Concept Development final major project
PHE ISSUE 1
Sophie Hales (c3456077) Word count: 5,908
Beauty
contents 3 What is Phe Beauty? 4 Initial Proposal 6 Final Concept 8 Why beauty? 10 Why print? 12 Gap in the market 14 Pivtoal market 15 Design 16 Layout 17 Printing
19 Typography 2
PHE BEAUTY
20 Logo 26 28 29 32 39 40 42 44 46 48
Production flow Images Front Cover Content Ads Social media Consent Forms Bibliography (CD) List of Figures (CD) List of Figures (FMP)
what is phe� beauty? Phe Beauty is every beauty lover’s guide to all things glam. The publication is mainly aimed towards females and a small portion of males, who also have a passion for the beauty industry. Phe Beauty has been marketed predominantly towards the ‘pivotal’ generation but is available as a platform for anyone to read and to come together as a community of ‘beauties’. After all, the brand ethos believes ‘beauty is whatever you express it to be’. Readers of Phe, will be able to keep up-to-date with latest beauty trends, product reviews and releases, industry news and exclusive interviews.
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initial proposal Previous success in 2018 with the digital version of Phe Beauty informed the decision to explore different platforms for the publication. The initial proposal was to develop a print version of the publication and mobile app that ran alongside, working as an additional distribution channel for the audience. However, after conducting secondary research into mobile apps, it soon became obvious this was not a realistic goal. Although, mobile apps are becoming extremely popular platforms for magazine brands, they are often built with extremely large investment budgets and by experts of app technology. During the initial planning process, the idea of rebranding the magazine to a different name was thought of. With any product there is always room for improvement, whether that means updating or changing the brand name, logo or house style ect. After creating a mind map of different names, it resulted in two that could potentially work. The publication could either stick with ‘Phe Beauty’ or change the name completely to ‘Beauty Bible’. This name also worked as the publication has been developed as a guide to the beauty industry. Torn between the two names, the decision was made to conduct a survey aimed at the magazine’s target audience. Lamb et al. (2008), argues that surveying your target audience preferences, provides your brand with information about their wants and needs which can be used in the decision-making process. The survey was posted on Instagram as it was a great way of reaching The Pivotal target audience due to this age group being strong social media users.
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Survey Results
Fig 3: Phe Beauty Survey Results (2019) Fig 2: Phe Beauty Survey (2019)
Phe Beauty
Beauty Bible
The survey reached over 217 respondents. The results were as followed; 116 respondents voting for Phe Beauty and 101 voting for Beauty Bible. Although, the results were extremely close, the majority preferred Phe Beauty and it was concluded that the publication would stick with its original name. Honeywill (2003), highlights that the character of the magazine is established with the preferences and desires of the target audience in mind. In addition to this, the chief editor wanted include element of personal expression in the magazine. By choosing the name ‘Phe’ (also the editor’s nickname), it allowed the editor to build a personal connection with the audience. Throughout the magazine, ‘Phe’ would speak to the readers about products or brands and offer beauty advice and recommendations to them. Writing directly from editor to audience would allow a relationship to develop, later building trust and loyalty between the magazine and its consumer. CONCEPT DEVELOPMENT
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final concept
Reflecting on the findings of the research into mobile apps and the name decision, it was decided to invest all efforts into developing a high-quality print version of Phe Beauty and to slightly ‘re-vamp’ the magazine from its digital form, in order to reach its highest professional standard.
Fig 4: Phe Beauty Front Cover (2019) 6
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Aims & Objectives •
To create a publication for beauty lovers to be immersed with exciting beauty content.
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To produce a publication with content that is specifically beauty related only- one of the first in the print market.
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Develop a magazine that is ascetically beautiful to both touch and read.
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To offer expert opinion and advice regarding beauty- audience will use the magazine as their own ‘beauty’ guide.
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Create a chatty, fun and relatable publication, in a way that is similar to an online beauty ‘blogger’.
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Build a close relationship with the audience- forming a community known as the ‘beauties’.
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Express the editor’s passion and knowledge for beauty throughout the magazine.
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To build a publication that could be used as a genuine business venture.
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why beauty? The beauty industry is one of largest growing market segments in the world. A sector that has remained impervious and unaffected despite the fluctuations in the economy. So, in today’s environment of the rising capita, beauty business is booming (Sena, 2018). The world’s largest cosmetics company L’Oréal estimates that in 2018 the global cosmetics industry was valued at more than 200 billion euros (178 billion pounds). Furthermore, a report published by Zion Market Research estimates that the market is expected to reach approximately 863 billion USD (£677 billion pounds) by 2024. L’Oréal explains that the continuous growth is due to consumer interest in new, different and premium products, the increase in the number of female and now male consumers of beauty and the growth of the upper middle classes. Therefore, with a growing market like the beauty industry, it offers sustainability for the future of beauty publications. Often, consumers will read beauty magazines to become aware of new releases in the market and to read reviews before making purchasing decisions. A recent survey by brand management company, Podium, suggests that “93% of consumers say reviews do impact their purchasing decisions and that 82% of consumers do read reviews before making a purchase decision” (Podium, 2017). This offers Phe Beauty the security for investment, knowing there is an audience who will be interested in reading the magazine’s content.
