FMP Concept Development

Tastemaker Magazine Concept Development Marie-Claire Mills 33497520

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Contents 2 Contents 3 List of Illustrations 4 Introduction 5 Aims and Objectives 6 Why Print?

7 The Reading Experience 11 Conclusion 12 Initial Proposals

16 Competitor Landscapes 17 Workflow Timelines 20 Flatplans 23 Illustration Inspiration 28 Social Media and Website 42 Bibliography

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List of Illustrations Figure 1: Mills, M. (2019) Illustration of Kat 1.

Figure 2: Own image, Tastemaker Magazine Mind Map. Figure 3: Own image, Screenshot of Blogger Development.

Figure 4: Own image, Screenshot of Blogger Development 2.

Figure 5: Own image, Competitor Landscapes Blogosphere Mind Map. Figure 6: Own image, Timeline 1.

Figure 7: Own image, Timeline 2.

Figure 8: Own image, Flatplan 1.

Figure 9: Own image, Flatplan 2.

Figure 10: Cruz, J. (2012) Pastel Portrait II. Figure 11: Cruz, J. (2012) Untitled.

Figure 12: Sturmpf, A. (2012) Indiviuallure.

Figure 13: Sturmpf, A. (2012) Vanity Fair Audrey.

Figure 14: Stewart, H. (2014) Rihanna US Vogue.

Figure 15: Stewart, H. (2012) Interview Germany Lana Del Rey. Figure 16: Stewart, H. (2012) The Face.

Figure 17: Sturmpf, A. (2012) ID. Figure 19: Romussi, J. (2012/13) Amanda.

Figure 20: Romussi, J. (2012/13) Ceyhun.

Figure 21: Romussi, J. (2012/13) Joep.

Figure 22: Romussi, J. (2012/13) Maria.

Figure 23: Romussi, J. (2012/13) 1.

Figure 24: Romussi, J. (2012/13) 97.

Figure 25: Milly, M. (n.d.) Untitled 1.

Figure 26: Milly, M. (n.d.) Untitled 2.

Figure 27: Milly, M. (n.d.) Untitled 3.

Figure 28: Milly, M. (n.d.) Untitled 4.

Figure 29: Milly, M. (n.d.) Untitled 5.

Figure 30: Milly, M. (n.d.) Untitled 6.

Figure 31: Milly, M. (n.d.) Untitled 7.

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Figure 32: Milly, M. (n.d.) Untitled 8.

Figure 33: Regolini, E. (n.d.) Untitled 1.

Figure 34: Regolini, E. (n.d.) Untitled 2.

Figure 35: Regolini, E. (n.d.) Untitled 3.

Figure 36: Regolini, E. (n.d.) Untitled 4.

Figure 37: Regolini, E. (n.d.) Untitled 5.

Figure 38: Regolini, E. (n.d.) Untitled 6.

Figure 39: Regolini, E. (n.d.) Untitled 7.

Figure 40: Regolini, E. (n.d.) Untitled 8.

Figure 41: Own image, Tastemaker Website Screenshot 1.

Figure 42: Own image, Tastemaker Website Screenshot 2.

Figure 43: Own image, Tastemaker Website Screenshot 3.

Figure 44: Own image, Tastemaker Website Screenshot 4.

Figure 45: Own image, Tastemaker Website Screenshot 5.

Figure 46: Own image, Tastemaker Website Screenshot 6.

Figure 47: Own image, Tastemaker Website Screenshot 7.

Figure 48: Own image, Tastemaker Website Screenshot 8.

Figure 49: Own image, Tastemaker Website Screenshot 9.

Figure 50: Own image, Tastemaker Website Screenshot 10.

Figure 51: Own image, Tastemaker Website Screenshot 11.

Figure 52: Own image, Tastemaker Website Screenshot 12.

Figure 53: Own image, Tastemaker Instagram Screenshot 1.

Figure 54: Own image, Tastemaker Instagram Screenshot 2.

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Introduction This report aims to present the concept development of Tastemaker Magazine. It begins by exploring the choice of print media asking the question; “why print in a world with a predicted digital future?� The report provides research that makes the basis market of Tastemaker Magazine exploring the works of Bonner and Roberts (2017), McGarth (2018) and Sibler (2016). The reading experience is then reviewed through a comparative analysis of digital versus print reviewing haptics, layout, disruptive technologies, and slow journalism. The report then concludes with a summary of the influencing research and a visual representation of the developments of the final major project.

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Aims and Objectives To create a publication allowing bloggers to be seen as professionals.

To create a guide for those interested in the Instagram influencing industry.

To create a slow-journalism styled timeline of events for the previous quarter on influencing.

To help bloggers stand out on the Instagram platform.

To include trend reports into my portfolio of work.

