Behaviour change by Emily Jervis

BEHAVIOUR CHANGE EMILY JERVIS N0420265 FASHION COMMUNICATION AND PROMOTION 2

CONTENTS

INTRODUCTION

PHILANTHROPIC MARKETING

4-9

TECHNOLOGY IN ADVERTISING:

LENTICULAR PRINTING

AUGMENTED REALITY

12 - 15

DIVERSITY

16 - 21

THE MAGAZINE

22 - 25

RESEARCH METHODOLOGY

REFERENCES

BIBLIOGRAPHY

28 - 29

ILLUSTRATIONS

30 - 31

WORD COUNT

2746

ADVERTISING

INTRODUCTION In my chosen sector, advertising, I have researched and learnt about a number of highly innovative technologies and techniques in which behavioural change is a key outcome. My report looks at the key brands at the forefront of this revolution. In terms of innovation in advertising, I have focused my research on two different areas: philanthropic marketing and technological innovative techniques.

‘There are over 60 million people living in the UK, over 400 million in the EU, 1.3 billion in China and over 6 billion in the world. All are potential consumers for one product or another as markets are opening up around the world’ (Wright 2006). An understanding of consumer behaviour becomes paramount in competitive markets. If a brand understands their consumers behaviour, they can change and adapt it.

‘Social marketing is a distinct marketing discipline, one that has been labelled as such since the early 1970s and refers primarily to efforts focusing on influencing behaviors that will improve health, prevent injury’s, protect the environment, contribute to communities, and, more recently, enhance financial well-being.’ (Lee, N. Kotler, P 2011, p. 2). According to Drummond (2010), successful social marketing focuses on behaviour, is based on real insight into the customer, understands what will motivate people to act, has a clear intervention where the initiative touches the customer and has a clear social result. Philanthropic and cause related marketing stem from social marketing, although, on a more commercial level.

PHILANTHROPIC MARKETING

Fig 41. money present, 2013

As consumers become more perceptive and now look beyond simply buying a product, brands have to adapt and focus on social impact and environmental issues. The importance of a company’s corporate social responsibility is ever growing; a survey by Public Relation and marketing company Cone Communications, indicated that 94% of people are likely to switch to a brand equal in price and quality to one that supports social issues (Cone, 2013). According to the Cone report (2013), we are in a ‘new era in which social impact reigns supreme’, and so new approaches have to be taken by brands to demonstrate their corporate social responsibility (CSR). According to the 2012 Nielsen ‘global trust in advertising and brand messages’ survey, distrust in advertising ranges from 51-73% (Mitchell, 2013), brands have to demonstrate their authenticity by consistently providing evidence that validate their social agenda, which, in the long run, should boost their business goals.

Philanthropic marketing is a type of marketing stemmed from the new importance of a brand to display CSR. According to Sarah Stern (2013), philanthropic marketing must trigger emotion, tell relatable stories and give people a reason to part with their money and feel good about it (Stern in The Non Profit Times, 2013). Brands often demonstrate philanthropy through cause related marketing, where a brand forms a partnership with a charity for mutual benefit. This marketing tool helps address social issues as well as facilitating business goals.

Fig 1. Gisele Bundchen, 2009

In terms of impact and authenticity, I feel like humanitarian ‘(RED)’ campaign is leading the way in philanthropic marketing. As the largest business supporting the Global Fund, RED has contributed more than $195million to support Global Fund HIV/AIDS grants in Ghana, Lesotho, Rwanda, South Africa, Swaziland and Zambia (The Global Fund: 2014). Associated brands such as Apple, Coke and Starbucks contribute up to 50% of the profit of their RED branded goods. The project provides an endless amount of statistics and facts in order to validate the scheme, enforcing trust in consumers, creating a relationship that may encourage them to buy into brands that are associated with the charity. The tone of voice of the project is very direct, pronouns ‘you’ and ‘we’ are used repeatedly to engage and create a relationship with the consumer, making them more likely to engage with the project. Another way this is done is by use of story telling. RED offers the stories of those who can be helped with the funds, making it easier for the consumer to be able to relate and empathise with those in need. Generating emotion from the consumer is a way brands create behavioural responses.

