Emily Chaffer ec256366 OUIL401 cop essay

ec256366 – Emily Chaffer OUIL401 Context of Practice Essay

Word Count: 2599

What is the role of print in the digital age?

The ‘Digital age’ describes the current period of digitalised information, produced by a shift in use from analogue to digital technology. In this essay I will evaluate to what extent magazines may have been impacted by this technological innovation, and the role they therefore now play as a form of mass communication. I have particularly chosen to look at magazines, as I believe, due to their longstanding and unique relationship with readers, they have had perhaps one of the most interesting transformations within the context of print media. As this new age of fast and free information has pushed this industry to reinvent itself, and as some argue enter into a ‘new golden age’ (Leslie, 2013) of print.

The death of print was a fear that spread through the magazine industry in response to developing technologies. It seems that with digital media providing ‘information faster and more cheaply’ (Jamieson, 2015), ‘prints role as information giver is redundant’ (Jamieson, 2015). As we become further accustomed and reliant upon technology, Burrell would argue we are raising a new generation of ‘digital natives’ (Burrell, 2014), to which ‘magazines are now useless and impossible to understand’ (Burrell, 2014). This argument can be supported by the Youtube video entitled ‘a magazine is an Ipad that does not work’ featuring one year using both a tablet and then a magazine – the toddler works the tablet perfectly but becomes confused with the print magazine starting to interact with it as if it where a digital device, touching and swiping the surface. It would therefore seem valid to consider that print publications may become redundant, as we enter a period when people are more familiar with accessing information immediately and online.

The tablet was the first viable option by which to create and distribute digital content alike to that of a print publication. Before this, other methods in which to generate revenue from digital publishing, such as pay walls and online advertising were limiting and rarely successful (Preston, 2015). The tablet produced a comfortingly familiar business model for publishers as ‘apps were seen as the digital equivalent of printed magazines; they could be sold singly or as part of an on-going subscription’ (Leslie, 2013). These new devices were also best in replicating the experience of printed magazines - handheld and extremely portable - one could argue that they offered the compatibility of print with the advantage of more content.

Bemer (2013) and Leslie (2013) both argue that the level of interaction and sharing these new apps offer is highly attractive, and will be ‘a key factor in the app’s success or failure’ (Leslie, 2013). With the release of the tablet, Sports illustrated and Mag+ produced videos demonstrating the advantages of their new magazine apps. These showed an enriching experience of reading digital content - being able to select different methods of navigating through the publication, sharing content with friends on social networking sites as well as switching between videos, text and photographs with ease. Therefore one could argue that these new apps offer a reading experience far superior to that of print.

In dispute of this Hinde and Ann highlight the merits of print, which cannot be replicated through technology – such as the importance of ‘visible ownership’ (Hinde, 2014) to readers, as different publications can reflect ‘your taste, and cultural values’ (Hinde, 2014). Ann (2014) claims that there is simply a ‘desire for physical objects’ (Ann, 2014), not only in terms of ownership, but also in the value of physical interaction you can have with a printed magazine – cutting and folding the pages. Lizz Ann Bennett – co-founder of Oh comely magazine – similarly feels that ‘sometimes it nice to do more than click and swipe’ (Jamieson, 2015).

There is also something about a magazine capturing the essence of a certain time and place, that, in addition with the beauty and high quality of some such as I-D magazine, makes them a highly collectible item.

In evaluation of the disadvantages associated with digital publishing and magazine apps, it would seem unlikely that they could adequately replace print publications. Leslie (2013) highlights that using these apps leads readers and designers to compromise on visual and

ec256366 – Emily Chaffer OUIL401 Context of Practice Essay

Word Count: 2599

physical quality, as well as deal with ‘uncustomizable’ and ‘rigid navigation’ (Leslie, 2013) structures. The fundamental properties of a magazine are to provide a pleasant reading experience, as well as a ‘visual character’ (Leslie, 2013). This individuality is partially lost on digital publications as the ‘backlit’ screen of a tablet ‘lacks the inherent subtlety of print that clarifies visual hierarchies on the page’ (Leslie, 2013). Another factor to consider, one that was experienced by Scoot Dadich (2013) in the making of the wired app, is the conflicting politics of the technological world as companies such as Apple and Adobe fight for control of the industry. This leads to constant technological development - exciting yet maybe an added concern when it comes to investing in an app. It is possible to argue that the digitalisation of magazines could mean publishers would constantly have to playing catch-up with technological innovation – leading to less focus on the quality of content and visual design.