To create a magazine that is inclusive of everyone.

To expand my industry contact book.

To create a magazine for online users that are presented in an offline way (i.e. print magazine with illustrated visuals).

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Why print?

Contradictory to popular belief, print is flourishing, especially with Millennials, and the niche magazine market is attracting readers as it appeals to a wider audience (Bonner and Roberts, 2017). It is said that the online world of media consists of a devastatingly large amount of information. This saturation causes consumers to favour print media over digital due to its content reliability (Moore, 2018; Bonner and Roberts, 2017). Lin (2018) suggests that print publications help give the contributors of the magazine the credibility they deserve when their work is printed, however, the print magazine audience has declined and the shift to digital has become influential.

Lin (2018) and Sibler (2016) recognizes print magazines to be a luxury format of the media industry as they have become not only a leisure activity but something to keep also. Sibler (2016) states that although the immediacy of the digital world is demanding, there is still room for the print industry to survive. The print industry is not dead, print remains the favoured choice of media consumers (McGarth, 2018; Bonner and Roberts, 2017; Sibler, 2016). Furthermore, Lin (2018) explained that to be successful every magazine should have a strong purpose, allowing for development as a brand and the creation of status in the industry.

Tastemaker Magazine is a print publication, supported by a website for purchase and social media for awareness. Tastemaker has a niche topic of Instagram Influencing, appealing to consumers of a digital native, i.e. Millennials and Gen Zers. Through the use of print media, Tastemaker allows contributors to gain professional status and credibility within the industry (Lin, 2018). Tastemaker uses the digital formats of Instagram and a website to help the Tastemaker audience to access multimedia content in a timeless and interactive way which Bonner and Roberts (2017) state to be the reasons for digital consumption. Tastemaker’s purpose is to guide influencers in Instagram blogging and create a platform through which influencers are seen as professionals (Lin, 2018).

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The Reading Experience Moore (2018) suggests that when consuming a magazine digitally, users can get lots in the enormity of the online world, with Bonner and Roberts (2017) adding that online adverts cause an obstruction for the consumer to absorb the content correctly. It is also said that consumers perceive adverts in magazines to be a piece of art and this creates a fondness for these advertisements. The preference of print adverts supports the reason for Tastemaker to be in a print format as it benefits the user experience (Bonner and Roberts, 2017).

Today, it is hard to create digital content that will be consumed entirely due to the multitude of hyperlinks found in the text (Rocamora, 2012). Print media cannot hyperlink the text and images on their pages and, therefore, consumers cannot be directed away from the content by links (Rocamora, 2012).

Eleven years ago research into the pattern of reading of online content was carried out by Nilsen (2006), concluding that users consume online content in an F-shaped pattern; reading horizontally, then vertically down the left hand side of the page, then across the page again, and finally down the left hand side again creating an ‘F’ formation. More recent research shows that this F-shaped reading pattern can also be applied to consuming content on mobile (Pernice, 2017). To prints benefit, Pernice (2017) states that the F-shaped reading pattern can cause consumers to miss out pieces of information and mainly focus on only the top section of content.

Scott and Hand (2015) carried out a study that concluded the F-shaped pattern is present amongst the use of social media. When consuming social media, users have a bias to the content at the top of the screen. It is also understood that when consumers have strong motivations to read content, more of the context of the text or visual is absorbed than when motivation is low. Consumers who buy print magazines have a high motivation to consume the content from this medium (Scott and Hand, 2015). McGarth (2018) reports that one of the influences of the recent print recovery was the process of buying and consuming a physical product. This is

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The Reading Experience due to shoppers today carrying out the majority of their daily tasks either online or on their phone and it is said that consumers read magazines to escape from the online world (Bonner and Roberts, 2017). Tastemaker aims to bring the online world offline. A study into print media concludes that long-form articles, i.e. interviews, profiles, and features, should be created only for print media and are no longer needed for digital media due to the small amount of content consumed (Rončáková, 2017). Tastemaker consists of longform articles in support of the study by Rončáková (2017) allowing users to consume the information without frustrating adverts or distractions diverting them to multiple webpages, and for the full article to be read and understood unlike the F-shape of the digital media.

Bonner and Roberts (2017) suggest that another reason why consumers purchase print magazines is that the cover influences the purchase decision, drawing them in to see what is inside. Feifer (2018) enlightens print journalists by stating that the cover and its aesthetics are one of the most important marketing tools in the sales of print magazines as it is the biggest reason given by consumers for buying (Bonner and Roberts, 2017).