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Fig 5: L’Oréal finance report (2018)
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why print? In a society obsessed with the online world, some would question why the decision to develop a print publication over a digital publication was made. It is often a misconception that print media is ‘dying’ due to the shift towards the digital world. But in despite of the shift, print media is still indeed flourishing in today’s society. Whittaker (2008) argues “any predictions that the internet would replace print are unlikely to be true in the immediate future.” Print materials and publications offer your audience and prospects a brand experience that can’t be replicated online (Forbes, 2012). Think of some of the world’s most successful magazines such as Vogue and ELLE and how both of those magazines first began as print publications. Print magazines offer an air of credibility that online publications simply cannot achieve. There is something to be said about the power of legitimacy that comes from print, the feeling a consumer gets when they see their favourite magazine on the rack, one that in digital form cannot be replicated. The digital world is often criticised by the endless amounts of information it contains, often made available by unreliable and untrusty sources. Readers of print magazines often choose this form as they are confident that will indulge in a wealth of accurate knowledge that has been well researched, thoroughly strategised and beautifully presented, as opposed to some of the more questionable material and quality of journalism readers often find online. In 2017, Fraser Nelson, editor of The Spectator, stated: “A big change is taking place in the market. There’s now too much writing online, and in an era of fake news, where you get your analysis from has never been more important. As magazines are finding out, if you can publish writing that is consistently and significantly better than what can be found online and people will pay.” When producing Phe Beauty one of the main concerns was to ensure the credibility of the magazine was at its highest quality, building a strong brand image for the potential readers of the magazine.
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It was also decided to create Phe Beauty as a print publication due to the tangible benefits of print. Printed publications are often something a consumer will engage with for longer and become a ‘sentimental object’, they are items that can stay in homes and offices for months or even years after they are received (Rhodes, 2017). For some, magazines even become a part of a consumer’s furniture, an added piece of home décor, resting on coffee tables and even used as a replacement for drink coasters. According to Professor Bruce Hood (2012), what’s in a magazine is more than just information. The printed word has an ability to become a sentimental object as well as an owned object. (Rhodes, 2017). Hood explains: ‘To become sentimental, an object must be authentic – a uniqueness that is increasingly important to many of us in this digital age of reproduction. The smell and touch of print is not something that digital formats can copy.” Phe Beauty wanted its readers to have a magazine that they can physically touch and smell, an object that is both visually and physically beautiful, that can leave a tangible impact on the audience reading the magazine. Print provides a tactile human experience where the reader has a physical copy of the magazine in their hands. Websites are often skimmed in as little as 15 seconds per visit (Forbes, 2012), however, when a consumer reads a printed magazine they are engaged for a much longer period of time. In 2007 The Guardian reported on a study conducted by the National Readership Survey, stating that on average, a consumer spends 50 minutes reading a magazine, (The Guardian, 2007).
Fig 6: Unsplashed ‘Fashion Magazine’ (2018)
Fig 8: Unsplashed ‘Magazine Love’ (2018)
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Gap in tHE MARKET Beauty magazines usually fall under a sector of the fashion magazine market. However, it is clear from the research in the ‘why beauty?’ section of this report that beauty is a whole market in itself. After conducting observational research into the current beauty magazine market, it became obvious there was a clear gap for more print beauty publications. The observational research was taken place in existing newsagents and supermarkets around the UK, scanning their magazine racks for Phe Beauty’s competition. It was concluded that majority of competition were mainly fashion-based magazines such as Marie Claire and Cosmopolitan, (see fig 8). These types of publications focus a large amount of their content around fashion and only offer readers a small section of beauty content. The closest competition to the publication was ‘Professional Beauty Magazine’ as it focuses solely on the beauty industry. However, this magazine is more aimed towards professionals working in beauty such as salon owners and beauty therapists, not necessarily consumers of beauty products.
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Competitor analysis chart
Fig 8: Competitor analysis chart (2019)
Fig 10: Magazine rack in Tesco (2019)
Fig 9: Magazine rack in Waitrose (2019)
Fig 11: Magazine rack in Sainsburys (2019)
The above figures show the typical magazine rack found in shops around the UK, it is clear the market is lacking a print publication that focuses solely on beauty. Phe Beauty will be a ‘first in the market’ offering readers a magazine that is completely focused around beauty and the consumer. CONCEPT DEVELOPMENT
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tHE pIVOTAL MARKET After conducting research into the beauty market, it was decided that Phe Beauty’s target audience would be aged between 13-34 years old. In 2017, an extensive research project was conducted by CEO and co-founder of Beautycon, Moj Mahdara, looking into the unique intersection of millennials and Generation Z in the beauty industry. She defined a new demographic of beauty enthusiasts called “Pivotals,” combining the age group of millennials and Gen Zers together. Members of this demographic range from age 13-34. The reason for choosing a target audience of Pivotals is due to this age group having the most interest and influential impact a on the beauty industry. To quantify this a report published by Business of Fashion on ‘The State of Fashion 2019’, estimates that: “Gen Z & Millennials represent $350B in spending power in the US and are expected to account for 40% of global customers by 2020”, (Business of Fashion, 2019). Other generations used beauty products to hide imperfections or make themselves look more attractive, but that’s not what draws Pivotals to the industry. Younger consumers view the beauty industry as a tool that can be used to help self-expression and to create meaningful connections with others. Phe Beauty was developed as a springboard for beauty lovers to come together as a community and to offer content that is informative, usable, fun, engaging and sharable.
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tHE magazine design The design of a magazine is the first element that grabs the attention of the potential reader. The photograph used on the cover, typography, layout, colour theme- all unconsciously form a relationship between the consumer and product even before they read any articles (Dubovskaia, 2015). The purpose of magazine design is to pull the reader’s attention to the magazine and its content (Sumner and Rhoades, 2006). It was important to carefully consider the design of Phe Beauty throughout in order to match industry high standards and to develop an attractive magazine that the target audience would want to read. Design is largely about working with the technology that is available to you (Frost, 2012). To further expand on this, Whittaker (2008) argues that publishing software, InDesign, offers advance software features that are commonly used to develop print publications and in recent years has become an industry favourite for magazine design. After gathering this research and previous experience with the software, the decision was made to design the magazine on InDesign. The software is also compatible with Photoshop and Illustrator which the publication used to build the logo, fonts and to edit photos the feature throughout.