Fig 3. RED logo, 2011

Fig 2. RED brands, 2013

The theory of planned behaviour suggests that behaviour is dependent on one’s intention to perform the behaviour (World Bank: no date.). According to this theory, intention is determined by an individual’s attitude, their perceived behavioural control and subjective norms. I can apply this theory to the RED organisation firstly focusing on perceived behavioural control, an individuals perceptions of their ability to perform behaviour. RED makes it abundantly clear the consumer, ‘you’, can single handily aid the organisations cause, this, in turn encourages you to perform the behaviour, buying RED branded products. The fact the project is for a charitable cause can be related to the ‘subjective norms’ and ‘attitude’ aspects of the theory as this is about general social pressure as well as personal beliefs and values. In a human behaviour report, Bud Caddell (2010) sums up the theory by saying, ‘If we maximize these three predictors, we will increase the likelihood that the person will intend to perform the desired action and thus increase the chance of the person actually doing it’ (Caddell, 2010) 8

Fig 4. Theory of planned behaviour, 1991

TECHNOLOGY IN ADVERTISING

TECHNOLOGY IS A PRIMARY FACTOR OF MANY INNOVATIVE ADVERTISEMENT TECHNIQUES. ALLOWING ADVERTISING TO BE PART OF EVERY ASPECT OF A CONSUMER’S LIFE QUICKLY AND EFFECTIVELY, INCREASES AN ADVERTISEMENTS SUCESS RATE.

LENTICULAR PRINTING Lenticular printing is effectively a 3D tool that uses technology that allows a different photograph to be seen depending on the angle the image is viewed from, be it from a left of right point of view or height. It is a highly innovative tool, especially in advertising as it can speak to 2/3 different audiences simultaneously. In 2013 Spanish charity organisation ANAR (Aid to Children and Adolescents at Risk) took advantage of this innovative technique for their child abuse campaign. Leading the way in this kind of technological innovation, the campaign, targeted adults and children, displaying entirely different messages depending on the height of the passer-by. The slogan, seen by anyone over 4’5”, ‘sometimes, child abuse is only visible to the child suffering it’ is extremely effective given the context of the technology used in this campaign. This caption accompanies a photo of a ‘normal’ child, opposing the image that can be seen from the average height of a ten year old boy; a beaten up, abused, child; something an innocent victim of abuse could relate to. The campaign has meant that ANAR can get their message across to the child, even if their aggressor accompanies them. Such technology could be the next breakthrough of advertising in which specific groups could be targeted for example, advertising gender specific products to the viewpoints of the sexes average heights by age.

Fig 5. ANAR, 2013

The above picture shows the two different viewpoints of the poster. The image of the beaten boy is the image seen by a child and the other, by an adult. Fig 6. ANAR BOY, 2013

AUGMENTED REALITY

Augmented reality (AR) is a technology that allows a camera, usually on a smart phone or tablet, to overlay digital content onto the camera display. Used in conjunction with an App, the user can create a digital reality for an inactive object, turning a mobile device into a portal to a digital world. This innovative and technologically advanced tool is highly interactive. It can be used to provide useful information you might need in order to make a purchase, an example being to check the menu or customer reviews of a restaurant before you visitor in more advanced cases creating a digital world completely, right in the palm of your hand.

Motorola used this technique in 2013 when they joined forces with Pixar to allow owners of the ‘Moto X’ to peek into a virtual world, exclusively through the phone. Described as the ‘ability to tell interactive stories in real-time’, ‘windy day’ effectively turns the phones display into a pair of binoculars, peering into a cartoon world’ (Lovejoy, 2013). Users follow the action, moving their phone around their physical environments, chasing a wind blown red hat. The company wanted to explore ‘what it means to have an experiential device’ (Dugan cited by Lovejoy, 2013) and so ‘ set out to build a new platform that uses contemporary technology - powerful computation, smart sensors, vivid mobile displays - to reinvent the age-old practice of narrative itself.’ (Levy, 2013). Unlike regular films, ‘windy day’ is personal to each viewer and is evidently highly interactive, making the app endearing and entertaining.

