Constructing my Magazine Front Cover - Part 6

Evidently with my magazine front cover now complete the only major adjustments that could be made were improvements to the existing conventions already presented, this ensured they were the best quality and can be perceived as accurately as they could possibly through the use of text style, colour scheme and positioning stated to enhance their overall performance on the document.

With me having altered the placement of the additional byline to the centre feature, my next phase was to align them so each was situated in near vicinity to one another and that they each began in a similar length from above and below. This was another straight forward method of enlisting the ruler tool for the second time to act as a marker device, under this editing style I could move the wording closer to it so they all were situated in an optimal distance to one anothers proximity.

During the final review of my magazine cover before its ultimate submission to the exam board, my lecturer completed her final feedback scenario in which she would detail to me privately any last minute changes that could be potentially implemented to my publication before it was drafted. As I was overall in the penultimate stages of construction, this was going to be vital to me in order to determine whether what I had produced satisfied expected standards whilst also identifying potential setbacks which could undermine the entire perception. The only error I could be targeted for was the 'Festival' circle situated now in the right hand corner of the document. Since I first inserted it my lecturer was never content with its presence, she always described it as 'floating' and drawing away necessary gaze from the centre attractions (the main image and masthead respectively) due to its underlying unusualness. Personally I felt it had nothing to do in relation to how it was located, but with the colour scheme instead. When I was delving into my instiutional research I uncovered an issue of Q magazine that had incorporated a solid blue circle that indefinitely contained vital information detailing recent album reviews, however I was most intrigued by it because the same shade of blue was repeated on the main headline, I believed this provided that essential continuity displaying how all the conventions correlated well together. Taking what I had discovered, I retained it so I could reproduce this technique on my own cover , which cane witnessed in the above screenshot to enhance my continuity more thoroughly. Personally I felt the elements corresponded in relation to one another, however my lecturer disagreed because she perceived that the blue in the circle was drawing attention away from the centre fold of my product which was ultimately the male artists headline itself, under this impression it would be more difficult to identify the most important selling point. In this respects my concept I had reproduced has ultimately failed as it did not connotate effectively with my theme or layout of the front cover. With this in mind she suggested altering it to a more neutral shade so as to divert the attention away back to the main feature. I opted to switch it to grey with it being a submissive tone, therefore eyesight was turned back to the bold, prominent blue of 'Cypher'. This tone still allowed the 'Festival' circle to be recognised so it was not dismissed entirely, despite that it was now inferior to the headline which is how it should have been portrayed in the first place.

Completed Double Page Spread

Media Evaluation Via Video Link

Media Evaluation - Presentation

Media Evaluation

Completed Magazine Front Cover

With my front cover now officially completed, I repeated the same process I had conducted with the contents by identifying aspects of my productions I executed exceptionally well, consider the areas that hadn't conformed to plan and adjustments I could make in the future to prevent these inconsistencies from occurring again.

Essentially this was the task of the three productions I had to create that I struggled to perfect the most. The underlying issue in this concerned the mastheads design and appearance, although I had initially planned ahead and was vehement I had a concept cognitively I would like to replicate for my coursework, when it came to implementing my idea it found this employment extremely difficult. This was related to that fact not only could I not get the masthead to efficiently emphasise itself behind the male models hair (as it was not large enough to be noticed above the remaining conventions such as the additional headlines with which it should have outcompeted in terms of flawlessness) but the text style I desired to use did not accurately portray the title nor did the colour scheme I had previously decided upon (I really was keen on having one unique shade as the fill for my 'V' - to begin with it was blue - and have the accompanying 'oid' in white so it could portray itself emphatically against the red rectangle backdrop, however in the development stages my lecturer had disagreed on my notion towards the single blue letter terming it 'too unusual and against the standards the audience are familiar with) That thought in itself could have deterred them from purchasing it if they deemed it defied what they would normally anticipate to see in a product. One characteristic I noted during my audience research is that readers like a common convention, they desire to see the same style or theme constantly referred throughout the publication as it provided some form of comfort, without this and if the magazine kept changing its scheme throughout th pages or if they enlisted a element that was too unusual (such as my single blue letter rather then the full white shade) then they could find this distressing. Due to this massive issue surrounding the creation of my magazine front cover I feel I could have conducted my insitutional research more thoroughly and in-depth to have a greater insight into what I would be expected to produce to satisfy the underlying requirements of the audience in terms of presentation of the masthead against the other conventions. Moreover my planning should have been more concise in the notion it would become more convienient if I had a properly accurately executed flat plan towards the locations of all the major elements so I knew how to structure their positioning when it came to developing my final task.

Despite all the negatives I have brought to light, I was pleased with how I executed positioning the image to a location I found appropriate, his face is identified directly in the centre of the document and with him facing the camera lens during the shoot, he is making eye contact with the technology operator which creates the impression he is engaging with the readers point of view and visual direction. It could be understood then that he is attempting to create a relationship with them under the illusion of this 'false gaze' therefore the reader may think they are important to him, that he is being friendly and desires to connect with them. This personal bond that is then conducted makes them feel more relaxed due to this addressing of their nature and presence, making them seem more significant as opposed to the daily, mundane lives they all lead. Here I have applied the Blumer and Khatz's 'Gratification Theory' as theoretically I have developed that 'Personal Relationship' required for all audience members accurately as such. Another section of approval I can give revolves around the use of text style across the cover. When I conducted my background institutional research I discovered that a particular design called 'Bebas Nevau' was commonly seen in the article names of the likes of 'Q' and 'NME', not only had this style appealed to me but I believed it would portray itself most efficiently in my own product 'Void' due to me keeping with conventional texts seen within mainstream products which would make mine not too di-similar from them so can be regarded as authentic in a sense. Furthermore it enhanced the words making them more bold, eye catching and noticeable to the audience, increasing the appeal of my product further. My selection of colour palette was in direct relation to the traditional house style of red,black and white which can be witnessed throughout my three main tasks. The use of it on my cover has been beneficial in highlighting the more significant concepts, with the red drawing focus towards the masthead, the white of the solid backdrop effectively personifying my image and black on the text ensuring the words will still be noticed despite the competition from the more dominating conventions (i.e the masthead and central photograph). With all these in mind, despite my highly negative statement above, I feel I did moderately well in the performance of my resubmission of this piece especially since I had such a narrow time window and deadline to adhere to.

Constructing my Music Magazine Cover - Part 5

In this stage specifically you can realise that with my second template for my cover officially completed, the main sections I now had to focus upon revolved around correctly aligned the text on the document so they were in direct relation and proportion to one another to create the impression of a continous, flowing nature within the publication as it looks neater if the words correspond directly as a unit rather then several separate bodies.