Fig 12: Adobe InDesign logo (2019)
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tHE magazine layout Magazine layout is the arrangement of the elements of a design in relation to the space that they occupy and in accordance with an overall aesthetic scheme (Ambrose and Harris, 2005). Honeywill and Carpenter (2005) explain that the main objective of a well-planned layout is the establishment of maximum readability together with an overall sense of scale. Honeywill (2005) also highlights that each aspect of the design reflects the character of the magazine as well as the function of the publication. For a luxury magazine like Phe Beauty, it was extremely important to create a layout that showcased high-quality. Honeywill (2005) later argued that using a grid structure is one of the most important design features for achieving a successful looking publication. A common grid structure used by professional designers is 12-columns per page as it manages space well on A4 magazine publications. Therefore, this grid structure was used throughout the design process off the magazine allowing consistent flow from page to page.
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PRINTING PHE BEAUTY Typically, the paper size for most print magazines is A4, this size works well with the magazine content during the printing process and when sitting on magazine racks waiting for consumers to buy (Ambrose and Harris, 2005). As a result of this, Phe Beauty opted for the classic magazine size of A4 (210 x 397 mm). The publication contains a mixture of text and photos, so it was essential to use a paper size that would not distort these photos in print and one that would stand out from competition on magazine racks. The final copy of the magazine is 48 pages, ensuring the number of pages was divisible by 4 for the folding and binding process after print. It was also important to consider the bleed when printing also. This is the term that refers to printing that goes beyond the edge of the sheet before trimming. The bleed is the part on the side of a document that gives the printer a small amount of space to account for movement of the paper (DiMarco, 2011). To ensure the publication did end up with an inconsistent white margin when it’s cut, a 5mm bleed was set up.
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The final section to consider was which type of material would be used to print the magazine. After researching into competition with similar house styles of Phe Beauty, it became clear many of the rivals print on ‘coated gloss paper’. Coated fine gloss is a trend-setter in its own right and is what gives ‘glossies’ like Vogue and ELLE their luxury names. As one of the main concerns throughout was to develop a high-quality magazine that consumers can identity through the look and also the touch of the magazine, it was decided Phe Beauty would be printed in this type of paper stock. Although coated gloss stock is expensive, it offers an especially fine surface for printing effects and supplies extraordinary durability due its fine-quality materials (Wolseley, 1972). Referring back to the ‘why print?’ section of this report, the durability of Phe Beauty was another major concern of the magazine. The publication wanted to offer its consumers something they can keep as ‘sentimental object’ and a good-quality publication can offer this. When the magazine first markets, the circulation will be much smaller than brands like Vogue. Therefore, the publication will be distributing smaller volumes of copies to the market which means investing into a material higher price margin can be possible. This investment will allow the readers of Phe Beauty to have something physically beautiful to hold in their hands and will help to establish the magazine in the luxury magazine market.
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Fig 13: Unsplashed ‘Magazine Printer’ (2017)
Typography Typography uses visual language in the form of letters, words, sentences and paragraphs to thoughtfully present a message with a composition. Readability and legibility are the cornerstones of good typography (DiMarco, 2011). In printed magazine’s typography is the way the words are placed and arranged in relation other content elements such as images or objects in the article. Typography can change the entire look and feel of a magazine’s presentation which is why it was essential to find fonts that worked well with Phe Beauty as a whole. In order to keep the magazine looking fun and interesting a range of four different fonts were used throughout; Vogue, Fauna One, Minion Pro and Playlist Script. This number of fonts allowed the reader to keep engaged and drew their attention to different parts of information in the same article, but wasn’t too distracting that they overpowered one another which can happen if left unnoticed by the designer.
Vogue Fauna One
Minion Pro Playlist Script CONCEPT DEVELOPMENT
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the logo In 2018 when the digital publication was developed, the first logo was created for the magazine. The first logo was critically evaluated for the magazine revamp and it was decided a new and updated logo should be created. The magazine still wanted a bold but minimalistic logo, so that the audience was drawn to the name of the brand and one that worked with the style of the magazine.
Fig 14: Phe Beauty logo (2018)
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After experimenting with a range of designs, the logo below was created. The typography to create the logo was done in the font ‘Vogue’. It was decided this font worked very well with house style of the magazine. The font is bold yet not too intense and offers a high-quality print magazine feel similar to what existing magazines in the market use. The revamped logo also works extremely well with the front cover of the magazine, not distracting the reader from the beautiful photography, but at the same time can be easily identified by consumers on a magazine rack. The colour of the logo will change depending on the cover photo and colour theme of each issue. This is something a range of existing magazines currently do, including publications such as Vogue and Cosmopolitan. The idea of this is so the logo fits around the theme of that issue and allows the magazine to look more aesthetically pleasing. With strong branding, a different colour logo can always be identified by any consumer.
PHE Beauty
Fig 15: Phe Beauty logo (2019)
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The font ‘Vogue’ was also used throughout the magazine featuring on article headlines and crossheads which allowed the publication to build a consistent ‘brand font’ that consumers would identity with Phe Beauty. Main headlines for magazine start from as little as 18pt but are usually are much larger usually sizing all the way to 72pt or bigger (Hand and Middleditch, 2014) The majority of headlines throughout Phe were usually sized 65pt as this drew the reader’s attention to the title of the article.