Fig 7. windy day, 2013

T h e images show a still from the Windy Day app and one the advertisement images.

Fig 8.Windy day ad, 2013

Fig 9. Fallen angel, 2011

Fig 10. Fallen angel AR, 2011

The use of augmented reality techniques played a big part in the success of Lynx’s ‘Angel’ deodorant as it emerged as their ‘second-best-selling variant’ (Sakr, 2011) after just a few months on the market. Commuters at London Victoria station were able to interact with fallen angels in a unique and innovative advertisement campaign. Similarly, Disney took over a billboard in Times Square, New York. When stood in a particular place, Disney characters appeared alongside members of the public, giving the feeling they were interacting with a real life character. By doing this, Disney could stand out and engage with a street audience in a place over crowed with advertisements.

Fig 11. Disney AR, 2012

According to Myles Peyton (2011), the UK sales director at Tech Firm Total Immersion, the power of augmented reality ‘lies in its ability to let consumers virtually hold and interact with products.’ (Peyton cited by Sakr, 2011). Peyton makes a point that increased interaction with a product increases the likelihood of purchase, ‘so by giving them a virtual product, it can drive and uplift sales’.

Such technology is exciting for those in marketing and advertising as it can be applied to print advertisement and magazines. Consumers can connect to a brand or product by providing them with a whole new layer of information in an engaging way. The potential of augmented reality has been explored since 1997 by aircraft manufacturing company Boeing and its uses and potential have grown massively since. German augmented reality product and solutions company, Metaio, predict that by 2014 augmented reality technology will be incorporated into every smart phone (Metaio ,2013), making the point that, ‘we are at the dawn of a new technology revolution as the world and the digital realm merge, with AR becoming the user-interface of the future’ (Metaio, 2013).

DIVERSITY

Fig 12.Gabourey Sidbe, 2010

As a professional in the fashion industry, my main focus would be on the most prominent issue, the racial diversity debate. In this case I will be looking into racism and racial issues within advertisement, specifically magazines and their cover stars. Fashion and Celebrity gossip website, My Daily, conducted a 2012-13 diversity report on eight of the most popular woman’s magazines in the UK. Out of the ninety seven magazine covers to hit the news stand only thirteen had a non-white cover star (Stewart:, 2013). In all aspects of advertisement, images of white women dominate the media, usually depicted as the mainstream beauty ideal. Elle magazine is an example how this beauty ideal is conformed to even when a black cover girl is featured on their front cover. In the September 2010 issue of Elle (pictured), actress Gabourey Sidibe appeared to be ‘white washed’, lightening her skin in a bid to follow todays almost exclusively white ideals. In an article on black and Asian magazine cover stars, Asian beauty expert Anjana Gosai stated, ‘we’ve seen in the past how publishers were reluctant to feature ethnic faces in their magazine covers because they felt it might affect sales’ (Gosai:, 2012). Some critics argue that the number of black models used on magazine covers is representative of British residents; 86% white, according to the 2011 Office for National Statistics (ONS) report (Barton, 2013), but still, more can be done.

Fig 13.Gabourey GG, 2010

For the Professional Publishers Association (PPA) awards, 2012, there was a ‘diversity’ category added to the annual awards ceremony, giving publishers the opportunity to showcase work that demonstrated an ongoing commitment to promoting diversity (PPA, 2011). The judges commented of winning magazine, Essentials, ‘‘Essentials really puts diversity into practice, clearing its front covers for unique portraits of real women. This is the title currently setting the standards for all other titles in this area’ (GOV.UK, 2012). The awards, supported by the Governments body confidence campaign, hint that publishing may be making a step towards addressing diversity issues.

Fig 42.PPA award, 2011

In order to change the way in which race is communicated in the future I have decided to use the technology of augmented reality as a tool to change the way consumers purchase magazines.

