MAGAZINE FRONT COVERS
THE FOLLOWING ARTICLE FROM THE WEBSITE "MEDIA BRIEFING" HELPED US INFORM OUR PLANNIN G AND RESEARCH
Cover story: Does the front page of a magazine still matter?Georgie Davies 16th May 2016 00:01 View comments
How much of an effect on magazine sales does the cover page have? As we've learned in the past, a lot of magazine publishers have their own version of the 'wet dog', a tried and true stock image that boosts the sales of that edition. But what other considerations need to be taken into account when composing the front cover?
Brad Merrett, creative director at Team Rock doesn’t think magazine covers have changed a great deal in the past few years, saying "a great cover line and an engaging image is still a knock-out combination for the environment mags are purchased in, and Andy Cowles argues that covers still count "even in [an] age of declining print sales":
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“Unlike any other media, bar perhaps radio, a magazine cover can cut through the noise and distraction of everyday life. In short, it can create impact, both online and off.”
“In an age when digital is everything, we are still fascinated, obsessed even, by a cover.”
Is the cover the most important page in a magazine?The idea that the ‘magazine cover is the most important page in a magazine’ is much less true according to Dylan Jones, editor of British GQ. He says this is the case because “more of our [GQ] magazines are sold as subscriptions, both in print and digital format”, moving towards an American model.
Merrett, disagrees, believing the cover still has “tremendous value”, and is important for cover stars, advertisers and PRs. Merrett says the crucial element of a magazine cover is its 'finite-ness':
“There are only 12-13 published a year, which intrinsically adds value, and creates demand for that prime real estate. In an age where even the relevance of a brand's homepage is being questioned, we may find that the rectangle of paper held between forefinger and thumb can more than hold its own as a tactical pawn for a publishing business.”
Terri White, editor-in-chief of Empire magazine agrees with Merrett saying the cover “is of course the most important page in a magazine, it’s key – it’s your shop window.”
“If you’ve dressed your mannequin in nasty-looking shorts and a questionable crop top, no one’s going to want to come in and shop.”
“Me and my senior team spend a great deal of time on our covers - from negotiations with studios and filmmakers, to going on set to shoot, to working with the printers and production house - and that’s for a very good reason.”
Yet, White makes it clear that every page in a magazine should be as good as the other.
“That said, much of the hard work begins once people have turned page one. I personally read every page of the magazine before it goes to press, and that’s because no great magazine is just about the cover.”
“You need to keep the reader engaged on every single page, to prove to them that their money was very well spent with every caption, every image choice, and every story. Magazines have to work damn hard (as they should). For me, a great magazine journey is much like watching a great film. You may laugh, you may cry, your pulse may race a little faster, but you get to the end feeling that you spent the last two hours of your life entertained and compelled.”
Is positioning still relevant?Richard Kingerlee, circulation director at Condé Nast Britain believes “digital distractions have increased the importance of impulse purchases – especially for titles with less loyalty than enjoyed over the Condé Nast portfolio. This means that covers have to shout even louder on the shelves to attract the same level of attention.”
Positioning at newsagents is still absolutely relevant according to Kingerlee.
“We’re fortunate that magazines like Vogue and GQ are often used as pillar brands to help shoppers navigate the magazine range. However, with the vast majority of UK magazine sales still derived from retail, strong displays are vital to maximise both regular and impulse sales in the category.”
Merrett adds:
“News stand sales in the UK are still a big revenue generator for publishing companies so time and effort are a primary focus in creating memorable covers. As the old adage goes 'there is no such thing as a good magazine with a bad cover”.
“The rise of the independent magazine has probably cemented the consumer magazine ethos of working hard to appeal to readers via the newsstand, a point of differentiation if you will. Independent mags (not all of them) on the other hand haven't really taken advantage of the freedom they have, there is definitely that 'independent' look.”
‘Innovate where you need to’Condé Nast are “constantly looking for new and innovative ways to maximise sales” according to Kingerlee.
“For example, at launch, Glamour was the first compact edition in the market and went on to be the first magazine to run branded beauty covermounts. This year Tatler’s forthcoming May issue Royal Collector’s edition will connect deeply with its target audience and looking back the March issue of GQ was published with five David Beckham covers to allow enhanced retail displays.”
Merrett also believes that innovation is important, but only where it needs it “when it benefits your reader and brand” without ignoring with “wonderful nature” of what print already offers.
“Print doesn't need to be in an 'arms race' with itself, getting more and more elaborate and expensive than the last issue.”
White adds:
“We at Empire know, a really well thought out, well executed, innovative production treatment or cover mount will absolutely thrill our audience, engage the industry and drive copy sales.
“As an editor, I find this to be an absolute thrill (not to mention a gift). It’s a great creative challenge and there is no finer moment than when you know you’ve really connected with your readers."
