analysis, to develop a graphical language understanding messages found are:
Frankie uses different graphical communicational elements from illustrations, to fonts, photography etc. to create the signature graphic language seen in their magazine. Their graphical language is cohisive with the values mentioned in the introduction. The quality is seen in the thickness of paper. The individualiy, which can be assosiated with the concepts of indie and hipster is seen throughout the use of color and merging different styles.
- “We are creative and so are you“ - “Discover what the world has to offer“ - “Be inspired“ - “Let us take you on a trip to dreamland“ - “Nostalgic with a dash of modern is for dessert“ - “Local, culture and indie is appreciated” - “Be yourself, be individual, quirky and whatevery you may be“ The factors that affect the style are many, however the key ones are the use of graphical patterns that signifies retro & chick, their illustrations (and the amount of it), the combination of handwritten fonts merged with stronger geometrical san-serif fonts. Another key element which contributes to their special design is the old-school “cut & paste“ look. This can be seen in many areas of the magazine, but particular in the “Frankie bits“. With the cut and paste look it can immediately be associated with arts and crafts (One of the magazines great passions).
This language is the way for Frankie to be unique and differentiate themselves from other similar magazines, such as Betty, LOVE & Lula. Through their graphic language they are able to send messages and information that perhaps one is not conciously aware of, but it is still being processed by the ones sub-concious. Their values, identity and content are one with the graphic language and their way of communicating (Visually and written).
Symbols such as flowers that are repetitive in their issues enforce ideas of something innocent, free & delicate. It is interesting to see how the graphic elements have many layers of sub-meaning that can be decoded according Invisible connections can be made to the art to a specific time and place, hence the graphperiod of impressionism and the art movement ic language and visual communication may of Bauhaus and International Swiss, but as develop different meanings in different places. mentioned one of the most significant invisible Frankie uses the same key design features in connections hidden in the graphics and visual all issues, however when the company pubelements is the link between their layout, com- lished their 50th issue, a change in the cover position and most in general to the scrapbook- was created. Now it only has illustrations as ing, old-school graphic “cut & paste“ look and visual elements in the cover. crafts. The uniqueness of the niche lifestyle publica-
tion is also obtained through local and independent content and contributors. Frankie through their publication supply a platform and community with focus on the creative small souls in the world. The graphic language developed and used by Frankie can be applied to other types of companies or communicational efforts. In specific those with a niche scope that are targeting young women (and men). Olivia Burton is a watch company from London and Alice McCall is a designer from Sydney who I believe would benefit form applying some of the elements in Frankie’s graphical language. The one benchmark that Frankie could look to for ideas of improvement in my opinion is Offscreen magazine regarding their advertisemetn. The need for advertisement to continue in a world constantly becoming more technical and online is understandable, however Offscreen magazine has found a solution to this that still keeps the design and graphic language of the magazine uninterupted. The companies who wish to advertise in Offscreen magazine must agree to that the advertisemetns will be designed and created by the art directors and visually responsble. This could rise the exclusivity of Frankie even higher and make it more unique. It reinforces the values of caring for their readearship. As seen in the use of white spaces Frankie has a calming rythem and flow, that is adapted to the audience. Through changing their full-page and half page advertisemnts (not promotional sections) into ones designed by the creatives of the magazine it would not only be more cohisive, but the companies advertising would perhaps gain a better result as the audience would spend more time reading and looking at them.
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