Draft Essay

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.

The death of print is a rumour that began with the emergence of digital technology, but most of all with the democratisation of the Internet. Fear was struck into the hearts of publishers as this new digital platform was much more effective in communicating with audiences, accessible anytime, anywhere and most importantly for free. In recent years prevalent titles, such as Giant Magazine or I.D Magazine, have either suspended their print editions or reduced their number of regular issues. Some in the print industry try to explain the decline as not as a direct result of the digital age, but a cause of other moving factors compromising their source of revenue. Mary Bemer (2013), president and chief executive officer at the MPA, highlights a key problem in the current magazine industry – which is that of a decline in advertising pages. She claims that print in no way will see decline as a consequence 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. Within the current digital age, however, the amount of different avenues for advertising has caused ‘an advertiser perception problem’ (Bemer, 2013) as companies have lost sight of the advantages of magazines. Lukowitz (2015) produces a very logical approach to this evidence of decline arguing that it may be in light of other factors - like the economy forcing ‘consumers to forgo non-essential products’ (2015).

He also argues that ‘if one magazine dies, its not the end of the industry’ (2015), making these claims of the death of print seem completely disproportionate to what is actually occurring. A compelling argument is also Lukowitz’ (2015) claim that we are simply moving into a ‘transcended infinite media age’ (2015). A period which, due to the large number of different platforms, mass media will no longer be controlled by a small number of large companies. In consequence, revenue will be spread across ‘the plethora of options available’ (Lukowitz, 2015) as audiences segment into their preferences for consuming information. It seems therefore that we may be seeing some cuts and closures within the print industry, but it would be hard to conclude that the print magazine is dying out, especially as a direct result of technological innovations.

Magazines as a medium for mass communication have been embedded in society for many centuries, offering unique and appreciated opinions on such a wide range of topics – from lifestyle and food to fashion, films and music. Jeff Jarvis (2009), author of ‘What would Google Do?’, argues that unlike newspapers, news websites or programmes ‘magazines have a voice and in this era voice is values’ (Jarvis, 2009). Regardless as to whether magazine content is provided in print, digitally or otherwise, ‘if they continue to find readers across media they will survive’ (Jarvis, 2009). Bemer (2013) similarly claims that magazines will remain relevant as they provide a ‘brand you can understand and trust’ (Bemer, 2013) – which is something readers appreciate especially today, in the face of ‘a tsunami of content coming at the consumer’ (Bemer, 2013). Therefore it feels certain that magazines will remain permanent feature of our society; however this does not much comfort the survival of print as a medium, what will stop magazines simply all becoming digital? This seems a genuine concern when watching a YouTube video entitled ‘a Magazine is an Ipad that does not work’, showing a one year old moving from using a tablet to a magazine – the toddler starts trying to interact with the print magazine as if where a tablet, touching and swiping the surface. The argument is therefore that we are moving into a period when the younger generations have grown up with and used technology all their lives, and so to these ‘digital natives’ (Burrell, 2014) ‘magazines are now useless and impossible to understand’. Burrell (2014), however, offers a

completely contradictory argument claiming that due to the democratisation of technology, and the high level of contact we now have with it young creatives are reverting back to ‘old craft skills of print production’ (Burrell, 2014) because, as agreed Simon Hinde (2014), the unfamiliarity of these techniques makes them new and exciting. Steve Watson (2014), founder of stack, also argues 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). Hinde and Ann also highlight other merits of print that cannot be replicated through technology. Hinde argues that ‘visible ownership’ (Hinde, 2014) is something important to magazine buyers, 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 or collecting, but in the value of physical interaction you can have with a printed magazine –cutting and folding the pages. 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.

Therefore it would seem that magazines are not only valued as a form of communication but also as a physical object, to desire and collect, and by which readers can distract themselves from the constancy of the digital world.

The invention of the tablet played a key role in the magazine industry, as it seemed to provide the first viable option by which to create and distribute digital content. As described before the ways in which to generate revenue from digital publishing, such as paywalls and online advertising were limiting and rarely successful. 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 also seemed 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 the reader 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. One could argue that these new apps offer a reading experience far superior to that of print.