From what you can remember from my last construction task post, I had created a mock 'template' of how I intended my front cover to display - this included all of my major conventions (such as masthead, headline and essential information e.g the bar code) so I understandbly was content with their location which would furthermore make it a more simple process to simply drag in my edited photograph of my male model directly onto the document where he could be positioned delicately around these elements. In the screenshot above you can decipher just that, as now my image has been situated back to its original position from the past post, regardless this is the layout I will be using for my cover, the only main improvements that may need to be conducted is the alignment of my text and manipulating my masthead further as I was enthusiastic on having a unique and startling perception upon it, one that the readers would ultimately recognise and associate with my magazine 'Void'.

As explained in my rationale, I desired my masthead to be essentially unique from any competing products of my corresponding genre in the retail environment, ultimately this allows your publication to be identified above all the ones surrounding its vicinity on the shelf because of its significant difference and credibility from the accompanying magazines. This makes its name more recognisable to the audience as they learn to associate that masthead as a sigma or sign that references to the publication itself. This in itself is the nature of the 'Semiotics' theory which describes how audiences are susceptible to producing a required response when they can directly relate a symbol to a particular feeling/mood/emotion or image. I successfully hope to incorporate this idea into my magazine 'Void' under the assumption my reading public will effectively respond in similarly in respects of what I have stated. In order to achieve my ideal, I manipulated the 'V' of 'Void' in such a manner that it appeared to be crashing into the remainder of the text, this was extremely unusual as when I conducted my preliminary background research into institutional logos I discovered that many music products (such as Q, NME, Kerrang!) all have straight, bold, forward facing mastheads so they can instantly immerse and gain the attention of their desired audiences. Whilst my masthead in itself is following those standards with it being displayed in a dramatic yet alluring white palette, the uncoventionalism orientates from the notion that the 'V' is rebelling against that 'straight' design I just spoke of. I'm hoping this element with effectively capture the visual perspective of my readers, with the way it is positioned on the page its difficult to overlook as it is a editing technique that wouldn't normally be witnessed. This there forth is the 'enigma' I have detailed continously to - if there is a mysterious and alluring vibe surrounding an object that isn't fully explained (in this instance the slanted 'V') then this can provoke an immediate reaction from the audience in the sense they will be more attracted as they intend to uncover the meaning behind why it is presented in such a manner and in conclusion uncover the 'mystery' itself.

With me being a perfectionist in every manner, I could not help but notice that the vast majority of my additional sell lines on the right hand location of the cover were slightly misplaced from one another. In a conventional product the text will be lined so that they are perfectly symmetrical to one another in terms of positioning, if you drew a ruler down the page you would see that they all begin in exactly the same area so therefore corresponded with each other for continuity reasons. This was a variable I needed to correct as if left unedited, it can cause disjointness and therefore interrupt the rhythm the publication is attempting to display. In an effort to amend the inconvenience I began by drawing rulers across the document from the view finder tool bar so that I had a faint green line orientated around the beginning of the 'Fleet Foxes' headline, from there it would be easy to relate the remaining texts in correspondance to where this one ultimately started. As I was happy with where the 'Fleet Foxes' feature was situated, I grouped together my accompanying articles by selecting the 'cmd' button to highlight them all on their layers located at the tool bar panel. Finally I used the directional arrow keys to individually move and align them with the ruler placed on the page. I started this manouver with the 'Albums Review' title, from here on I would ensure that the remaining bodies of text where also in the location I desired them to be.

This screenshot is more of a continuation from before where I was documenting the process I had to diverge in to effectively align all of the sell lines for my cover. With the 'Fleet Foxes' and 'Albums Review' now correctly positioned, I began to work on alternating the location of the 'Plus' section, which was similar to what you have witnessed above. As the ruler tool was still present on the page, I could still accurately identify where my text needed to be situated. By highlighting all of that specific layer using the 'cmd' button, I nudged the wording over with the arrow keys so the green line and letter were in perfect harmony with one another. Yet after I had completed this, I notced the wording inside the 'Festival' circle so disjointed so much so that it was incoherant and made no sense. This had been caused by me changing the position of the 'Fleet Foxes' headline as I had to move the circle up slightly to squeeze it into its new space. With all of the text now aligned symmetrically, it would be most beneficial for me to focus on re-locating the words of my 'Festival' circle.

I quickly set to work adjusting the text correctly back into the circles allowing the lettering to be even with one another and essentially so it could be correctly deciphered as the sentence had made no sense previously. As my lecturer was conducting class rounds, she came over to me to check my progress to which I showed her how my cover was developing. Whilst she was content with all the changes that had been implemented she was still concerned the name of the main feature artist 'Cypher' was lacking in size again and for that it to be recognised as the centre fold of my entire piece I would have to dramatically enhance the size again to allow this to be effectively noted by my target audience. With this in mind I increased the proportion of 'Cypher' yet again from 160pt to 180pt, it wasn't altered significantly in that the change was highly noticeable as apparent, yet when me and my lecturer both viewed the cover after this alteration had been implemented we could distinguish a difference between how it had presented before and after. Unfortunately it had also caused an error, the byline that was directly related to the artists name on the right hand placement of it had been pushed so it overlapped the barcode as a consequence of the text enhancment. This could potentially be a setback my publication appeared quite clustered if conventions were conflicting with one another, this is a notion I'm worried that the audience will pick up upon as it is fairly obvious to identify which may make them consider that I haven't designed my layout correctly or that the product appears rushed which disregards its professional nature. For this reason I now had another dilemma on my hands to prevent becoming catastrophic so I instantly set away in removing it from my piece.

Before I began making the essential alterations to my cover to ensure the mistake the text had created was effectively removed, my student lecturer suggested it may benefit me more if I staggered the positioning of the words, so instead of having three lined with the last sentence a long one, I should cut it at 'keeps', therefore adjusting it by making a for the line to place 'on going'. Through this method alone I would be able to draw profound emphasis upon those last two words as they importantly were illustrating how much hard work the artist has put into getting to where he is in the music charts today whilst also reflecting the amazing dominance he has over other singers of the indie genre currently in the industry. I was won over by the idea he had shared with me, so much so that I revamped my layout so the text of the headline could be situated in such a mannerism. I pressed the 'enter' key on the computer pad so I could individually select where I wanted the words to be cut for a new sentence, this procedure continued until I had effectively edited them so I now had four lines as opposed to three. As compared to before, the cover had a more rigid, structured appeal since the byline had been amended, I believed the rhythm was more consistent then previous which my student lecturer totally agreed with, commenting that the sentences read in continuation to one another as opposed to when they were varied in lengths which caused some visual disturbance and dissaproval in the underlying appearance.