Fig 14. Vogue collections, 2014

Fig 15. Niche Waterstones, 2014

Fig 16. WHSmith display, 2014

I started my own research by looking at the popular woman’s magazines on display in three retailers: WHSmiths, Tesco and Waterstones. At WHSmiths I found, out of the nineteen magazines on display, only one featured a black woman on the front cover, this can be seen in my own image, third from the top. The image of the Vogue collections issue was one of the magazines on display, all of the twenty models on the front are white. There was also only one nonwhite model featured on the display in Tesco whereas Waterstones’ display featured American Elle, making the ration of black to white models 2:17. Immediately from my initial research I could see that racial diversity wasn’t suitably represented within mainstream magazines.

Fig 17. Waterstones display, 2014

Even though this is the case, my approach to changing consumer behaviour is technological, and would be more suited to a younger, more interactive audience. A technologically advanced, ‘niche’, magazine wouldn’t have the same audience as a woman in her 30-40s who regularly bought Vogue or Marie Claire.

Fig. 34. The Q+A issue, 2013

Fig. 31. The creative collaborators issue, 2013

Fig. 33. The time is now issue, 2013

Fig. 35. The alphabetical issue, 2013

Fig. 32. The street issue, 2013

Fig. 30. The collectors issue, 2013

Fig. 21. E Olsen, 2013 Fig. 20. Lindsey Wixon, 2013

Fig. 23. Saorise Ronan, 2013

Fig. 22. MIa Wasikowska, 2013

Fig. 19. Chloe Moretz, 2013

Fig 18. James Franco 2013

Fig. 29. Daft Punk, 2013

I then focused my research on the less, commercial, niche magazines. I found even these didn’t fully represent racial diversity. All five of the more alternative magazines on display in Waterstones (pictured in above page) featured a white cover star, Yoko Ono on the cover of Interview magazine being the exception. After looking through the 2013 front cover archive of i-D Magazine, I found that out of the thirty five different covers released (main cover of each season pictured on opposite page), only four featured a non-white model (Models.com, 2013). Dazed & Confused magazine, which is targeted at a similar demographic, also showed a lack of racial diversity with only one of their twelve covers (all pictured) featuring a non-white cover star (Models. com, 2013). Considering the content of these magazines is often more forward thinking and even controversial it surprised me they weren’t more racially diverse. Unlike the ‘Glossy’ magazine cover stars, those featured on niche magazine covers, rarely conform to beauty ideals in a bid to follow a more creative, artistic approach. Nevertheless, the lack of racial diversity is still evident and prominent.

Fig. 24. Thome York, 2013

Fig. 25. Riff Raff, 2013

Fig. 28. Chance the rapper, 2013 Fig. 27. Trash and burn, 2013

Fig. 26. The new breed, 2013

Fig. 36. The what the fug you lookin at issue, 2013

Even though my initial research had showed me that niche magazines didn’t have a great representation of race, Vice magazine has shown it is more racially diverse. Out of the twelve Vice magazines (The ‘What Tha Fug You Lookin’ At’ issue pictured) from 2013, six featured a non white on the cover (Vice, 2013). It would seem Vice are at the forefront of moving towards a new attitude between race and advertisement. 21

THE MAGAZINE

In order to enforce behavioural change for magazine consumers and publishers, I would use augmented reality technology to create a highly interactive magazine. The main use of AR would be for the cover of the magazine, which would be blank, revealing nothing but the title. The real cover of the magazine could only be seen once the consumer interacts with it with their smart phone. By doing this, the magazine would be purchased on the basis of content, not on the colour of the model on the front, which my research has shown is nearly always white. Taking away the cover would also take away gender exclusivity meaning the magazine would be targeted at both male and female readers. The content would be focused on fashion, music, culture and politics, straying from mainstream ‘glossy’ conventions.

