Clashs contents page comprises of a

predominantly monochrome image, what

with the lack of vivid colour, coupled
with the emphasis of black and white
following a studious colour scheme. This
embedded deliberately in order to make
the magazine appear more traditional.
The contents page is one of a very
narrow variety, with the entirety of the
text positioned vertically down the
centre of the page. The six central eights
of the page are littered with text, images
and what not, however the two eighths
on each flank remain unaltered. This
creates more focussed attention on the
central text, as opposed to having lots of
wild text scattered all over the page
The page contains various subheadings,
these are immediately apparent as they
are constructed in larger font than the
rest of the material. This is a simple ploy
from the editor to make them appear to
stand out more, in hope that the key
words could act as pull quote to entice
the reader.

The mise en-scene is important on this

double page spread, as it is utilised to
convey emotion on the subject of the image.
The flamboyant nature of the shirt that the
person in the image is wearing could suggest
that they are a fruitful character, due to the
vast array of different colours and patterns
The solitary image placed on the double
page spread is placed on the left hand side.
There editor has dedicated the whole left
hand side of the facing pages to this person,
which can certainly empower them by
creating an imposing stature from the image.
This suggests that this person in the image is
in control, and therefore the reader may wish
to read the article in relation to this person.

All the text on this double page spread is

placed on the recto, the right page of the
facing pages. There is a simple reason for this
in the sense that its more comfortable for the
reader to be reading a long piece on the right
hand side as opposed to the left. It comes
natural to read from the recto of a double page
spread, and whereas reading from the left
The text is written in small font, which
suggests that there is a lot of information in
there to be digested and dissected, this adds to
the calibre of the text, so people may believe
the text is of a good quality and wish to read it.
The article is constructed in columns, which
could be hazardous if the line spacing was
inadequate. However, in this instance, the line
spacing is sufficient and as such no problems
with reading are incurred.

The mise-en-scene is highly significant on this

double page spread, as it has connotations with
regard to Ed Sheeran who is the subject of the
article. The image of the iconic London sights of
Big Ben and the Houses of Parliament in the
background of the page are positioned in such a
way that they appear to be smaller in relation to
Sheeran. This, without doubt has positive
connotations for Sheeran, who is empowered as
he towers over these historic monuments. This
places Ed in a position of power, which could be

What slightly concerns me about this double

page spread is the font colour in relation to
what it lies on. For example, on the left
hand page, the word GINGER is coloured
in red, and it took me a second or more
than it shouldve done for me to actually
decipher what it said. This could be a
limitation of the text as anyone could
potentially misconstrue that word as
something else and gather false
information, or decide that the article is not

All the text on this double page spread is placed

on the recto, the right page of the facing pages.
There is a simple reason for this in the sense
that its more comfortable for the reader to be
reading a long piece on the right hand side as
opposed to the left. It comes natural to read
from the recto of a double page spread, and
whereas reading from the left requires a lot of

The typography is used to its fullest potential, with the dark background and the yellow font
complementing one and other, creating a vibrant headline. A headline of such a vast luminosity
can reach out to a potential reader. The large and colourful font is effective, in the sense that it
is applied to the most significant piece of text, and is generally the first piece of text one sees
upon looking at it. The fact that opening letter b on blur is not capitalised, reduces the
formality of the cover, which introduces a more causal image emitted to the reader. This failure
to capitalize this letter is significant within the context, as Blur are a band renowned for the
Britpop movement in the early 1990s, which imposed a mantra of Its us against the
establishment on the British music industry at the time. This is an old trick repeated, as the
grammatically incorrect text is reminiscent of the Britpop motto.