Time Management - Update 6

Completed Contents Page

Now that I had finished the construction of my contents page I believed the most appropriate course of action was to review my progress at this time, this would benefit me in the concept I know which regions I have performed effectively within (such as layout, colour palette etc) whilst in addition giving me the opportunity to relate to areas I could have created of a higher standard.

Presented above is the final completed outlook of my contents page for my music magazine 'Void'. As you can witness I have developed my design massively from my preliminary flat plans with most of the locations of my conventions (such as the text and positioning of the images) being drastically altered to conform to my new ideas as they began to take form. The areas I am most pleased with are the the centrefold image of my female artist, this is due to how significant she is displayed on the document, it is incredibly difficult to simply dismiss her as she occupies nearly 50% of the contents itself. I feel this emphasises highly her importance to the contents as from this sign, my target audience can reference most easily that she has an major role in the publication. Essentially this can make her and my product more appealing as that enigma surrounding her presence and the byline 'A woman on the edge' masking her true personality, it engages the reader as essentially not much of her life is revealed so they will be eager to divulge in the magazine to discover more about her which may persuade them to buy my production. A secondary element I identified as co-operative was how crowded the page appeared - this was not a negative but a positive point distinguished as it makes the page more entrancing, creating the illusion there is a wide array of stories on display to attract the publics gaze from a distance and captivate them within the content I have on offer, the more packed it perceives as then the more likely they will buy as its worth their hard earned money if there is a variety to take their fancy, so I believe I have efficiently achieved in promoting this specific region. Finally my remaining advantage lies on the continuity referenced again and again, the text styles are identical to the ones used on the double page spread and front cover which connotates the message that all  these different aspects are related to each other so moreover are part of the same publication. Not only is this a way of highlighting professionalism but it also provides that much needed rhythm flowing in the content so its easier and more enjoyable for the audience to read if the layout is smooth with no constant disorientation which could be caused if there was too many conflicting colours, text styles, images etc. 

If I could improve one area, I would recommend I should alter the position of the contents title and masthead. I feel I may have left too much unoccupied space here which could be potentially discouraging for the audience to look at I presume as it could be more captivating. Yet on the other hand I didn't desire my contents page to be overcrowded as I felt this may be visually distressing to look at if there was an over consumption of different conventions competing for the same amount of atention. In future, maybe I could consider making these slightly bigger so not only will they occupy more of the background on the document, but prevent me from including additional elements that may have been overly dominant and conflicted with the title which is ultimately my main selling point as reference to the name of the magazine the reader is diverging in.

Constructing my Contents Page - Part 6

Now that I had satisfied my peers by correcting the majority of errors in my work and focused upon perfecting my conventions so they were powerfully sitting upon the page, the final task I felt was necessary for me was to gain last minute feedback from my colleagues as to ensure all of the flaws had been adhered to, but vitally to see if I could include some final improvements to my elements ensuring they are portrayed in the most effective of lights to the audience and therefore contain maximum reader appeal in terms of position, colour etc.

As you can now easily witness, I had alternated my masthead in the development stages of my cover so that not only was the entire of the name displayed in white against the red rectangle to emphatically stand out considerably to the audiences wandering eye, but most importantly the 'V' itself had been slanted on an angle so it was effectively crashing into the remainder of the text. Although I intended my magazine to be unconventional in the sense that would allow it to be more recognised by the audience when they gazed at it from a distance, essentially this would separate its identity from competing products (such as Q and NME) of the same genre, I still however couldn't allow the 'V' on the masthead on the contents to remain blue, this would cause the continuity to become disconnected which would become problematic, due to the cover and contents possibly appearing as two entirely distinct individual publciations. This could be detrimental to me as I wish 'Void' to be as a whole with all accompanying pages relating to one another in terms of layout, colour schemes, style of images as this would give a clear impression to the audience they all all from the same production. So in an effort to make this identifiable, using my cover image as a a reference point, I identically copied how the masthead was perputrated so that the continuity between the two was made clear by disorientating the letter 'V' on the contents so it too was colliding with the 'oid'. Not only that,  the 'V' was made white to correspond with the personification on the cover and so it wasn't too dis - similar from it to cause any upset. However I still remained slightly unconventional, as the 'V' remained significantly larger then the accompanying text orientated besides it. I still wanted to provide that uniqueness in the magazine and I felt this was the most appropriate way to conduct it without causing too much disturbance in the ultimate look of 'Void'

Now this process was fully complete the contents was officially nearly finished, one slight adjustment had to be made despite this in the form of enlarging the sizing on the main feature headlines, this was suggested by my lecturer as she felt with them being features they ultimately needed more of an impact and presence on the page to be noticed as one of the more important conventions. as these were going to be promoting attention for the stories for my audience to engage with. I began by highlighting one of the article names and increasing its placement to 18pt from 12pt, already I could distinguish a difference to how it had been seen previously, with this as encouragement I readjusted the remainder of the bodies so they too were at a proportion of 18pt. Although this was ultimately a minor modification, the change was startling as when y lecturer came back over to review this her instant comment was that the size had deffinitly improved, this in itself was a major encouragement for me as it appeared my technique was successful. Despite me concluding I had now completed the production of my contents page for my task, my student lecturer brought to my attention a concept I had previously overlooked which could increase the desirability and continuity factor overall in 'Void'. He had identified in past issues of Q magazine he was reading that they had recycled their masthead in the bottom left hand corners of each page, although it was noticeably smaller then previously stated, it was still recognisable to me as an audience member and I perceived it had been employed there to act as a copyright, therefore the company has 'claimed' the content inside as belonging to them which would prevent any competitors from possibly replicating it in an infringement debate. Yet also the constant presence of the masthead acts as a primary reinforcer to the readers, reaffirming the notion of which product they are indulging in, this way it is harder for them to disregard the name and reminds them of its title for the future should they choose to want to purchase another issue of it. As my title was far longer then that of 'Q' which in itself is a solitary letter, I decided the best course of action was to condense down what I already had so that I myself was copying of the single letter principle. With a profound amount of emphasis already directed towards the 'V' in my masthead (on both of its present occasions used it has been differed from the remaining text, either slanted or enlarged in size to reinforce it further), furthermore I presumed that the audience would therefore be able to relate the solitary 'V' with 'Void' as a lot of effort had went into bringing attention to this letter in particular, so much so that I hoped they could reference it back with the full masthead. I followed the same technique as 'Q' by copying the entire of my masthead and pasting it at the bottom left corner of my document, as it was ultimately too large, I resized it using the 'Free tranform' tool for the rectangle and knocking down the placement pt to 8pt for the text. Finally I discarded the 'oid' so just the 'V' occupied the shape, as can be noticed it is still tilted to indicate it was once part of the main masthead located at the top of the page, so the reader can directly contrast between the two to prove the link. With that in essence complete, I believe there is no more significant improvements I can include additionally to my contents and with my lecturers approval I now considered this a finished task out of the three I had to produce. 