Parisi et al. (2017) define haptic media as, “a product orientation to touch’s role in mediation system,” however, haptic media studies are constantly changing due to the rapid developments of social media and technology. It is said that in media, haptics are a result of the physical benefits of print and Parisi et al. (2017) believe that online and offline media should work hand-in-hand. Tastemaker magazine aims to take the online world offline, therefore, the beliefs of Parisi et al. (2017) consolidate Tastemaker’s aims and objectives and prove that the magazine has a purpose as Lin (2018) suggested every successful magazine should have. Haptic media studies have developed so rapidly researchers have not been able to keep up with their understandings of the advancements (Parisi et al.,

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The Reading Experience 2017), meaning more research needs to be carried out to decipher the future directions of this area. Sibler (2016) states that although the media speculate the death of print, they also leave out that the inclination of digital media does not make up for the lost sales, suggesting that sooner or later print will have to make a stronger revival than predicted to aid the survival of the media as a whole.

Sibler (2016) continues saying that the look and feel of a magazine are what consumers desire more than the feel of a screen, which again predicts a future for the print media.

Tastemaker Magazine is an illustrated magazine to aid with the adjustments from online to print. Tastemaker commissioned Emma Parnell to create high-quality illustrations as shown throughout the pages of the magazine. Sibler (2016) explains that strongly designed layouts and imagery are factors consumers look for in print when making purchase decisions. Imagery is important to buyers because there is a desire to flick through a magazine, sit down and unwind with something different to a smartphone or a computer (Bonner and Roberts, 2017).

In today’s world, there is a multitude of disruptions and in the media, there is an increase in disruptive technologies due to the acceleration of the growth of digital media (Laurell and Sandström, 2018). It is said that innovative entrants to the technological market create uncertainty within most industries as this usually means change – some business will eventually demise as they will be replaced by digitised versions (Laurell and Sandström, 2018). Laurell and Sandström (2018) predict the online world to become a “battleground” due to the lack of control over the pace of growth and fear that the new media will soon become a substitute for traditional media.

However, Fortunati and O’Sullivan (2019) believe that print has the likelihood of being a sustainable industry as it is the “core to the media” and print is a critical communication tool because it is without disruption. Fortunati and O’Sullivan (2019) also state that to

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The Reading Experience increase the chances of becoming a more sustainable platform, journalists need to keep content quality high to maintain their status within the industry and they can do this by creating a combined media of traditional media as mentioned above.

Due to the instantaneousness of our world and everything around us, the journalism industry is trying to find a way to slow our media systems down, especially social media (Le Masurier, 2015). Tastemaker has included a timeline of events as a way to reflect over the previous few months to inform readers of events that took place on the ever-changing social media platform Instagram in the previous three months. Born as a product of the slow food market (Le Masurier, 2015), slow journalism allows creators time to create quality content that tells a story in full factual length (Le Masurier, 2016). Slow journalism is usually made up of long-form features within a magazine or a slow newspaper, however, slow journalism can also take the function of reporting short-form facts of a past event or past series of events as seen in Tastemaker in the Tastemaker Timeline (Le Masurier, 2015). As social media happens at such a rapid pace, a slow journalism article allows time for the content to be reported in an untold way which contrasts the majority of news we see in the media today (Le Masurier, 2015). Slow journalism also prevents a magazine from being unreliable and the journalists becoming caught up in the magnitude available digitally (Le Masurier, 2016). Tastemaker is able to draw together information in a way that is relatively unheard of amongst the media industry. Not every consumer will find it pleasurable consuming information from the past, however, as stated by Fortunati and O’Sullivan (2017), to maintain a status of a sustainable, credible, brand, slow journalism would be a smart approach to adopt to achieve sustainability. The Tastemaker Timeline was inspired by Delayed Gratification – a magazine solely on slow news.

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Conclusion To conclude, although the digital world is dominating our daily lives (Bonner and Roberts, 2017), it is clear that print media is battling on to succeed and not become the forgotten platform of the media. Print media and online media need to work simultaneously to create sustainable brands that consumers trust (Fortunati and O’Sullivan, 2019). Consumers cannot live their lives online as they long for a physical product to fill their time offline (Parisi et al., 2017). Tastemaker magazine successfully joins the online and offline world in response to the studies and findings laid out in this report creating a platform for influencers to be seen as professional and credible journalists, something our media industry is beginning to lose sight of (Fortunati and O’Sullivan, 2019).

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Initial proposals

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Competitor Lanscapes

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Workflow timelines

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Timeline 1

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Timeline 2

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Flatplans

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Flatplan 1

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Flatplan 2

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Illustration inspiration

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Joe Cruz

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Ana Strumpf

Hattie Stewart Taking the online, offline.

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Jose Romussi - Kunst im Untergund Series

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@Max_milly

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Emma Regolini

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Social media and website Social Media: https://www.instagram.com/tastemaker_mag/?hl=en Website: https://tastemakermagmm.wixsite.com/tastemakermag

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