What is the commercial value in using lenticular or variant covers?Many publishers are using lenticular or variant covers to create a sense of exclusivity for loyal readers, relevance to a certain market or as an advertising purpose. WIRED, Metal Hammer and Empire have all used 3D lenticular covers or variant covers for both subscription and newsstand issues.
Lenticular covers are also a great way to create an event, however, the costs can be huge if the return is small.
Merrett shares the commercial value for TeamRock:
“The caveat to this [lenticular covers] is that it costs a lot to do - you may make small gains over all - if you are lucky.
"That isn't always the case so the sales targets need to go up cover the ROI - in short we need to be sure the cover artist AND the treatment are going to maximise the sales potential. Some benefits aren't measured in monetary terms of course, a fact that gets lost a lot of the time sadly.”
White also agrees that split covers have a functional benefit:
“When you have a movie with multiple cast members of note, it allows you to cover all bases, reach more of the audience and represent the film more accurately. But it also definitely generates buzz - we recently released nine covers for X-Men: Apocalypse, aided and abetted by the cast who unveiled ’their’ cover on social media.
“The golden rule is to never use the split cover as a get out clause if you’re torn between two covers (’Oh god, I can’t decide! Let’s just do both!’). There has to be either: an equal audience for both/all; a likelihood that a reader would want to buy multiple covers or a conceit that required you to produce separate covers as part of a larger campaign. If it ain’t one of those, then you just need to put on your big girl knickers and make a tough call.”
Budgeting cover shootsPublishers continue to invest in cover imagery, whether that is photography, illustration or special production techniques, despite the high price.
At GQ there is a “fortune spent on cover shoots…precisely because the quality of photography online is often so poor”.
Terri White says that every cover of Empire is “a manifestation of our [Empire’s] passion for both subject matter and audience” which you “absolutely cannot pull off on the cheap”.
“Magazine media in 2016 is all about playing to your medium - in this case, creating stunning covers you want to feel between your fingers, carry around, display on your coffee table or even frame; this is exactly what print does better than the internet.
“Any brand is just seeking to use their touchpoints intelligently to tell one larger story. The internet - and our digital edition - can do many, many things that print can’t. But print also has a very distinct and important role to play. Covers are a huge part of this.”
In an age of declining newsstand sales revenues (-13% according to MagNet), it is even more important for magazine covers to stand out in a crowded market.
How much of an effect on magazine sales does the cover page have? As we've learned in the past, a lot of magazine publishers have their own version of the 'wet dog', a tried and true stock image that boosts the sales of that edition. But what other considerations need to be taken into account when composing the front cover?
Brad Merrett, creative director at Team Rock doesn’t think magazine covers have changed a great deal in the past few years, saying "a great cover line and an engaging image is still a knock-out combination for the environment mags are purchased in, and Andy Cowles argues that covers still count "even in [an] age of declining print sales":
Sign up now for our daily newsletter
“Unlike any other media, bar perhaps radio, a magazine cover can cut through the noise and distraction of everyday life. In short, it can create impact, both online and off.”
“In an age when digital is everything, we are still fascinated, obsessed even, by a cover.”
Is the cover the most important page in a magazine?The idea that the ‘magazine cover is the most important page in a magazine’ is much less true according to Dylan Jones, editor of British GQ. He says this is the case because “more of our [GQ] magazines are sold as subscriptions, both in print and digital format”, moving towards an American model.
Merrett, disagrees, believing the cover still has “tremendous value”, and is important for cover stars, advertisers and PRs. Merrett says the crucial element of a magazine cover is its 'finite-ness':
“There are only 12-13 published a year, which intrinsically adds value, and creates demand for that prime real estate. In an age where even the relevance of a brand's homepage is being questioned, we may find that the rectangle of paper held between forefinger and thumb can more than hold its own as a tactical pawn for a publishing business.”
Terri White, editor-in-chief of Empire magazine agrees with Merrett saying the cover “is of course the most important page in a magazine, it’s key – it’s your shop window.”
“If you’ve dressed your mannequin in nasty-looking shorts and a questionable crop top, no one’s going to want to come in and shop.”
“Me and my senior team spend a great deal of time on our covers - from negotiations with studios and filmmakers, to going on set to shoot, to working with the printers and production house - and that’s for a very good reason.”
Yet, White makes it clear that every page in a magazine should be as good as the other.
“That said, much of the hard work begins once people have turned page one. I personally read every page of the magazine before it goes to press, and that’s because no great magazine is just about the cover.”
“You need to keep the reader engaged on every single page, to prove to them that their money was very well spent with every caption, every image choice, and every story. Magazines have to work damn hard (as they should). For me, a great magazine journey is much like watching a great film. You may laugh, you may cry, your pulse may race a little faster, but you get to the end feeling that you spent the last two hours of your life entertained and compelled.”