Constructing my music magazine cover - Part 4

Due to me struggling significantly under the development of my cover, mostly revolving around the issue of the masthead to display the name of my product 'Void', I spent the majority of my time here attempting to perfect it in the hopes that I would be able to correct it enough for me to focus my attention on the remaining conventions as this was starting to become a major concern to me. The longer I left the masthead in a state of denial then it would increase the risk of me falling behind in my coursework which could be extremely detrimental to me. With this consideration in mind I felt it would be appropriate to tackle this problem head on enough for me to move my workload onto tuning in the remainder of the aspects on the page itself.

With my lecturers expertise in construction tasks, she recommended I should switch the positions of the 'Fleet Foxes' headline with that of the 'Albums Review', in her opinion where the albums section has been previously placed was too contorted, because it was a long bulliton, it required more room then the average title, so preferably it should be moved out of the corner and allowed free roam of a wider vicinity. If the names of the articles appeared 'squashed', it can undermime the professional standard I am trying to replicate as to the audience they may perceive this in the notion I have tried to include too many features on the cover which has caused it to become too packed, with the crowding therefore losing the initial appeal of the product as it can come across too messy as opposed to what I wish it perceived itself like. To combat this issue, the alteration I described above was more then necessary to avoid that said crowding. The new location for the 'Albums Guide' much suited its requirements as it was now permitted with more leisure in the sense it wasn't as contort it initially had been. Because the 'Fleet Foxes' headline was mostly wording rather then a combination of shapes as well like the album one, it could easily be downgraded in size without difficult to occupy the space more thoroughly as it would be a difficult procedure to lower the sizing of the lines which could potentially be heavily time consuming and restricting.

As I was currently undecided to how I wanted to display my masthead and under the self perceptive notion that the 'V' wasn't strong enough on the page as I had anticipated, I felt I should completely revamp my idea and opt for a full word as my title, this would be more profound and noticeable to the audience as it occupied a larger consistency of space then a single letter could justify. With me attemtpting to portray my artists as 'inspirations' to my public due to the effort they have put into their music to get them at the status they are today, I felt a motivational masthead would be highly appropriate for this situation. For that therefore I thought of the name 'Icon', as it fitted with this concept effeciantly, I then began to construct extending the sizing of the letter 'I', as I was fascinated with the appeal of a single letter due to my background research on Q magazine, I mind mapped that the 'I' could reference to the 'Indie' genre the content of my product is focused upon. Under this instance drawing emphasis upon the 'I' could then be justiifed. Keeping with the 'Bebas Nevau' font style seen throughout my three productions for continuity reasons, I re-used this to incorporate the words of my masthead, the sizing was then enhanced to 160pt to draw the vast array of attention towards this as I needed essentially my audience to instantly recognise the title of my publication, similarly I kept to a traditional Q magazine colour palette by displaying a deep, pungent scarlet red as the overtone for the lettering themselves, this allowed it to be highlighted extremely effectively against the white backdrop and allowed it to be emphasised above all the remaining elements on the page. Still I was not pleased with how it perceived, I felt there was something I couldn't accurately distinguish 'not right' about the masthead, so under this impression I asked my lecturer over her thoughts of what I produced. Upon immediate inspection she told me I had to instantly alter it, from where she stands the whole publication now displayed as 'tacky'. Her cognitive processes around this was not related to the colour scheme, but the chosen font style and new name of the masthead, she believed 'Icon' did not co-operate efficiently as a title for an indie/alternative rock product, in fact she commented she would most likely see this on a pop/hip hop magazine instead as that name was most suited, 'Icon' did not relate to anything of my chosen genre. This was enough criticism in my respects to immeditelly begin to alternate what had been produced for the fear my cover could be undermined.

With the new conception of the masthead a definite no go, i ended up turning to my contents page for inspiration I had mostly finished the process of developing this before my cover as I had found it was the easier of the two tasks to work upon. As you can see on the right hand side of my desktop, I have the document of the contents open along side the one displaying my cover, this was so I could constantly compare between the two to ensure that my colour scheme matched and the layout was fairly accurate so as to prevent discontinuity. The masthead you can witness on the contents I constructed out of scratch to act as a template for where I wanted it positioned before I inserted in the fully completed and approved one, however during the production stages I came to love the masthead as I felt it corresponded well with the reminder of my conventions in the idea it did not look misplaced amongst them, yet it was still noticeable at the top of the page where it had been situated so it would be difficult to overlook it completely. As this was how I intended the title of my product to be perceived by the readers, to me it would be now most sensible to copy and paste it over onto the cover photo so it could be positioned into its correct location behind the male models hair. To conduct this straightforward method I used the 'cmd' and 'c' buttons to highlight the masthead so I now had a duplicate identity of it, then I proceeded to paste it onto the cover Photoshop programme by pressing 'cmd' and 'v' keys so its doppleganger could be now seen on the page. I adjusted the size of the rectangle and letters contained within it, so it was significantly larger in contrasts to most of the other elements (such as headline articles), as this would effectively illustrate its dominance. Furthermore, despite this what still could be noted was that the name of the artist 'Cypher' was larger in proportion to the masthead. this was a concept I wasn't entirely certain about as I was concerned my masthead should be bigger in relation to the main feature as ultimately this was the aspect selling my production to the reader - they had to effectively note which publication they would be purchasing and be able to relate that all stories are exclusive to 'Void' only and nothing else. When referring back to my lecturer to obtain her viewpoint over this stressful situation she too agreed that the masthead could be enhanced significantly, otherwise as a member of my target audience she could not clearly distinguish essentially the most important aspect of the cover (which undoubtly should be the masthead as this is the major selling point of any written media publication), yet it appeared the headline feature was occupying this dominance which made the masthead very difficult to locate and interpret. She recommended that I should divert moat of my attention to correcting this issue, otherwise it could fundamently impact the professionalism of 'Void' as compared to competing products of the same nature. The final area to consider was adjusting the sizing of the masthead itself so that it completely occupied the box from top to bottom, my lecturer strongly expressed that the pt placement used was too insignificant as it visually displayed my lettering of the title as small, therefore it made it more difficult to correctly reference to as what the masthead says. Furthermore due to this incompetence, the text was partially obscured by the models hair which made it efficiently more harder to relate to what the wording says, this was another factor that could potentially deter the reader if they could not decipher the name of my publication. In order for me to advance further in my development, it was critical I implemented and amended the advice I had been dealt, if not this may ultimately reduce the standard of my work to that of an undesired level.