According to Leslie (2013) ‘fundamentalists from either side of the print-digital divide will tell you that app magazines are doomed to fail’ (Leslie, 2013). This seems a valid argument as apps can provide a really exciting new way to view content, but cannot yet replicate the experience of print to a high enough visual or physical standard to seem viable or attractive to many designers and publishers.

One may also consider that print will not die, or be replaced due to the personal preference of magazine readership. Digital technology is increasingly becoming a constant of our daily lives, and whilst there is benefit in the accessibility of information, some find this close relationship very jarring. Bemer argues that print magazines will remain relevant as they provide a ‘brand you can understand and trust’, in the face of ‘a tsunami of content coming at the consumer’ (Bemer, 2013). Steve Watson (2014), founder of stack, poses the argument that the common presence of computers and trading of information digitally at work means people ‘respond to the idea of being away from the screen’ (Watson, 2014). This is supported by Lizz Ann Bennett – co-founder of magazine ‘Oh Comely’ – who believes that reading a magazine provides a valuable period of time in which you are fully ‘disconnecting’ (print is dead) from the digital world. This seems to not only be valued in the reading of print, but in the making of it too as Burrell (2014) argues that young creatives are reverting back to ‘old craft skills of print production’ (Burrell, 2014) because, as agreed by Simon Hinde (2014), the unfamiliarity of these techniques makes them new and exciting.

There are many arguments as to why print is not threatened by the emergence of digital technology, therefore we must question why ‘since the early 1990s, we’ve said goodbye to many of the magazines that once defined the newsstands’ (Jamieson, 2015) – titles such as ‘Easy living’ and ‘CosmoGirl’ closing down. Doic (2009) claims that ‘using advertising as the primary source of funding’, ‘is what is broken’ (Doic, 2009) currently in the magazine industry. This is supported by Mary Bemer (2013), president and chief executive officer at the MPA, who identifies ‘an advertiser perception problem’ (Bemer, 2013) to be causing the current decline in print publications. She strongly argues that it is not a result of decreased readership – evidencing numbers such as 91 per cent of adults, as well as 96 per cent of 18-24 year olds, all valuing print over digital (Bemer 2013). This may be contradicted by Jamieson who attributes decline to digital technology arguing that it has caused both ‘readership to shrink’, as well as cause ad pages to decline as ‘advertisers can reach that readership somewhere else, somewhere cheaper, more direct and more measurable’ (Jamieson, 2015).

There is evidence to suggest that the digital age has led to a lack of interest in magazines, as we would have once known them, both in terms of readership and advertisers. Despite this, however, Jamieson identifies that ‘the number of titles on offer has never been greater’ (Jamieson, 2015). This is due to ‘a new generation of independent mags’ (Jamieson, 2015), that in their innovative approach to funding, distributing and designing their publications are now thriving within this digital age. Doic (2009), likens this rejuvenation of the magazine industry to the emergence of art movements such as impressionism, cubism and surrealism after the invention of the camera – arguing that ‘Digital media, social or otherwise, won’t completely replace print media. Print media will evolve’ (Doic, 2009). This is may be

ec256366 – Emily Chaffer OUIL401 Context of Practice Essay

Word Count: 2599

supported by Leslie (2013) who argues that this emergence of independent publishing is ‘a response to the challenge of the internet’ (Leslie, 2013), as designers reinvent magazines into something that digital technology cannot offer or therefore threaten. It may also be argued that this is not only a response, but a result of digital technology as ‘digital has created a demand for something slower and of higher value’ (Jamieson, 2015).

The success of these independent magazines heavily relies on the revolutionary way in which they have chosen to fund and distribute their publications. Unlike big publishing groups, they do not rely on advertising, ‘ads are either minimal, carefully curated, specially created or completely absent’ (Jamieson, 2015). According to Leslie (2013), it is the advantages of the digital age that has allowed these indie mags to remain independent from advertising, their reach drastically expanding since the arrival of the Internet, as it can be used to internationally promote and distribute their magazines. Social networking sites such as Facebook and twitter ‘help promote them’ (Leslie, 2013), and online shops such as Big Cartel and Shopify have ‘revolutionised distribution’ (Leslie, 2013), giving these independents ‘direct, international access to online sales’ (Leslie, 2013). As the content of these independent magazines represent a certain niche market or trend, they are also easily featured in ‘clothing interiors of concept stores’ (Jamieson, 2015). Many have also eliminated the limitation only remaining sellable for a month or week, like the glossy titles, by ‘filling their magazines with timeless content that doesn’t date’ (Jamieson, 2015).

The physicality of a printed magazine is something that digital will never be able to replicate.

At the root of many of these independent publishers success, is their designers experimental approach towards the physical properties and appearance of their publications - pushing the boundaries of what could constitute as a magazine.