Subheadings detached from the main

body of the cover at are utilised to fill
the space effectively, and provide more
of an insight of what context to expect
on the inside of the magazine. Other
content of the magazine are stated, as
to specifically make clear that the
Subheadings
magazine isnt specifically about Blur,
detached from the
who feature so heavily. The editor has
main body of the
consciously included subsidiary topics
cover at are utilised
that are detached from Blur in order to
to fill the space
convey that a wide range of subjects
effectively, and
are discussed within that magazine, in
provide more of an
the hope that they can appeal to a
insight of what
NME make reference to a
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The contents page also

includes information that is
detached from the main
subject, for example
containing headlines such
as Nirvana and MGMT
for the common reader
who isnt necessarily
interested in the Klaxons.
Readers who pose an
interest in these bands
down the right hand side
will be made aware that
these bands will be
included within the

An image of the main subject is exclusive to one page on the

double page spread. This is incredibly significant as the
subjects are portrayed in a large stature, which empowers
them and can alter the readers perception of them in a
positive fashion. This can sway audience opinion with regard
to the subjects and can heighten their popularity which would
have suggest the article has had the desired effect.
The large and emboldened
M at the introduction of the
article is a drop cap, which is
often used by traditional
newspaper prints to stand
out from the rest of the text.
While making it clear to the
reader where the start of the
article is, the drop cap
suggests simultaneously
that the double page spread
is conforming to the
common convention of
printed media. What can be
denoted from this is that the
magazine is one of a
traditional nature, and that it
The text is separated into columns, which
again conforms to the common convention of
printed media. While this is effective, it could
potentially be hazardous without the
appropriate line spacing. If the line spacing
was minimal, it may be tougher to read and
subsequently interpret. The line spacing in
this text is adequate, and as such doesnt
provide any difficulty for the reader.

Toward the bottom of the article is a quote

from Caleb Followill. This is a pull quote for
available for the reader, with the intended
effect of enticing them to wish to read further.
With regard to the facing pages,
all the text is position on the right
hand side, or the recto if you like.
This is so much easier for the
reader, than if the text was
positioned on the left hand side. If
that was the case, then the reader
would have to strain the neck a
whole lot more than they now
have to. It may seem minor but
its key in avoiding an unnecessary

The masthead is effective as it captivates the

reader through the typography. Such
typography as bulging blocked letters, clear
white font with a slightly edgy texture creates a
sense of individuality to the magazine, while
maintaining its ability to draw the readers
attention. Shadowed by the dark locks of
musician Jake Bugg, the white tone of the text
really suits the image it lies on, with the
contrasting binaries making for a relatively
monochrome image. This a very simple yet
effective blend of tones, which makes for a
clearer, more enhanced mast head that can
appeal to many as its the first thing that jumps
A subheading if you wish is placed beneath this
very striking masthead, as a subsidiary detail to
overpowering title. Again, the typography is
constructed in bright white to complement the
blend with Buggs hair; however this time, the
editor has elected to mix up the font a little,
going for a more flamboyant font. This font is
synonymous with the way in which the main
subject of the cover Jake Bugg equips himself on
stage and within the media. His lyrics are very
idiosyncratic and his writing style is somewhat
unique. This, coupled with his unorthodox
method to projecting his vocals all corroborate
A barcode is essential on the cover, on
the grounds that any stock listed for
commercial sale must contain such a
security aid. The barcode is somewhat
miniscule in its presence, and is
shoehorned into the lower left sector
of the cover. This is a ploy from the
editor, simply to avoid congestion, and
this is successful as it avoids the
impediment of the main subjects of
the cover. Its well out of touch with

The image of Mr. Bugg is the solitary focus of the

cover. This is made clear when the camera shot is
identified as a close up, as the viewer has a view of
the subjects head and shoulders, and has access to
their facial expressions. The image of Bugg could
certainly do with a slight enhancement, as the quality
of the photograph is certainly not adhering to the
common standards that one comes to expect for the
headline image of a magazine cover. However, this
blemished image, for want of a better phrase, is
again reminiscent of Buggs mantra is such, to go
against the book. What can be denoted from this
image is that Bugg does things his own way, and

Q Magazine has adopted an

unorthodox approach to contents
pages, by conventionally
producing said pages over a
double page spread. This is not a
mainstream attitude toward
contents pages, however it shows
that Q arent afraid to detach
themselves from the norm, and
are very open minded as to what
could happen. Some may say this
is admirable, some would say its
foolish, it all depends on personal
perception. What this does
however, is spread out the
contents over an extended space,
which allows for less of an