Now that the two texts were presented side by side, I noticed that the blue inside the 'V' on the masthead was a unique shade as opposed to the blue incorporated into the name of the solo artist and the festival circle positioned on the right hand side of the cover. This was due to me having previously began work on the cover itself before that of the contents, however I had the dilemma of losing my cover templates on the main frames of the computer networks at college as I had used a different Mac to create it at another campus, therefore whilst I was awaiting to retrieve them I started work on the contents page which I had perfected before the matter, hence why the blue was different. As I loved the tone present on the contents more then that of the cover, I knew instantly the most sensible of options would be to 'colour swap' the blue from the masthead onto the blue areas of the articles that were still in their original colour. This way I would be able to efficiently establish the re-occuring continuity in the presentation as the readers will be able to notice that the same blue has been used on a proportion of the pages, this creates a distinct rhythm and flow within my work which makes it presumed as more professional and conventional in adhering to traditional magazine styles. To 'colour swap', I first had to highlight the text concerned, in this scenario 'Cypher' and click on the colour palette box present on its layer. As you can see above the colour palette then appears in an array of unique shades of blue, to ensure I get the identical one to the masthead, I kept this box open and moved my cursor over to the 'V' on the masthead, a pipette like icon then appeared. When I clicked this over the 'V', it automatically changed the colour box to that of the shade that had been selected, using this technique I was able to alternate the colours of both the artists name and the festival circle without any difficulties, so the continuity between the conventions was very evident in that respects.

After I got my college lecturer to review my work again, she still was highly discontent with the perception of the cover, what her main concern revolved around was the construction of the masthead which remained her underlying issue. She told me even with the box surrounding it to make it more bold against the other elements, she felt that everything was still competing for attention and this was off putting for her to look at as she, as an audience member, couldn't distinguish where exactly the masthead was because of the competiveness of the aspects surrounding it. In her expertise, she recommended the masthead should be significantly larger, more bold and located in an area where it would be easily accessible to the audience. In this case she contemplated I should restart my idea, the quickest least time consuming method I could conduct this in was removing the image I had inserted, manipulate all of the conventions on a blank document so they were positioned correctly, focusing on achieving the correct consistency for the masthead, then drag back in the photograph when all was complete. Above you can see on the right one of my original cover templates, whilst on the left this is the end result of the layout my lecturer had me create in preparation for the insertion of the male model again. The most significant difference orientates itself around the personification of the masthead which has been altered drastically since the stages above. I adhered to the red box as a method for me to gain the reader focus as it was an essential ploy to make the masthead more noticeable on the page, the red allowed itself to be dramatically emphasised on the white background, and with no other colour tone on the wording of the headlines ultimately as bright as this, I presumed the vast quantity of visual gaze would be directed to it on initial glance as compared to the other elements. My lecturer had recommended me to remove the blue 'V' and keep the palette of the masthead neutral by ensuring all of the adjascent letters were in the same tone as one another, in this case she implied everything should be white. This meant i was going towards a very similar concept as Q magazine, yet it was part of my task to draw inspiration from other pieces of real life media so my idea could be justified, this scheme specifically works well for Q and as we are both divulging in a white backdrop, the strength of the masthead colours are emphasised. This makes the red easily identifiable on the page along with the white of the text as it is illuminated vastly by the bright shade surrounding it, essentially it would be extremely difficult for the audience to overlook this easily, with it so emphatic as opposed to the more toned down, neutral palette of the headlines in its near vicinity. Importantly I kept the locations of all the accompanying conventions in their duplicate places from how they appeared on my previous shot of the cover (the text headings, main artist feature and festival circle are all in the same positions as seen previously) this was because me and my lecturer had no issue of where they were already situated as we both felt they all corresponded well together and did not appear overly out of place.

Constructing my Double Page Spread - Part 3

Here I present the very final stages I undertook into successfully developing my music magazine double page spread article, in these steps I carefully perfected small underlying issues within more minor conventions such as the grammar and text location, whilst constantly referring back to my two lecturers to ensure I was following the correct path to completing this piece, essentially this would free my time constraints to focus my attention upon the tasks that needed the majority of my skills towards (the cover for example)

Whilst me and my student lecturer were browsing through past issues of Q magazine and NME that I was using as templates as they suited the genre I am focusing upon, we discovered that I had missed one of the most vital conventions that is included on the majority of main stream music magazines - the name or names of the photographers who captured the images for the spreads. These are normally present to give credibility to the individuals who helped to create the production for their intended readers to appreciate, the audience can then think highly of them through the effort they have put into making the magazine attractive. Essentially though these are present for copyright reasons, in the circumstance that someone may try and steal these photographs, with the camera mans name on view this prevents this from happening. I chose to keep the font style identical to what had been used for the main article (Times New Roman) as this aided me to keep thoroughly with the continuity within the spread with it matching the font already present in the centre body and improve its authenticness to the readers themselves as it is of superior quality.  I situated the name besides the left hand image on the edge of the document, it was out of the way enough and reduced in size so as not to confront and compete with the remaining conventions, yet still could be distinguished as being a specific element amongst all the other aspects, which would be accessible to the publics line of sight.

Although I was now under the impression that my double page spread was finally completed after all the necessary changes I was recommended to conduct were finalised, my lecturer brought to attention that the method I had chosen to position the drop cap was incorrect - it should have been substantially increased in size and aligned directly with the text it was connected to so the audience could clearly illustrate that this convention was the beginning of the first sentence to the feature itself. Without this change in placement, the letter appeared to be free floating which is not what I desired as this may confuse the reader to its actual purpose, ultimately they needed to fully understand it flowed on into the main text body. As this error could potentially affect my overall mark, I began correcting it in an instant fashion, I began by increasing the sizing to 36pt on the page so it dramatically stood out as you can witness, on the spread. This unfortunately caused my main columns of text to become disjointed so it became necessary now to re-position them so they were in reference with the drop cap again, otherwise it would make the feature appear 'crooked', the discontinuity could them potentially off put my target audience from reading it as it can b visually uncomfortable to look upon.