Standfirsts were used throughout the magazine to give an introduction or summary to the readers of what they can expect from the magazine’s article. A standfirst should work with the headline, usually placing it below, to form a unit so the reader can easily follow an article in its natural way (Whittaker, 2008). In order for a standfirst to work the size of it should be much smaller than the headline but bigger than the body copy. It was decided the font size for the standfirst’s throughout Phe would be 20pt and written in a contrasting font to the rest of the fonts used in the articles. A range of different fonts for the standfirst were trialled with but it was decided ‘Minion Pro’ fit best for the style of the magazine and jumped out from the rest of the fonts used in each article. 22
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Fig 16: Billionaire Baby article (2019)
Another crucial element to consider was the font used for the body copy. Magazine consumers do not actually notice properly set body copy, instead they notice engaging images, powerful headlines, but not body copy. And that is a good thing. Properly designed and adjusted body copy should be unnoticeable, and it should not interfere with the process of reading. It should actually be invisible to the reader, so that the audience is never aware of the reading process. Poorly designed body copy can cause bad readability which often diverts the reader away from the article. Considering the above, it was important Phe Beauty used a body copy font that was minimal, professional and readable. After experimenting with a range of fonts, including ‘Ariel’ and ‘Minion Pro Regular’, it was decided ‘Fauna One’ worked very well with the magazine. The simple yet attractive looking font allowed the body copy to work well with article’s the headlines and images, without distracting away from the reading experience. It was also essential to consider the size of the body copy. According to Hand and Middleditch (200) the average range for body copy in a magazine is 9-11pt. 12pt is the default size in programmes like Word and InDesign, however this size is too big for columns of body copy in magazines (Hand and Middleditch, 2014). The font size for the body copy was set to 10pt with a leading of 14pt, readability is enhanced when the body copy is set to these sizes. By increasing the amount of leading or space between the lines of text, it creates white space and allows the text to look less cramped, making reading small magazine copy easier (Blakeman, 2004). Throughout the body copy crossheads were used to break up the long articles. Often crossheads give the reader a clue as to the following content and entice the reader to explore the text in more detail (Hand and Middleditch, 2014). As these are placed in the same column as the main body copy, they need to be slightly bigger than the body copy. In order to allow the crossheads in Phe Beauty to stand out, they were set to a size of 16pt and to further enhance their presence the font ‘Vogue’ was again used as a contrast from the font used in the body copy. CONCEPT DEVELOPMENT
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The final font used in the publication was ‘Playlist Script’. This font offers a perfectly imperfect hand-written look, created using a dry brush tool for this authentic feel. Phe Beauty cleverly used this font when something was written personally by the editor, for example the signature on the editor’s letter or when offering advice and opinions through review articles. This allowed the text to look like it was directly hand-written by ‘Phe’, offering a personal touch from the editor to the readers.
Figs 16, 17, 18: Examples of the font ‘Playlist Script’ (2019)
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Production flow Traditionally, magazine’s work with production flows in order to ensure a smooth running of the publication and will go through numerous checks between the production editor, the editorial team and the design department (Whittaker, 2008). In larger publications, there are usually skilled individuals working in a range of teams that specialise in certain areas of the magazine. Although Phe Beauty is a smaller magazine ran by one individual, it was essential that the production of the magazine still followed an effective workflow. Prior to developing the magazine, a workflow timeline was created with deadlines to ensure the workload was distributed concisely and effectively. The workflow timeline began with research into the beauty market and target audience which then followed into developing content for the magazine. The workflow allowed time for the editor to begin writing high-quality content for the magazine, carry out editorial duties such as interviews and the collection of photos to feature in the magazine. The next step was the design process, where the magazine and the content were put together. It was essential to leave enough time for the design process as it can be extremely time-consuming. The final step was finalising the magazine for print and marketing.
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timeline
Fig 20: Workflow Timeline (2019) 26
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flatplan Another vital part of the production progress was developing a flatplan for Phe Beauty. A flatplan is a diagram of thumbnail pages which represent each page article. Ad pages are also included, usually coloured differently from the editorial part of the magazine so they can be recognised (McKay, 2013). A flatplan offers the art director an understanding of how the articles and content will be laid out and arranged for the publication. Through the editing process a flatplan can change almost daily with some articles being cut shorter or longer and adding new content. Each time the editor makes a change the flatplan will be altered.
Fig 21: Phe Beauty Flatplan (2019)
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images Editorial design is a highly visual medium by definition. The most successful magazine use imagery in creative ways to grab the reader’s attention, help tell article stories, and achieve interest and pace within a magazine layout. Phe Beauty used images throughout the magazine that fit well with the content and house style, often fashion and beauties magazines can look much more ascetically beautiful through the use of imagery. As the magazine has been published into the public domain it was very important to consider copyright and ownership of images. The imagery throughout Phe Beauty was either used after consent was given by the brands or individuals who own the imagery (consent forms will be included at the back), taken and bought from image stock websites such as Unsplashed, Shutterstock and Flickr or illustrated by the editor of the magazine on Illustrator. It was important the magazine used high resolution photos throughout, ensuring each picture was set to 300dpi it allowed for fantastic picture quality after the magazine is printed.