Fig. 39. Versus, 2013

Fig. 40. Yamaha, 2013

The use of augmented reality (AR) with print advertisement is something that has been done by some innovative brands and magazines. In 2012 Layar magazine brought some of its dead pages to life with the help of AR. In 2011, car manufacturers, Mazda, used AR to promote the new Mazda BT-50, the technology allowed readers to use a visual cue from the print ads to view video content that automatically interacts with the image in the ad. Also pictured is Yamaha’s AR advert and augmented reality specialists, Versus’ example of how their app will work.

Fig. 38. Mazda, 2011

Fig. 37. Layar, 2012

Print publications are more commonly coming second-place to their online counterparts; between 2005 and 2013, print advertising fell 50%, with much of that business migrating to online publications (Kissel, 2013). Innovative print advertising such as AR will allow my magazine to provide a more comprehensive service than buying a regular print publication, the augmented reality cover should stimulate consumer to keep buying the publication.

CO NS UM

E FIL O PR

T h e magazine is different in a bid to stand out and break traditional conventions. The diversity and independence of the magazine will be a reflection of its diverse array of consumers. The age bracket will be 21- 30 years old both, men and women. they will have an interest in technology, gadgets, music, art, politics and culture. They will be sociable, often going out to bars/ clubs as well as going to gigs, exhibitions and low key events. They will be very comfortable with technology as they are regularly â&#x20AC;&#x2DC;onlineâ&#x20AC;&#x2122;; connecting with their smartphones and laptops. They are fashionable, independent, cool and clever. They shop both online and in store although are less familiar with high street stores, prefering vintage or independent brands.

RESEARCH METHODOLOGY

My primary research, conducted on the 10/01/14, consisted of visiting popular magazine retailers and noting the ethnicity of their main magazines cover stars. I chose WHSmiths, Tesco and Waterstones purely as these would be the main place I would think to buy magazines from as well as being 3 of the few magazine retailers in Nottingham. I did this type of research because I realised it would be the best way to find out if racial diversity in publishing was an issue. My research method was effective as it helped me to come to the conclusion that there was, in fact, a lack of racial diversity in publishing, leading me to my idea that would try and solve this problem. Below are the main images that aided my work and main idea

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BIBLIOGRAPHY The Times. 2014. The importance of cause related marketing. Available at: http://businesscasestudies.co.uk/cadbury-schweppes/the-importance-of-cause-related-marketing/what-is-cause-related-marketing.html#axzz2qDC1fa9q [accessed 12 Jan] Vice, 2013. Magazine Archive- 2013. Vice website. Available at: http://www.vice.com/en_uk/magazine/2013 [accessed 10 Jan 2014] Vice, 2013. Vice Media Kit. Vice website. Available at: http://advice.vice.com/media/files/VICE_Media_Kit_2013.pdf [accessed 9 Jan] Welch, C. 2013. Anti-abuse campaign uses lenticular printing to show different ad to adults, children The Verge. Available at: http://www.theverge.com/2013/5/5/4302950/abuse-campaign-lenticular-printing-delivers-different-ads-adults-kids [accessed 11 Jan 2014] Wright, R 2006. Consumer Behaviour London: Thompson Learning. p. xi