For this stage the vast majority of my text was moved around so I could correctly position it on the page now that the drop cap had been increased proportionally in size to what it had displayed previously. To do this efficiently I had to draw a separate text box tool from the tool bar on the left hand side of the document besides the drop cap where I could cop and paste in the first four lines of my feature. Once these were in position I drew yet another text box, which extended down to the bottom of the page besides the models shoes, where I added in the remainder of the article. Unfortunately a few lines were cut off due to the increased occupancy the drop cap now obtained, to overcome this issue it was fairly straightforward as I wrote up these sentences on the adjacent page. To conduct this successfully I had to move down slightly the text here and the accompanying celebrity features section, this however did not cause any major difficulties as there was a significant amount of empty space at the bottom of the spread to include these extra bits of wording in, without me having to reduce the sizing of the main body from the 9pt it was currently occupying. With the way this edit has commenced, I'm actually thoroughly pleased my lecturer pointed this error out as it had allowed me to improve the appearance of both of the pages - they feel more occupied then what they had previously, full of information and therefore appealing to the audiences wandering eye so they are more then likely to be engaged by this.

With me having corrected all the flaws that had been stated, it appeared for now that my double page spread was complete in comparison to what it had before. For this step I worked on 'tweaking' slight mistakes that would have otherwise been un noticeable before, but I felt this process had to be done in order for my product to be as professional as what I could possible achieve. It began by me correcting spelling and grammatical errors that I identified through the use of my student lecturer and printing the document out via the printing network at the college, this way I had a first hand visual perspective of the publication up close which would make it more easy to identify these inconsistencies. Another fault ammended was that of the celebrity interviews, as they had been altered in where they were situated due to me having to include the sections of the article that could not be squeezed onto the left hand page with the drop cap having been extended in proportion. This area was quickly dropped a few spaces down the page, not as much so that it would conflict with the byline at the near bottom, but enough so it wasn't in overlap with the feature piece which I desired it to be differentiated from. With this done, my double page spread was virtually complete, the only task remaining to do was to gain my lecturers last views and comments upon it before submission then I can safely say the spread is ready to be transferred to a JPEG image for my blog.

Different Shot Types gathered for the Magazine Images

To add to the variety of image displayed within the contents of my music magazine 'Void' and cover, I Felt it would essentially benefit me most highly if I were to collect a wide array of differently composed shots at my studio shoot of the models in question, this way I could appeal to my target audience further as the composure of unique styles would be clearly identifiable to them to intrigue them more due to the unique angles of the photographs themselves. Most importantly it provides distance and that my publication will not become 'boring', which would be the case if I repeated the use of a specific shot continuously throughout the production. Listed below are the types of shots gathered to suit the rationale behind my magazine, the selection of these is explained below under each example.

Long Shots

These specific camera shots are most suited to appearing on the magazine front cover or double page spread, they provide a distant approach to the model which can be done to provoke a certain thought, reaction or view from the audiences. Sometimes the model may be engaging in an action (such as throwing something in the air or leaping towards an object), which can create realism to create the illusion that they are rather in the 'here and now' of the present day then a printed publication. This can indicate to the audience that they are essentially real people, not fakes, and can participate in normal activities like the members of the general public because they are extremely similar to one another. Furthermore this aids to establish a connection between the audience and the artist on display as if the reader can relate to them more with reference to their similarities then its likely they will buy the magazine as they perceive the model as a friend. Long shots are commonly witnessed when a particular section of the body is to be emphasised (in fashion productions this is regularly the torso and legs to the clothing being marketed), in the instance for music themed, this can be used to draw emphasis on particular instruments they may be holding (such as a guitar), allowing the audience to identify what style of composer they are (singer/songwriter/bad member) if such an appliance is present. However the most basic function is normally to create a profound quality on a particular emotion or body posture they may have adapted, from this we can get a clearer view of their mood, emotions or temperament which can aid in developing that close bond I have mentioned - if an artist has a friendly exterior (relaxed stance, happy expressions) we are reinforced they are co-operative and therefore more likeable, some moreover may have tight controlled facial motives and straight, aggressive body positions which may come across as intimidating and dominant, under this impression we would see that particular individual as tempermental, strict and maybe strong i.e someone we would't want to get on the bad side of. As for the double page spread I wan't the rebellious yet sassy nature of my male model to be highlighted most efficiently to the target audience, my best course of action after weighing up my options would to use two long shots of him in different body postures/expressions that will personify a better understanding of his intentions across to the reader - the ones I'm intending to use are of him slouched and swaying in a pretend 'walk', I feel this accurately portrays his cheeky side, with the mocking expressions on his face emphasising this notion even further. I did briefly consider during my planning stages to incorporate a long shot as the headline image for the cover of 'Void', it was only when I realised that the serious nature and tenacity of my musician would be personified more thoroughly if I used a close up of his faee to accurately display his emotions as opposed to a full body shot where it was likely some of the attention would be diverted away from here as there would be other aspects of him to focus upon (such as the position of his hands or the clothes on his person) which would undermine the point I was attempting to make surrounding his facial expressions.

Medium Close Ups

The second shot type of choice I focused on obtaining was that of a medium close up, these are differentiated from a normal close up as the mid body of the model (for example the shoulders and chest) are normally included within the frame alongside the face. In my background research I have categorically witnessed the portrayal of such shots in location shoots where the cameraman has captured a photograph of the model of choice in a realistic environment (common examples include a park, store or isolated grassland), this can be to emphasise a particular emotion displayed on the individuals face with the location aiding to draw increased attention to the expression on view. Specifically the shot helps to elaborate and interpret body langauage from a model (or in my case an artist) so as to aid the audience in understanding their current motives. These specific type of shot would not be appropriate for a cover as although it is focusing upon facial expressions as well as body posture, it can be identified a lot of room on the page would have to be occupied by the artists themselves, which in essence is good as they are on full display to the audience, yet despite this positive they would be occupying too much of the layout which would restrict the addition of other conventions (such as articles) which may then become limited, reducing the attractiveness of my product as it would appear 'uninteresting' to the audience. I had already planned ahead in the idea for how to compose my double page spread in relation to the images I had obtained, for this piece I would be inserting two long shots of the male musician as I wanted the reader to get an insight into his cheeky, jokey personality which I would be illustrating through his body language. This left little to no requirements for the medium close ups unless they were employed onto the contents page.  As I had already gained some beautiful camera shots of my female model, to me it would be most appropriate to recycle these in usefulness by including their presence in the contents, as most of the focus would be of her head the emotions etched across it would be easily accessed by the readers and they would be able to h interpret ow she is feeling. With most of them being of a serious deposition, I am hoping they would be able to relate this to her music in the essence she is passionate about what she produces whilst also providing a mysterious quality to her as her face is hard to truly decipher. The enigma surrounding her could also gauge with my audiences curiosity and therefore provoke a response from them to continue reading so they can uncover more about her. As the way a medium close up is composed, you can understand that the arists featured like this is not as of importance as one who say is in a close up as they have no been focused upon so dramtically, moreover they still conotate importance as the models face is still on decent display.