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front cover A magazine’s front cover is its most prominent and useful selling tool. Many otherwise excellent publications are damaged by their editors’ apparent inability to arrive at a suitable cover style. (Morris and Bradshaw, 2013) Sometimes, a good cover can even save a bad magazine this is because a well-designed cover entices the reader to pick up the magazine (Sumner and Rhoades, 2006). Morrish and Bradshaw (2013) explain that a front cover must be true to its subject, but also have an unchanging quality from issue to issue: it is the principal carrier of the magazine’s ‘brand’ values. Phe Beauty wanted a front cover that grabbed the attention of consumers and allowed consumers to immediately identify that the magazine beauty magazine. The magazine experimented with a range of cover photos (see figures 22, 23, 24, 25 on next page), however, after exploring the work of beauty photographer Michael Myers, it was decided his work would feature as the cover photo. The photo used showcases Phe Beauty’s house style perfectly by offering a professional look and allows consumers to be drawn to the magazine from other competition Sometimes magazine covers use what is know as ‘cover lines’ on their front pages. Cover lines are short sentences explaining what’s inside magazine. However, some magazines opted for a minimal look to their front covers and do not include cover lines. After trailing a range of designs for the front cover it was decided Phe Beauty would not include cover lines on the front page as they became too distracting from the cover photo, instead it would just feature the brands logo. The magazine looked less busy and messy when it was kept minimal and overall showcased a more professional front cover. Morrish (2003) argues a good front cover should strength and enhance the reader’s experience- not distract from it.
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Fig 22: First development of front cover (2019) 30
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Fig 23: Second development of front cover (2019)
Fig 24: Third development of front cover (2019)
Fig 24: Final development of front cover (2019) CONCEPT DEVELOPMENT
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#thefrankeffect
cont
The #frankeffect article is 10-page spread including a review article at the end. The inspiration for this article was after the editor saw the product everywhere on social media a few weeks prior to writing. The editor contacted the owners of the brand and was given permission to write an article and review on the product. Although this a very long article, the interesting and fun layout allows the reader to keep engaged throughout. It was important to add a review to the article so the readers would know whether the product was worth purchasing. The article was consistently changed and altered throughout the design process in order to produce the most professional looking magazine.
Fig 22: Design development of the article (2019) 32
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Fig 23: Final design of the article (2019)
tent
Billionaire Baby
The article ‘Billionaire Baby’ was developed as it focuses on beauty mogul Kylie Jenner. The Pivotal audience is a generation that enjoys reading and engaging with celebrity news, almost all fashion and beauty magazines will produce at least one article that focuses on ‘celebrities-of-the-moment’ like Kylie Jenner. It was important to include topics and content that the target audience actually want to read. The first development of the article was messy and didn’t look professional. The article was improved by splitting the body copy into 3 linear columns rather than 2 bulky and untidy looking columns. It was also decided that the photo of Kylie Jenner looked better on the right-hand side of the spread. Fig 25: Final design of the article (2019)
Fig 24: Design development of the article (2019)
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Michael Myers Photography After researching into the work of US photographer Michael Myers, the publication wanted to show its readers how photographers like Michael use beauty and cosmetic products to express their creative skills and build successful careers for themselves. This profile piece mainly features a selection of photography work that Michael has captured over the years. The article works extremely well with the rest of the magazine as it gives the audience break from reading the long body copy pieces and instead offers an article that is more visually engaging. Throughout the editing process changes were made to each page spread in the article. To begin with coloured boarder were placed around the pictures in order for them to stand out and bind in colours that are prominent in the photography. However, after critically evaluating, it was decided that a more simple design would look better as it wouldn’t distract the reader’s attention away from the photography
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Fig 26: Design development of the article (2019)
Fig 27: Final design of the article (2019)
Fig 28: Design development of the article (2019)
Fig 29: Final design of the article (2019)
Fig 30: Design development of the article (2019)
Fig 31: Final design of the article (2019) CONCEPT DEVELOPMENT
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Phe loves As the concept of Phe Beauty was to create a professional print magazine that was similar to an online beauty blog, it was important to include a recommendation piece. The editor created an article with recommendations of the markets best and latest beauty drops. These types of articles are featured in most fashion and beauty magazines, as they offer recommendations to readers who are currently looking to buy new products. The article was also written in a funny and chatty tone which allowed the audience to get a better understanding of the character ‘Phe’, building a likeable and friendly personality.
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Fig 32: Phe Loves article (2019)
Phe talks with... The publication wanted to include a series called ‘Phe chats with…’ where the editor will interview someone in the beauty industry about their experiences. Interviews are an exchange of information, opinion or experience from one person to another (Herbert, 1999). For series one of ‘Phe talks with…’, an interview was set up between the editor and Jessica Richmond, owner of a UK makeup academy, Sharpe Faces. Interviewing Jessica allowed the publication to write a Q&A article on the life of a MUA and business owner, something a beauty enthusiast would be interesting in reading about. Herbert (1999) stresses the importance of using open-ended questions during interviews that can’t be answered with a simple yes or no, as you are able to get the most information out of an interviewee through this technique. It is also important an interviewer researches and plans the questions being asked, if a question is clear and interesting, the respondent will want to answer. The whole interview process was recorded on a digital device so that the written article was completely accurate and kept exactly to the interviewee’s words when it was later transcribed. The article was presented in a typical Q&A format allowing for the reader to easily understand who is asking the questions and who is giving the answers. Photos of the interviewee, her makeup work and her top recommended products were added to the article so that the audience was able to engage with Jessica on a personal level.