ILLUSTRATIONS Fig 1. Gisele Bundchen, 2009. RED campaign image for American Express. Available at: http://www.americanexpress.com/pes/ uk/benefits/red/microsite/media/index1.html [accessed 21 Jan 2014] Gisele is known to support a number of charities as well as featuring in a number of charity campaigns, making her a perfect candidate to be the face lending support to this humanitarian cause. Fig 2. RED brands, 2013. Images of RED associated brands from RED org website. Available at: http://www.red.org/en/ [accessed 22 Jan 2014] Fig 3. RED logo, 2011. Image of RED org logo. Available at: http://www.creativereview.co.uk/cr-blog/2011/april/logos-expert-panel [accessed 22 Jan] Fig 4. Theory of planned behaviour, 1991. Drawn image representing theory of planned behaviour. Available at: http://www. biomedcentral.com/1472-6963/8/93/figure/F1?highres=y [accessed 22 Jan 2014] Fig 5. ANAR, 2013. Child abuse poster for organisation ANAR. Available at: http://au.ibtimes.com/articles/465118/20130507/ anti-child-abuse-campaign-anar.htm#.Ut65O5E4lPM [accessed 21 Jan 2014] Fig 6. ANAR boy, 2013. Both images used for the child abuse campaign. Available at: http://www.cbc.ca/strombo/social-issues/ an-anti-abuse-ad-only-kids-can-see.html [accessed 21 Jan 2014] Fig 7. Windy day, 2013. Still from Windy Day game for Moto X. Available at: http://phandroid.com/2013/10/29/heres-what-itslike-to-have-a-moto-x-and-use-windy-day/ [accessed 21 Jan 2014] Fig 8. Windy Day Ad, 2013. Advertisement for the Windy Day game. Available at: http://www.technobuffalo.com/2013/10/30/ windy-day-moto-x/ [accessed 21 Jan 2014] Fig 9. Fallen Angel, 2011. Advertisement for Lynx Fallen Angel campaign. Available at: http://okok1111111111.blogspot. co.uk/2013/04/kelly-brook.html [accessed 21 Jan 2014] Fig 10. Fallen Angel AR, 2011. Fallen Angel promotion London Victoria Station. Available at: http://funkadelicadvertising.blogspot. co.uk/2011/03/lynx-angel-augmented-reality-victoria.html [accessed 21 Jan 2014] Fig 11. Disney DR, 2012. Disney use AR in times square stunt. Available at: http://www.businessinsider.com/11-amazing-augmented-reality-ads-2012-1?op=1 [accessed 22 Jan 2014] Fig 12. Gabourey Sidbe, 2010. Gabourey Sidbe for ELLE magazine. Available at: http://www.babble.com/celebrity/gaboureysidibe-covers-elle-teaching-girls-beauty-comes-in-all-sizes/ [accessed Jan 2014] Fig 13. Gabourey GG, 2010. Gabourey Sidbe at the 2010 Golden Globes. Available at: http://www.posh24.com/photo/588934/ gabourey_sidibe_green_dress_bl [accessed Jan 2014] Fig 14. Vogue Collections, 2014. Photograph of the front cover of vogue collections issue. Own image. Fig 15. Niche Waterstones, 2014. Niche magazine display at Waterstones. Own image. Fig 16. WHSmith display, 2014. Womanâ&#x20AC;&#x2122;s magazine display at WHSmith. Own image. Fig 17. Waterstones display, 2014. Womanâ&#x20AC;&#x2122;s magazine display at Waterstones. Own image. Fig 18.James Franco, 2013. December cover of Dazed & Confused magazine 2013. Available at: http://models.com/client/ dazed-confused-magazine/Magazine%20Cover/2013/1 [accessed 21 Jan 2014] Fig 19. Chloe Moretz, 2013. November cover of Dazed & Confused magazine 2013. Available at: http://models.com/client/ dazed-confused-magazine/Magazine%20Cover/2013/1 [accessed 21 Jan 2014] Fig 20. Lindsey Wixon, 2013. October cover of Dazed & Confused magazine 2013. Available at: http://models.com/client/ dazed-confused-magazine/Magazine%20Cover/2013/1 [accessed 21 Jan 2014] Fig 21. E Olsen, 2013. September cover of Dazed & Confused magazine 2013. Available at: http://models.com/client/dazed-confused-magazine/Magazine%20Cover/2013/1 [accessed 21 Jan 2014] Fig 22. Mia Wasikowska, 2013. March cover of Dazed & Confused magazine 2013. Available at: http://models.com/client/ dazed-confused-magazine/Magazine%20Cover/2013/1 [accessed 21 Jan 2014]