Close ups

My final shot type I collected during the photo shoot was close up's of both the male and female models faces, with what I have commonly seen in mainstream magazines these are the styles that are a firm favourite and justified greatly within the content. Seen in all aspects of the publication (cover, content and double page spread respectively), these are normally employed when a a editor desires the primary line of eyesight to be forwarded to a specific emotion on the subjects face which connotate the perceptions, personality an characteristics of the model themsevles. Like stated previously if someone has a joyful expression - smiling, bright eyes and relaxed shoulders - we can determine they are friendly, yet more harsh, brutal and serious emotions can be perceived across to demonstrate an individual may be hostile or dominant in their actions. This specific shot will be displayed on my front cover of the male musician to prompt a powerful response from the reader, I intend to include an image of him whivh is serious with a hard expression etched onto his features as an emphatic notion towards the passion he has towards his work and importantly, how he is now a major dominant element of the indie/alternative rock genre since his rise to power. With all of this took into consideration I feel this will ultiamtely be the desired shot to generate the intended response from my target audience

Editing my Double Page Spread Images - Part 2

Now that my first image had been edited to the standards I had set for myself, it was important to replicate this on the adjacent one to accompany it, this ensured the continuity in the alterations are consistent to one another and can be related throughout the double page spread. Below is the stages I endorsed in to construct the editing of my secondary image.

As with the accompanying preliminary image already been edited to a style and effect that most suited my requirements, I had already developed an understanding of what sort of preset would most accurately portray the photo in the way I desired to it be perceived. Although I knew altering the exposure was the suitable idea to do, before I jumped to any conclusions I felt it would be best to have an experiment with the remaining levels in case another edit actually personified the feel of the photograph better then the style I had already stated. Despite this I knew I had to keep with the continuity seen throughout my product, this would entitle me to ensure all conventions were compatible with one another as any differences could make my product be perceived as unconventional, so under this instance it was more then likely I would end up going with the editing technique I had used in my other post. Still I concluded practising would benefit me as it would allow others to identify I had thought about incorporating a new and exciting style into my conventions. So I began the trials by employing the 'Midtones Darker' Level which I selected from the adjustments tool bar on the right hand side of the Photoshop doucment. As I have noted with all my previous experiments, when I have come to using this particular preset in particular I can never identify any major differences in the perception and quality of the image it is altering, in this case the black tone of the jeans had been enhanced slightly, yet this is not the design I had dedicated myself to achieve as I wanted the whole of the models body and face to be illuminated and brought out more consistently in the colour so all of them could be recognised, deterring the focus from a single item (such as his torso or legs for example). As this level had not specifically targeted the standards I have set I will not be using this to display my photo in the final production of my double page spread.

I really was not content at all with the way my image had been displayed in the last representation, it made me firm in my belief that I should just comply with the scheme that I had presented onto my other double page spread image of my male musician which had required me to edit the brightness and tones of colours on his features by employing the use of the 'Exposure' tool, to gain access to it I would have to select the adjustments panel again and click on it with the cursor when it is offered to me in the display menu along with the other enticing edits. Once I was now on this specific setting, I had the choice of moving the bars up or down using the mouse - up with bring more brightness, whilst down was the complete opposite due to it enhancing the shadows surrounding his frame. With my rationale describing how I intended all my photos to be bright and eye catching to the audiences eye, I adjusted the bars so they were further up to the right, which as you can identify made the studio lights hitting his jacket, face and shoulders more profound to the visual perspective. 

On display here is the finished edit of the image of my male model to go besides the remaining photo for my double page spread piece. I manipulated the exposure in such a manner that I had enhanced all the colours on his person (this includes his facial skin tone, clothes and the lighting that is reflected down upon him) so that he appeared bright and attractive against the white backdrop he has been placed upon. I followed a similar editing process as what I had conducted previously on the accompanying photograph, it was important to ensure they were of the same style and consistency as one another as this would successfully allow continuity to be established within the product and avoid one image perceiving as 'odd' and 'inconsistent' to the other which could undermine the professionalism of the spread itself. So my edit was identical in condition to what can be witnessed in my primary editing stages, I kept the first image I  completed besides this in a separate Photoshop document so I could constantly refer back to it for reference if needed to perfect the exposure palette on my current edit. Now that it was completed, I proceeded to save it as a JPEG and exported it onto my desktop to be dragged directly into the InDesign document where it would be placed in its suited position.

Here is how my image was placed onto the Indesign document besides the first, what can be most identified here is how they are perfectly aligned with one another, from top of the photograph to the bottom. This was to gauge an even more of an appeal factor from the production as it has a continuous flowing effect where it can be realised effort has gone in to make the spread look authentic and highly constructed in nature. The images co-inside well together and both effectively portray the rebellious, sassy personality of my artist which can be recognised by his posture and body language. I feel I have achieved the goal I set out to from my rationale in emphasising certain characteristics of my models through lighting, their stances and colour to reverberate their individual styles to the audience.

Constructing my Double Page Spread - Part 2

I was overwhelmed at how a minority of my time had been consumed creating this double page spread as opposed to the one present for my main ancilary task for the A2 brief I completed over the course of this year, I feel this is due to the notion that my construction and editing skills have improved dramatically since I first started the media subject and with a deep insight into what the best conventions, editing, and strategies to employ to make it an efficient process. In these stages my main concern was to include the remainder of the text body for my centre article and to adjust the position of particular areas (such as the celebrity question box that was to be included) so that the feature flowed smoothly without any overlap or disjointness in the positioning of each component of text.

During my peer feedback, it was brought to attention and identified that my headline for the feature itself lacked emphasis due to its sizing which overall effected its appearance on the page. My lecturer had commented that unless it was enlarged further then it would lack specifically in gauging the audience's immediate line of interest, it needed to have an instant impact, to grip and excite them so they can visualise anticipating something amazing from the content of my article. To derive this incentive, I highlighted the headline with the cursor tool and selected the sizing option from the text toolbar on the upper left hand corner of the Photoshop software. Once the drop down menu was offered to me I manually typed in 170pt, to which the letters sizes were increased instantly to. In contrast to how they had been personified before I noticed an new, different impact to the words on the spread, from a distance I referred to how my line of sight was critically gauged with the headline, due to the bold, bright use of the colour blue and the position it occupied on the page at the centre, it was hard not to be directed towards it. Furthermore now it had been enhanced to a larger capacity, all of these positives I described before hand were emphasised as it now held dominance over all other conventions on the document.