Fig 32: Section of the Phe Talks With… article (2019) CONCEPT DEVELOPMENT
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10 Decades of Brow As eyebrows are currently a huge topic of conversation and deemed extremely sufficient in the beauty world, it was decided a historical trend article on eyebrows would also be included in the publication. The article explored the trends of eyebrows through 10 different decades, starting from 1930s to the current year of 2019. It was important to conduct extensive research into each decade in order to represent the most common and correct brow trend in that era. The research was conducted by watching a range of films and music videos that featured popular celebrities or trend setters of that decade, looking into magazines that were published during certain decades and also by asking real-life individuals who have lived through the different eras for their opinions on eyebrow trends. The article also featured illustrations of each eyebrow trend through the 10 decades which were hand-drawn on Illustrator by the editor and used images of the celebrities that influenced that particular brow look. All photos of the celebrities were taken from royalty free image site, Flickr. Fig 33: Section of the 10 Decades of Brow article (2019)
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Advertisements Advertisements feature throughout the publication in order generate some of the magazine’s revenue. It was important to carefully select which brands and products will be advertised to the readers. The publication ensured they would only make advertising deals with brands/products that aligned with the magazine’s ethical values. The editor did not want to advertise a company or product that is untrustworthy or unreliable to the consumers of Phe Beauty, as the magazine’s reputation is of extremely high value. Knowing the preferences of the target audience the publication choose to only to include advertisements that were beauty or cosmetic related. This was because the readers are unlikely to want to view an advert that is not related to the genre of the magazine, for example an advert that is endorsing a fishing product or gardening tool. Examples of the advertisements are presented below.
Fig 34 & 35: Example of advertisements (2019)
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Social media In addition to the print publication of Phe Beauty, social media platforms were also set-up in order to market to the target audience. Greenwood (2008) argues that social media platforms have become extremely important tools for brands to connect with potential consumers. The brand focused the majority of the social media marketing on Instagram as this was the platform a large number of the target audience use the most. According to social media analytics company, Tracx “90% of Instagram users are under 35 and 53% of Instagram users follow brands” (Tracx, 2017). By setting up an exciting Instagram channel and posting engaging content it will draw the attention of the target audience and will create an online conversation about the print publication. The aim of the platform is to reach a new audience of consumers for Phe Beauty and to build a platform where the ‘beauties’ can connect together as one community.
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Fig 36: Phe Beauty Instagram page (2019)
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CONSENT FORMS
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CONSENT FORMS
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Concept developm Ambrose, G. and Harris, P. (2005). Basics Design 02: Layout. United Kingdom: AVA Publishing. Blakeman, R. (2004). The Bare Bones of Advertising Print Design. United States: Rowman & Littlefield Publishers. DiMarco, J. (2011). Digital Design for Print and Web: An Introduction to Theory, Principles, and Techniques. New Jersey: John Wiley & Sons. Dubovskaia, I. (2015). The influence of the visual elements of cover design on the appeal of art and cultural magazines. Ph.D. thesis, University of Lapland. Forbes. (2012). Print is Dead? Not so Fast. [Online] United States. [Accessed 27 May 2019]. Available from: https://www.forbes. com/sites/thesba/2012/06/28/print-is-dead-not-so-fast/#6b88f7284941 Frost, C. (2012). Designing for Newspapers and Magazines. London: Routledge. Hand, D. and Middleditch S. (2014). Design for Media: A Handbook for Students and Professionals in Journalism, PR, and Advertising. London: Routledge. Herbert. (1999). Journalism in the Digital Age. United Kingdom: Routledge. Honeywill, P. and Carpenter, D. (2003). Digital Magazine Design: With Case Studies. Bristol: Intellect Books. Hutchinson, A. (2017). Top Social Network Demographics 2017. [Online]. Social Media Today. [Accessed 1st June 2019]. Available from: https://www.socialmediatoday.com/social-networks/top-social-network-demographics-2017-infographic L’Oréal Annual Report 2018 (2018) GROWTH OF THE WORLDWIDE COSMETICS MARKET OVER 10 YEARS. [Online]. L’Oréal Finance. [Accessed 1st June 2019]. Available from: https://www.loreal-finance.com/en/annual-report-2018/LOreal_2018_ Lamb, C., Hair, J. and McDaniel, C. (2008) Essentials of Marketing. United Sates: Cengage Learning. McKay, J. (2013). The Magazines Handbook. United Kingdom: Routledge. Morrish, J. (2003). Magazine Editing. 2nd ed. United Kingdom: Routledge