Is positioning still relevant?Richard Kingerlee, circulation director at Condé Nast Britain believes “digital distractions have increased the importance of impulse purchases – especially for titles with less loyalty than enjoyed over the Condé Nast portfolio. This means that covers have to shout even louder on the shelves to attract the same level of attention.”
Positioning at newsagents is still absolutely relevant according to Kingerlee.
“We’re fortunate that magazines like Vogue and GQ are often used as pillar brands to help shoppers navigate the magazine range. However, with the vast majority of UK magazine sales still derived from retail, strong displays are vital to maximise both regular and impulse sales in the category.”
Merrett adds:
“News stand sales in the UK are still a big revenue generator for publishing companies so time and effort are a primary focus in creating memorable covers. As the old adage goes 'there is no such thing as a good magazine with a bad cover”.
“The rise of the independent magazine has probably cemented the consumer magazine ethos of working hard to appeal to readers via the newsstand, a point of differentiation if you will. Independent mags (not all of them) on the other hand haven't really taken advantage of the freedom they have, there is definitely that 'independent' look.”
‘Innovate where you need to’Condé Nast are “constantly looking for new and innovative ways to maximise sales” according to Kingerlee.
“For example, at launch, Glamour was the first compact edition in the market and went on to be the first magazine to run branded beauty covermounts. This year Tatler’s forthcoming May issue Royal Collector’s edition will connect deeply with its target audience and looking back the March issue of GQ was published with five David Beckham covers to allow enhanced retail displays.”
Merrett also believes that innovation is important, but only where it needs it “when it benefits your reader and brand” without ignoring with “wonderful nature” of what print already offers.
“Print doesn't need to be in an 'arms race' with itself, getting more and more elaborate and expensive than the last issue.”
White adds:
“We at Empire know, a really well thought out, well executed, innovative production treatment or cover mount will absolutely thrill our audience, engage the industry and drive copy sales.
“As an editor, I find this to be an absolute thrill (not to mention a gift). It’s a great creative challenge and there is no finer moment than when you know you’ve really connected with your readers."
What is the commercial value in using lenticular or variant covers?Many publishers are using lenticular or variant covers to create a sense of exclusivity for loyal readers, relevance to a certain market or as an advertising purpose. WIRED, Metal Hammer and Empire have all used 3D lenticular covers or variant covers for both subscription and newsstand issues.
Lenticular covers are also a great way to create an event, however, the costs can be huge if the return is small.
Merrett shares the commercial value for TeamRock:
“The caveat to this [lenticular covers] is that it costs a lot to do - you may make small gains over all - if you are lucky.
"That isn't always the case so the sales targets need to go up cover the ROI - in short we need to be sure the cover artist AND the treatment are going to maximise the sales potential. Some benefits aren't measured in monetary terms of course, a fact that gets lost a lot of the time sadly.”
White also agrees that split covers have a functional benefit:
“When you have a movie with multiple cast members of note, it allows you to cover all bases, reach more of the audience and represent the film more accurately. But it also definitely generates buzz - we recently released nine covers for X-Men: Apocalypse, aided and abetted by the cast who unveiled ’their’ cover on social media.
“The golden rule is to never use the split cover as a get out clause if you’re torn between two covers (’Oh god, I can’t decide! Let’s just do both!’). There has to be either: an equal audience for both/all; a likelihood that a reader would want to buy multiple covers or a conceit that required you to produce separate covers as part of a larger campaign. If it ain’t one of those, then you just need to put on your big girl knickers and make a tough call.”
Budgeting cover shootsPublishers continue to invest in cover imagery, whether that is photography, illustration or special production techniques, despite the high price.
At GQ there is a “fortune spent on cover shoots…precisely because the quality of photography online is often so poor”.
Terri White says that every cover of Empire is “a manifestation of our [Empire’s] passion for both subject matter and audience” which you “absolutely cannot pull off on the cheap”.
“Magazine media in 2016 is all about playing to your medium - in this case, creating stunning covers you want to feel between your fingers, carry around, display on your coffee table or even frame; this is exactly what print does better than the internet.
“Any brand is just seeking to use their touchpoints intelligently to tell one larger story. The internet - and our digital edition - can do many, many things that print can’t. But print also has a very distinct and important role to play. Covers are a huge part of this.”
In an age of declining newsstand sales revenues (-13% according to MagNet), it is even more important for magazine covers to stand out in a crowded market.
THE 4 STYLES OF MAGAZINE FRONT COVERS:
ACTION - CHARACTER - ACTOR - STAGED
1. THE Action style
This is a screen shot from the movie to give audience's a clue as to what might go in in the movie. Below are some examples:
2. The CHARACTER STYLE
This is an actor but in character from the film:
3. showcasng the actor
This is where it is just using an A class actor to sell the magazine who is starring in the show case movie
4.staged action shot
This is where an actor poses for a photo shoot in character role especially for the magazine. THIS WILL BE OUR PREFERRED CHOICE as we aren't famous and a screen shot from our movie would be poor quality.