However, Leslie (2013) highlights that using these apps mean readers and designers have to compromise on visual and 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) that reflects this content. Leslie (2013) argues that 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) – small details such as the clarity of colours or text is all made the same. Not to mention, as identified in previous arguments of Burrell (2014), Hinde (2014), Watson (2014) and Ann (2014), with reading on a tablet you lose the physical quality of a printed magazine – the touch and feel of the pages as the permanent and ‘visual ownership’ (Watson, 2014) of a printed publication. Leslie (2013) also argues against magazine apps due to the limited navigational options for designers when using tools such as Digital publishing suite – created by Adobe so designers can construct layouts without having to know code. He claims that in same cases in can work, examples being that of the Wired due to their ‘noisier visuals’ (Leslie, 2013), but for gentler magazines such as The New Yorker it makes for a ‘jarring relationship’ (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 in the technological world as companies such as Apple and Adobe fight for control of the industry. This can provide constant technological development, exciting yet maybe an added concern when it comes to investing in an app as well as trying to produce regular content. It is perhaps possible argument 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? Dadich (2013) also highlights that through creating a magazine app you lose control in the distribution of your magazine, as well as it being presenting ‘alongside not just magazine competitors but games, movies, music and books’ (Dadich, 2013) on the app store. Therefore magazine apps, and reading on tablet, offers a range of disadvantages and advantages to the reader. It seems that they 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 to many designers and publishers.

According to Leslie ‘fundamentalists from either side of the print-digital divide will tell you that app magazines are doomed to fail’ (Leslie, 2013). In evaluating what they have to offer, as well as the success such as some apps like (examples), this would seem unfounded. What it perhaps comes down to is personal preference, as well as the simple acceptance that print and digital are two very different mediums. Letter to Jane is an example of a successful magazine app, and Leslie (2013) argues that this success may found in that in ‘not starting life as a piece of print’ (Leslie, 2013). It does not try to replicate the experience of print in any way but simply takes advantage of what digital publishing has to offer. Magazine makers will therefore find success in the medium, digital or print, that best visually and physically represents their content.

The commercialisation of magazines and ‘using advertising as the primary source of funding’ ‘is what is broken’ (Doic, 2009) currently in the industry. Due to the decline of ad pages, and the creative limitations of selling magazines on the newsstand place upon designers, finding new methods through which to distribute printed magazines has played a key role in bringing creative rejuvenation. According to Doic making a magazine into a brand – such as Maxim, a men’s magazine that throws parties and opens nightclubs – or part of a pre-existing brand, such as ‘O- the Oprah magazine’ can produce a more reliable source of revenue as well as more creative freedom (2009). Other viable avenues is finding yourself ‘a receptive captive audience’ (Doic, 2009)– a prime example of this being in -flight magazines – or making your magazine in high quality so you can charge high newsstand prices. A prime example of how relying upon advertising, and distributing a magazine on the newsstand can affect creative freedom is the difference between the subscriber issues and newsstand covers of Uk Elle magazine (Leslie, 2013).

Side-by side we can see the contrast between these two covers. The newsstand cover (right) containing a lot more text, advertising the content of the magazine, whether the subscriber issue (left), as they do not have to attract the consumer, is a lot more subtle in its message and

content, as well as the actual title of the magazine. It would also seem valid to argue that these two covers could tell us a lot about the type of image or photograph that attracts a consumer.

In the newsstand cover the person photographed is very obviously Kylie Minogue, whether in the subscriber issue who the magazine is featuring comes a lot more subtlety to the reader.

One could also argue that the newsstand cover features a lot more of a sexualised image, or certainly one that emphasises the beauty, whether the blurry photograph of the subscriber issue is perhaps more creative and unique. Therefore we can see how the influence of having to advertise and promote a magazine on the newsstand, and make it stand out against all the other titles, can create a set of guidelines and limit creativity – especially concerning the front cover. Now, however, with the decreasing of ad-pages and the limiting revenue produced through advertising we are seeing more magazines, alike to Elle, using alternative means of distribution so that they can gain creative freedom. When successful, this can result in a lot more profitable a business model, as well as more groundbreaking and astonishing results that contribute to the creative value of this craft.