Similarly to the cover page,

the contents page adheres to
the common principle of
printed media of maintaining
the colours of red and white,
which can be associated with
a traditional newspaper print.
This shows Q Magazine in a
rather retro light, which can

The masthead is
relatively simply
constructed, but effective
nonetheless. The
composed nature of the
contents masthead
reinforces the retro and
casual image emitted
from the magazine. The
traditional colour scheme
of black, white and red
complements the text by
producing a clearer image
and an easily
decipherable masthead.
The font style allows a
larger than common
spacing between letters

What is immediately noticeable upon first glance of this

contents page is the fact that a high proportion of the text
is positioned toward the westerly and easterly regions of
the double page spread. With the text detached to an
assigned side, the centrally spaced are is littered with
images of famous icons. This immediately draws the
attention of the reader to these images of icons who are
for the most part recognisable on first glance. This is an
example of a method of gripping the reader, with the
intent of engaging them to purchase the magazine and
read further. Assigned to these pictures are page numbers,
which establish just where within the magazine information
on these figures can be distinguished. This shows that the
reader doesnt even have to actively read any words to
find out where to find this information, which makes life
easier for them due to not having to labour through a long

The barcode is essential on the cover of Q Magazine,

due to the rules and regulations that govern the
release of magazines in the UK. As the product is
intended to be sold commercially, the barcode is
required in order for a transaction to be completed in
exchange for the magazine. The barcode is placed
effectively in the bottom left hand corner of the
page. This is a suitable position for the barcode as it
doesnt interfere with any significant parts of the
cover, such as the images, text or visual elements.
The fact that the barcode is of a small stature also
reinforces the notion that the editor has, as it carries
not significance to the cover, tried to keep it out of
Similarly to the contnets page from NME, the cover
of Q magazine conforms to a simple colour scheme
of black, white and red, with an added flavour of
beige and faded grey mixed in for effect. This is a
very composed and low key colour scheme, which
represents the artists demeanour both on and off
stage. With a very low key and soothing voice,
Sheeran adopts this demeanour within the media,
having spoken publicly on many an occasion. The
text is a simple to read, and no words are
indecipherable. The combinations of black and
white, often referred to as monochrome, and red and
The mise-en-scene is effective within
the cover of Q Magazine. For example,
the fact that the main subject, Ed
Sheeran, is in possession of a guitar
suggests that there is a relationship
between the aforementioned parties.
Sheerans hand is placed on the
periphery of the guitar, as if to emit a
message that he cant take his hands
off of it. Another reason that the guitar
is effective is the element of space. If
that guitar wasnt placed where it was,
what would be in its place? Its
unknown, however what is for certain is
that having a prop there is certainly
more effective than not having one.
Also, a guitar is a very popular musical
instrument, and one that many people
can relate to. Due to this, people will
recognise the fact that Sheeran is
The artists name, Ed Sheeran is placed
on the image of said artist, in
flamboyant and eccentric red font. The
colour red can often be associated with
love, which has significant connotations
as a large proportion of Sheerans
songs are largely by the abstract
concept of love. This font style also has
significant ramifications, too, what with
the outgoing, unique and original
orientation of the font reinforcing
Sheerans idiosyncratic and eccentric
approach to his lyrics and vocals. This
font says more than meets the eye to a
reader, and a proportion of the

The front cover contains side notes, comprising of

the titles of other artists. Their titles are typed in
capital letters, with added relevant information
placed in a lowercase manner. What with the white
text on the generally dark background, these titles
are easily accessible to the human eye. What the
inclusion of these titles allows for is more
information. The names of such artists provide more
of a general insight into the contents of the
magazine, and appeals to supporters and followers
of such artists. These artists style are detached
from that of the main subject in Ed Sheeran, which
means that the magazine cover will more than likely
appeal to a wider audience than just followers of
Sheeran. Subsequently, this then has a knock on