The key issue my lecturer had identified to me personally during the feedback of the proposed improvements to my existing spread concerned the employment of the 'King of the Hill 2' text style as the main title for the article. She regarded it came across to her as 'childish' in personification and that it was more suited to appear in a children's publication or a music magazine for younger audiences (11-16)  due to its vibrant, bubbly and jokey exterior which is associated more with the upbeat 'skater' culture of todays youth. With my rationale detailing how I intend to attract readers from the age of 18-25, this would not comply efficiently with the mature theme running through the pages, where I had planned on using sleek, bold, almost elegant font to reflect this developed sense of cognitive functioning of the older audience's. Instead she considered altering it so it had a sophisticated yet classy look about it which would be deemed as more appropriate for an adult written publication. I took her advice in my stride and began looking through the website 'Dafont' again to see if I could gain any inspiration over a new style I could potentially incorporate as a replacement for my previous choice. Whilst causally browsing I came across an older Serif Sans font that was in the same style as the typical 'Q' magazine text mode of operation - the letters themselves came across as bold yet simplistic in the fashion they came across as, almost to the liking of a basic 'Times New Roman'. I had my concerns that it would personify as 'boring' and lacking in any dramatic emphasis that would generally attract a reader to a product, to overcome this fear I swapped the primary 'King of The Hill 2' with the Serif Sans to see how they compared. With me now having stated my lecturers idea, I was impressed with how the text now came across to me visually as in contrast to previously with this new style incorporated. It had just as much of an emphatic quality as the 'King Of the Hill 2' in relation to how bold and noticeable it was on the page, it was hard to easily overlook nd I held no concerns for its impact towards the audience. However the most main difference was the sophistication and elegance of the wording itself, as they clearly demonstrated to me a more adult intended reading audience in regards to the 'King of the Kill 2' which bold and brassy composure came across as more of a children to teenager readers then older. I'm pleased I took on board the advice given to me over this foundation as it has allowed me to improve the appearance of my double page spread, to me it now looks to engage my desired target audience (18-25) rather then the total opposite of what I had designated.

During this time frame I managed to complete the finished draft of my article, so I now had the option to copy and paste it into the Indesign programme to correctly position it on my spread. I realised instantly that in order for me to occupy the full two pages, the text would need to be contorted and reduced in size as otherwise it would simply flow off the document which would render the feature useless if some of the vital information had been bypased. I dealt with this error by manipulating the sizing of the font so it was altered to a smaller but more suitable 9pt, using this method allowed me to include all of the article over the course of the spread with no overlap. I perfected the structure by separating the paragraphs containing each question and response from the following quieries as I wanted a neat and fluid presentation of the words, without this the spread would be less concise as all of the interview would be squashed together, making individual questions hard to distinguish and alluding a messy feel which could potentially deter the reader from engaging with the feature. The main questions were reinforced with a jet black bold overtone I accessed from the text styles as this further acted as a mode to illustrate that the questions and answers are not to be confused with one another as they are directly from two unique perceptions of people, however were still connected as they were placed underneath/above each other so that continuity can be identified.  On a final note I began to add in the celebrity viewpoints where they would be questioning the male artist about a topi of their choice, this was kept to the same 'Time New Romans' font for conventionilism in the publication. Once added I realised I would have to play around with the location of the celebrity images and their accompanying speech as it was too close to the feature article which I assumed may establish conflict over which is the most critical piece to read.

My only alteration allocated here concerned the alignment of the text bodies on either side of the page, for them to co--operate effectively and to not appear disjointed in that respect (if one finished earlier then the other so as the main body of words on a single page was longer then the other etc), this required for me to tweak the feature itself by removing unecessary language, words and limiting the length of responses so in the end result the text was in equal perspective of one another. The use of the ruler tool from the view finder aided me in achieving this particular line up, by drawing illuminous green line across the bottom of the page so as to give me a visual vantage point as to where to correctly allocate the text so they were parallel with one another.

After printing out a preliminary copy of what my double page appeared like in a authentic A4 fashion, I realised there was many spelling, grammatical and editing imperfections present on the document that I had previously overlooked before. This is not as much of a human error but more a technological as the programme 'Indesgin' does not automatically notify you of literature mistakes when they are placed onto the spread in use. These criteria of issues could be fatal if left undetected as a written media products professionalism can be undermined as it is a common notion to think of how exactly these inconsistencies could slip through the net. The audience then may regard the production as naive with the thought the editors are truly not concerned with how their products are displayed across to their audiences, in that respect the readers may treat this rather superficially regarding that they shouldn't make any effort with buying the magazine if no consideration has been made to entice or excite them. With this a detrimental problem I certainitly didn't want to arise I spent then proceeding half an hour correcting these errors before they could have an overwhelmingly negative impact on the emotive response to my feature itself.

Now that I am coming to the conclusion of the development of my double page spread, it was necessary for me to now correct the final issues arising on the document in hopes to improve the overall portrayal of my article. I stated a few steps back that I was involved in an inconsistency revolving around the positioning of the celebrity photographs and their accompanying questions for my artist. before they were in too close of a proximity to the main body of text detailing information from my male musician, this was catastrophic as they were on the verge of overlapping each other which I could not have as the audience critically had to differentiate that they were two unique pieces of the feature, that yes were in continuity to one another but didn't match up to exactly the dame topic (i.e they weren't about my writer interviewing the artists, instead a famous composer was). I used the ruler tool once more to include a vertical line down the right hand page where the celebrity pieces were displayed, this would allow me to note how far away they had to be from the crease line of the page so they did not conflict with it but also to present me with their original location, so I could move them down in their original positions, as if I altered the placement entirely it could cause a discontinuous prose on the placement of the text as they may not be vertically consistent with another another, hopefully the ruler tool would help prevent this. I began by highlighting both of the text layers in the 'layers' tool bar which is situated in a drop down box on the top right hand side of the page, then using the arrow keys proceeded to move them downwards so there was a small but reasonable gap between them and the text of the feature piece. I was enthusiastic with how it now displayed as I myself could identify the words were not part of the same article but were related in discussion as with how tiny the spacementt was. However I was now left with the issue that there was a large gap at the bottom of the document, this would have caused me distress if I had no planned ahead, to which I had already concluded I would be employing the use of a sell line that would promote the artists career further. Underneath the last celebrity question and answer styled interview, I inserted a two line piece of text that gave details of the artists latest festival appearances and the release of his new album, this would aid in promoting him as an upcoming sensation to the audience, with this information in their domain I hope it would persuade them to purchase 'his music' and continue the success of my magazine, as if he knows he is getting sales from being interviewed by me then its more then likely I could request him on multiple occassions for an interview.