The fear of technological innovation in creative fields has been seen before, not only in the digitalisation of design and mass communication but, throughout history. With the invention of the camera in there would be reason to fear, in those days, the decline of painting and drawing as a method to create images. The camera, similarly to the Internet, introduced a quicker and easier method of reproducing information. Despite this however painting developed in a way that produced one of the most conceptually and visually interesting periods within art history – as came the emergence of art movements such as impressionism, cubism and surrealism (Doic, 2009). We can therefore, as in the argument of Doic (2009), predict that print will not be replaced but only evolve in the face of digitalisation. Leslie (2013) argues that many creative choices publishers and designers now make can be seen as ‘a response to the challenge of the internet’ (Leslie, 2013). The physicality of a printed magazine is something that digital will never be able to replicate, therefore many independent as well as mainstream publishers have began experimenting with the physical properties and appearance of their publications, sometimes pushing the boundaries of what could even constitute as a magazine.

T-Post is a prime example of an independent publisher pushing the boundaries of the physical properties of a magazine. Each of their issues is 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. 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 – attracting consumers on the basis of the magazine content, as well as simply a visually pleasing piece of clothing. It seems that if designers and publishers continue to be this creative with how they make and produce printed magazines the industry will continue to be successful and attract readership.

In the print industry ‘new technology regularly surfaces as a concern’ (Leslie, 2013), as designers and publishers, as well as consumers, fear that it will change this traditional medium. In some ways they are correct, technological change has often left print to evolve but so far in a very beneficial manner. In this new digital era it would seem that the access we now have to technology would hugely hinder print opportunities and demand; however it seems that in some ways ‘magazines have benefitted from the arrival of the internet’ (Leslie, 2013).

According to Leslie (2013), the reach of independent publishers has drastically expanded since they can use the Internet as a way 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). Bemer (2014) and Lukowitz (2009) also argue that print and digital work better hand-in-hand, for financial reasons. Lukowitz (2009) sees not much choice in the matter arguing that ‘few magazine publishers could survive the loss of ad revenue if they discontinued their print versions’ (Lukowitz, 2009). Whether Bemer (2014) believes that we see a natural transition into a new ‘cross-platform’ (Bemer, 2014) approach of both print and digital, she calls ‘magazine media’ (Bemer, 2014). The financial advantages of which have been evidenced by a survey of 58 titles, the results showing that those who offered print and tablet versions saw ‘combined units rise 7.5% year over year’ (Bemer, 2014). 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 48- or 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.

In order to complete the task of creating a magazine for the ‘16 Olympics days and 11 Paralympic days’ (Leslie, 2013) there was a lot of preparation that went beforehand; however due to the uncertainty of the games themselves nothing could be set in stone. 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 – we can come to realise the benefit of digital technology and how this has elevated print to a new level. It would seem difficult to say that for the sake of being able to create something so unique, that the digital age has not benefitted print and provided it with a new significant role in mass communication.

It would seem valid to argue that print media has benefitted from the digital age. The common fear of digital publishing replacing print seems to be completely unfounded. Not only are there a lot of loyal readers of printed publishers, but also many generations of designers, writers, and publishers who value print as a medium. Tablets are the closest digital replication of print; however there seems to be many complications and limitations within the process of making a magazine app. Furthermore tablets will never be able to replace the physical and visual qualities of print. Due to the successes of some apps it seems that we will see this develop further; however I believe the print and digital will become, and perhaps already are, in the eyes of readers and publishers two completely different mediums that can not replace or replicate each other. Print will therefore 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 has also led to some amazing innovations by designers, pushing the boundaries of what constitutes a magazine. It would therefore seem that technology may be ‘driving a new golden age of magazine making’ (Leslie, 2013) in which small publishers may 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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