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ment Bibliography Podium. (2017). 2017 Sate of Online Reviews. [Online]. United Sates. [Accessed 26 May 2019]. Available from: http://learn. podium.com/rs/841-BRM-380/images/2017-SOOR-Infographic.jpg. Rhodes, E. (2017). Why Magazines Matter. [Online] United Kingdom: The Psychologist. [Accessed 27 May 2019]. Available from: https://thepsychologist.bps.org.uk/volume-30/january-2017/why-magazines-matter Sumner, D. and Rhoades, S. (2006). Magazines: A Complete Guide to the Industry. Oxford: Peter Lang Publishing. Whittaker, J. (2008). Magazine production. United Kingdom: Routledge. Wolseley, R. (1972). Understanding Magazines. 2nd ed. United States: lowa State University Press. p.101. Zion Market Research. (2018). Global Cosmetic Products Market Is Expected To Reach Around USD 863 Billion by 2024. [Online]. New York: Zion Market Research. [Accessed 26 May 2019]. Available from: https://www.zionmarketresearch.com/ news/cosmetic-products-market
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List of figures Concept Development Fig 1, 4: Michael Myers Photography (2019) ‘Phe Beauty Front Cover.’ [Online Image]. Available from: http://www.mikemyersphoto. com [Accessed: 30th March 2019] Fig 2: Own Image (2019) ‘Phe Beauty survey on Instagram.’ Fig 3: Own Image (2019) ‘Phe Beauty survey results.’ Fig 5: L’Oréal finance (2018) ‘GROWTH OF THE WORLDWIDE COSMETICS MARKET OVER 10 YEARS.’ [Online Image]. Available from: https://www.loreal-finance.com/en/annual-report-2018/LOreal_2018_Annual_Report.pdf [Accessed: 30th March 2019] Fig 6: Unsplashed (2018) ‘Fashion Magazine.’ [Online Image]. Available from: https://unsplash.com/photos/p-th9JVqrkY [Accessed: 30th March 2019] Fig 7: Unsplashed (2018) ‘Magazine Love.’ [Online Image]. Available from: https://unsplash.com/photos/LyOz2jJdCY8 [Accessed: 30th March 2019] Fig 8: Own Image (2019) ‘Competitors analysis chart.’ Fig 9: Own Image (2019) ‘Magazine rack in Waitrose.’ Fig 10: Own Image (2019) ‘Magazine rack in Tesco.’ Fig 11: Own Image (2019) ‘Magazine rack in Sainsburys.’ Fig 12: Adobe (2019) ‘InDesign logo.’ [Online Image]. Available from: https://www.adobe.com/uk/products/indesign [Accessed: 1st June 2019] Fig 13: Unsplashed (2017) ‘Magazine printer- Print is Alive’. [Online Image]. Available from: https://unsplash.com/photos/ Tzm3Oyu_6sk/info [Accessed: 1st June 2019] Fig 14: Own Image (2018) ‘Phe Beauty logo 2018.’ Fig 15: Own Image (2019) ‘Phe Beauty logo 2019.’ 46
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List of figures Concept Development Fig 16: Own Image (2019) ‘Billionaire Baby article.’ Fig 17, 18, 19: Own Image (2019) ‘Playlist Script font example in publication’. Fig 20: Own Image (2019) ‘Workflow Timeline.’ Fig 21: Own Image (2019) ‘Flatplan for Phe Beauty.’ Fig 22: Own Image (2019) ‘First development of front cover.’ Fig 23: Own Image (2019) ‘Second development of front cover.’ Fig 24: Own Image (2019) ‘Third development of front cover.’ Fig 25: Own Image (2019) ‘Final design of front cover.’ Fig 26: Own Image (2019) ‘Design development of the article.’ Fig 27: Own Image (2019) ‘Final design of the article.’ Fig 28: Own Image (2019) ‘Design development of the article.’ Fig 29: Own Image (2019) ‘Final design of the article.’ Fig 30: Own Image (2019) ‘Design development of the article.’ Fig 31: Own Image (2019) ‘Final design of the article.’ Fig 32: Own Image (2019) ‘Phe Loves article’. Fig 32: Own Image (2019) ‘Section of the Phe Talks With… article.’ Fig 33: Own Image (2019) ‘Section of the 10 Decades of Brow article.’ Fig 34 & 35: Own Image (2019) ‘Example of advertisement.’ Fig 36: Own image (2019) ‘Phe Beauty Instagram Page.’
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List of figures Final major project Fig 1: Michael Myers Photography (2019) ‘Phe Beauty Front Cover’. [Online Image]. Available from: http://www.mikemyersphoto.com [Accessed: 30th March 2019] Fig 2: frank body girls (2018) [Online Image]. Available from: https://www.frankbody.com/uk/ [Accessed: 30th March 2019] Fig 3: Kylie Cosmetics (2018) [Online Image]. Available from: [Accessed: 30th March 2019] Fig 4: Own Image (2019) ‘Phe Beauty selfie ’. Fig 5 & 16: frank body logo (2019) [Online Image]. Available from: https://www.frankbody.com/uk/ [Accessed: 30th March 2019] Fig 6 & 10: frank body coffee beans (2019) [Online Image]. Available from: https://www.frankbody.com/uk/ [Accessed: 30th March 2019] Fig 7 & 8: frank body team (2019) [Online Image]. Available from: https://www.frankbody.com/uk/about/ [Accessed: 30th March 2019] Fig 9: frank body campaign image (2019) [Online Image]. Available from: https://www.frankbody.com/uk/about/ [Accessed: 30th March 2019] Fig 11: frank body Instagram image (2019) [Online Image]. Available from: https://www.instagram.com/frank_bod/ [Accessed: 1st April 2019] Fig 12: ‘What is #thefrankeffect’ (2019) [Online Image]. Available from: https://www.frankbody.com/uk/letsbefrank/skin/ [Accessed: 1st April 2019] Fig 13: frank body campaign image (2019) [Online Image]. Available from: https://www.frankbody.com/uk/ [Accessed: 1st April 2019] Fig 14: The originals kit frank body (2019) [Online Image]. Available from: https://www.frankbody.com/uk/products/the-originals-kit/ [Accessed: 1st April 2019] Fig 15: frank body original coffee scrub (2019) [Online Image]. Available from: https://www.frankbody.com/uk/products/originalcoffee-scrub/ [Accessed: 1st April 2019] Fig 15: frank body original coffee scrub (2019) [Online Image]. Available from: https://www. frankbody.com/uk/products/original-coffee-scrub/ [Accessed: 1st April 2019] 48