ILLUSTRATIONS Fig 23. Saorise Ronan, 2013. April cover of Dazed & Confused magazine 2013. Available at: http://models.com/client/ dazed-confused-magazine/Magazine%20Cover/2013/1 [accessed 21 Jan 2014] Fig 24. Thome Yorke, 2013. February cover of Dazed & Confused magazine 2013. Available at: http://models.com/client/ dazed-confused-magazine/Magazine%20Cover/2013/1 [accessed 21 Jan 2014] Fig 25. Riff Raff, 2013. January cover of Dazed & Confused magazine 2013. Available at: http://models.com/client/dazed-confused-magazine/Magazine%20Cover/2013/1 [accessed 21 Jan 2014] Fig 26. The new breed, 2013. May cover of Dazed & Confused magazine 2013. Available at: http://models.com/client/dazed-confused-magazine/Magazine%20Cover/2013/1 [accessed 21 Jan 2014] Fig 27. Trash and burn, 2013. July cover of Dazed & Confused magazine 2013. Available at: http://models.com/client/dazed-confused-magazine/Magazine%20Cover/2013/1 [accessed 21 Jan 2014] Fig 28. Chance the rapper, 2013. August cover of Dazed & Confused magazine 2013. Available at: http://models.com/client/ dazed-confused-magazine/Magazine%20Cover/2013/1 [accessed 21 Jan 2014] Fig 29. Daft Punk, 2013. June cover of Dazed & Confused magazine 2013. Available at: http://models.com/client/dazed-confused-magazine/Magazine%20Cover/2013/1 [accessed 21 Jan 2014] Fig 30. The Collectors Issue, 2013. Winter cover of i-D magazine 2013. Available at: http://models.com/client/i-d-magazine/Magazine_Cover [accessed 21 Jan 2014] Fig 31. The Creative Collaborators Issue, 2013. Fall cover of i-D magazine 2013. Available at: http://models.com/client/i-d-magazine/Magazine_Cover [accessed 21 Jan 2014] Fig 32. The Street Issue, 2013. Pre Fall cover of i-D magazine 2013. Available at: http://models.com/client/i-d-magazine/Magazine_Cover [accessed 21 Jan 2014] Fig 33. The Time Is Now Issue, 2013. Summer cover of i-D magazine 2013. Available at: http://models.com/client/i-d-magazine/ Magazine_Cover [accessed 21 Jan 2014] Fig 34. The Q+A Issue, 2013. Spring cover of i-D magazine 2013. Available at: http://models.com/client/i-d-magazine/Magazine_Cover [accessed 21 Jan 2014] Fig 35. The Alphabetical Issue, 2013. Pre Spring cover of i-D magazine 2013. Available at: http://models.com/client/i-d-magazine/Magazine_Cover [accessed 21 Jan 2014] Fig 36. Vice, 2013. ‘What the fug you lookin’ at’ issue of Vice magazine. Available at: http://www.vice.com/en_uk/magazine/20/11 [22 Jan 2014] Fig 37. Layar, 2012. Use of Augmented reality for Layar magazine. Available at: http://www.fastcompany.com/1839410/layar-sticks-knife-qr-codes-augmented-reality-magazine-system [accessed 23 Jan 2014] Fig 38. Mazda, 2011. Use of AR for Mazda campaign. Available at: http://www.theautochannel.com/ news/2011/11/22/015623-all-new-mazda-bt-50-augmented-reality-australian-first-view.html http://augmentedpixels.com/ar-weekly-digest-53/ Fig 39. Versus. 2013. Image of AR in magazine context from Versus website. Available at: http://verus-ar.com/what-is-verus/ [accessed 23 Jan 2014] Fig 40. Yamaha, 2013. Image of Yamaha AR advertisement. Available at: http://augmentedpixels.com/ar-weekly-digest-53/ [accessed 23 Jan 2014] Fig 41. money present, 2013. Representation of philanthropy. Available at: http://woodgatesview.com/2013/12/03/philanthropys-role-in-a-democracy/ [accessed 23 jan 2014] Fig 42. PPA award, 2011. Image of the PPA award. Available at: http://www.pensord.co.uk/the-day-job/award-winning-magazine-printers/award-win-at-ppa [accessed 23 Jan 2014]