T-Post is a prime example of this - each of their issues printed on a t-shirt – an article on the back, and an illustration to reflect that content on the front – and delivered in a small slip with the same article inside. It would seem easy to argue that this is not a magazine, so foreign to the usual glossy covers we seen on the newsstand; however the definition of a magazine – ‘a periodical publication containing articles and illustrations, often on a particular subject or aimed at a particular readership’ – would completely disputes these doubts, as each t-shirt follows this description. The whole premise of producing a magazine as a product, that people can wear and continually enjoy in a highly functional manner is a highly innovative and produces a very successful business model (reference). T-post generates revenue through subscriptions as well as through selling limited editions of their issues on their website and in specially selected stores. The desirability of these magazine issues is not only emphasized through the brands focus on ‘exclusivity’, but the designs and illustrations on the t-shirts –

ec256366 – Emily Chaffer OUIL401 Context of Practice Essay

Word Count: 2599

attracting consumers on the basis of the magazine content, as well as simply a visually pleasing piece of clothing.

These independent publishers are not only challenging our preconceived notions of what a magazine should be physically but also the limitations on what they may discuss. Many have started to create content that ‘reinterprets traditional genres’ (Leslie, 2013) and ‘challenges conventions’ (Jamieson, 2015). It seems that readers have grown bored of the glamorous and unachievable articles of traditional glossy magazines, leaving those who are ‘stepping away from the usual portrayal of their subject’ (Jamieson, 2015) to be highly successful.

‘Oh Comely’ is a prime example of a publication that has achieved success through reinventing traditional genres, in this case woman magazines. They have moved away from ‘clichés of women’s publishing’ (Jamieson, 2015), and created something that Leslie (2013) believes to be ‘a far broader and more realistic concept of modern womanhood’ (Leslie, 2013).

Jamieson (2015) argues that the key to their success, as with many other similar publications, is that they choose to answer questions that have not previously been answered through magazine content, and by this they are finding a gap in the market.

Leslie (2013) also argues that technological development has directly benefitted editors and designers as they ‘now have a degree of control unthinkable even ten years ago’ (Leslie, 2013).

Not only has it provided the ability to create more adventurous and infinitive design, but also led to the creation of a new form of publishing. Endurance publishing involves ‘setting a 48or even 24- hour deadline to create an entire magazine’ (Leslie, 2013), something only possible as digital technology allows publishers ‘to be responsible for design and pre-press preparation of pages’ (Leslie, 2013). This has led to some impressive and, possibly history making, issues of magazines such as the daily programme Haymarket created for the London 2012 Olympics.

ec256366 – Emily Chaffer OUIL401 Context of Practice Essay

Word Count: 2599

The magazines were said to have been a highly suitable record of the London Olympics 2012 aesthetic, and therefore acted as ‘perfect souvenirs’ (Leslie, 2013) for all those who attended.

In evaluation of the value of these magazines as a collectible item – a snapshot of a particular event in history – this is a perfect example of how independent publishers have benefited from digital technology and consequently elevated print to a new level.

The common fear of digital technology replacing print seems to be completely unfounded.

There are too many loyal readers, as well as passionate designers, writers, and publishers, who value print as a medium, to ever let it disappear. The efforts of tablets and digital publishing to replicate the experience of a printed publication fail, not only due to the many complications and limitations within app software, but also in the unavoidable fact that they will never be able to accomplish the physical and visual qualities of this medium. Magazine apps will continue to evolve and grow; however it is becoming evident that designers should now recognise that print and digital cannot replace each other, but remain two different mediums. It is now their responsibility as designers to appropriately select which of these best communicate and represent the character and content of their magazines. It would seem valid to argue that ‘magazines have benefitted from the arrival of the internet’ (Leslie, 2013). Print will not disappear as a result of technology but simply benefit from it, especially in terms of the promotion, production and distribution of printed publications. The range and amount of experimentation that has resulted from the fear of technological innovation, as well as the new advantages it poses for designers, has led to some amazing innovations, pushing the boundaries of what constitutes a magazine. Technology, therefore, may be ‘driving a new golden age of magazine making’ (Leslie, 2013) in which independent publishers have international reach, designers have more control than ever, and magazine makers continue to push the physical properties and content that make up their publications.

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ec256366 – Emily Chaffer OUIL401 Context of Practice Essay

Word Count: 2599

Vasquez, D (2013) ‘The Argument for magazines in the digital age’, [internet] Available from http://www.medialifemagazine.com/the-­‐argument-­‐for-­‐ magazines-­‐in-­‐the-­‐digital-­‐age/ [22/12/15]

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