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List of figures Final major project
Fig 17: frank body campaign image (2019) [Online Image]. Available from: https://www.frankbody.com/uk/products/originalcoffee-scrub/ [Accessed: 1st April 2019] Fig 18: Shutterstock (2019) ‘Foundation sponge’ [Online Image]. [Accessed: 1st April 2019] Fig 19: Beauty Blender logo (2019) [Online Image]. Available from: https://beautyblender.com [Accessed: 1st April 2019] Fig 20: Beauty Blender slogan (2019) [Online Image]. Available from: https://beautyblender.com [Accessed: 1st April 2019] Fig 21: Kylie Cosmetics Instagram (2019) [Online Image]. Available from: https://www.instagram.com/kyliecosmetics/ [Accessed: 2nd April 2019] Fig 22: Shutterstock (2019) ‘Reds for lips’ [Online Image]. [Accessed: 1st April 2019] Fig 23: Nars logo (2019) [Online Image]. Available from: https://www.narscosmetics.eu/en [Accessed: 2nd April 2019] Figs 24, 25, 26, 27, 28, 29, 30, 31, 32, 33: Michael Myers Photography (2019) [Online Image]. Available from: http://www. mikemyersphoto.com/beauty [Accessed: 15th April 2019] Fig 34: Unsplashed (2018) ‘Chanel perfume bottle’ [Online Image]. Available from: https://unsplash.com/photos/potCPE_Cw8A [Accessed: 15th April 2019] Fig 35: Gucci Beauty perfume bottle (2019) Instagram. [Online Image]. Available from: https://www.instagram.com/guccibeauty/ [Accessed: 20th April 2019] Fig 36: Doll Beauty (2019) Instagram. [Online Image]. Available from: https://www.instagram.com/__dollbeauty_/ [Accessed: 20th April 2019] Fig 37: Morphe Brushes (2019) Instagram. [Online Image]. Available from: https://www.instagram.com/morphebrushes/ [Accessed: 20th April 2019] Fig 38: Unsplashed (2019) ‘Perfume Bottle’ [Online Image]. Available from: https://unsplash.com/photos/8m4V_wPWwbY [Accessed: 20th April 2019] Fig 39: Giorgio Armani Logo (2019) [Online Image]. Available from: https://www.armanibeauty.co.uk [Accessed: 20th April 2019]
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List of figures Final major project Fig 40: Shutterstock (2019) ‘Foundation Swatches’. [Online Image]. [Accessed: 1st April 2019] Fig 41: Maybelline (2019) Instagram [Online Image]. Available from: https://www.instagram.com/maybelline/ [Accessed: 20th April 2019] Fig 42: Curology logo (2019) [Online Image]. Available from: https://curology.com [Accessed: 25th April 2019] Figs 43, 44, 45, 46: Curology (2019) Instagram [Online Image]. Available from: https://www.instagram.com/curology/ [Accessed: 25th April 2019] Figs 47 & 51: Sharpe Faces. (2019) Instagram [Online Image]. Available from: https://www.instagram.com/sharpefaces/ [Accessed: 25th April 2019] Fig 48: MAC Cosmetics (2019) Instagram [Online Image]. Available from: https://www.instagram.com/maccosmetics/ [Accessed: 25th April 2019] Fig 49: Doll Beauty (2019) Instagram. [Online Image]. Available from: https://www.instagram.com/__dollbeauty_/ [Accessed: 25th April 2019] Fig 50: L’Oréal Makeup (2019) Instagram. [Online Image]. Available from: https://www.instagram.com/lorealmakeup/ [Accessed: 25th April 2019] Fig 52: Unsplashed (2018) Glossier Showroom USA. [Online Image]. Available from: https://unsplash.com/photos/uXxV718_ osk [Accessed: 25th April 2019] Fig 53: Glossier Logo [Online Image]. Available from: https://www.glossier.com [Accessed: 25th April 2019] Figs 54, 56, 58, 60, 62, 64, 66, 68, 70, 72, 74, 76: Own Image (2019) Eyebrows illustrations created on Illustrator. Fig 55: Pixabay (2014) ‘Greta Garbo’ [Online Image]. Available from: https://pixabay.com/photos/greta-garbo-actressvintage-movies-398405/ [Accessed: 30th April 2019] 50
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List of figures Final major project Fig 57: Flickr (2011) ‘Joan Crawford’ [Online Image]. Available from: https://www.flickr.com/photos/slightlyterrific [Accessed: 30th April 2019] Fig 59: Flickr (2013) ‘Marilyn Monroe’ [Online Image]. Available from: https://www.flickr.com/photos/celebsplasticsurgery/ [Accessed: 30th April 2019] Fig 61: Flickr (2008) ‘Twiggy’ [Online Image]. Available from: https://www.flickr.com/photos/couleursdessins/ [Accessed: 30th April 2019] Fig 63: Flickr (2008) ‘Twiggy’ [Online Image]. Available from: https://www.flickr.com/photos/couleursdessins/ [Accessed: 30th April 2019] Fig 65: Flickr (2006) ‘Donna Summer’ [Online Image]. Available from: https://www.flickr.com/photos/ [Accessed: 30th April 2019] Fig 67: Flickr (2012) ‘Brooke Sheilds’ [Online Image]. Available from: https://www.flickr.com/search/?text=Brooke%20 Shields%27 [Accessed: 30th April 2019] Fig 69: Flickr (2008) ‘Pamela Anderson’ [Online Image]. Available from: https://www.flickr.com/photos/philokezzar [Accessed: 30th April 2019] 71: Flickr (2012) ‘Paris Hilton’ [Online Image]. Available from: https://www.flickr.com/photos/potradigital/ [Accessed: 30th April 2019] 73: Flickr (2012) ‘Cara Delevingne’ [Online Image]. Available from: https://www.flickr.com/photos/poodge [Accessed: 30th April 2019] 75: Flickr (2012) ‘Kylie Jenner’ [Online Image]. Available from: https://www.flickr.com/search/?text=Kylie%20jenner [Accessed: 30th April 2019] CONCEPT DEVELOPMENT
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