Preliminary Task #1: Codes and Conventions of Magazines and Print Media

This post details structured research into essential codes and conventions of magazine design. 

Front Cover Conventions

The front cover is the primary marketing tool, designed to attract, persuade, and inform a specific audience at a glance.

I will list an element, its technical term & purpose, and its key considerations regarding my magazine concept (Gothic Chronicle.)

Masthead

The magazine’s title logo. Establishes brand identity and genre. 

Considering the goth audience, the masthead must be distinctive using typography that reflects the goth subculture. For example, elegant fonts or bold gothic fonts.

Central Image

Usually a medium close up or close up photograph using direct address. Creates a direct connection with the viewer and signifies the main feature.

My model should use a confident pose. Mise-en-scène is a must. Leather, buckles, dark makeup, and a matching expression to convey the magazine’s thematic core.

Cover Lines

Text teasers highlighting inside content. Use a hierarchy of font size/weight. 

Use intellectually stimulating vocabulary like “anatomy,” “archive,” “chronicle” to appeal to thoughtful audience. Hierarchy should be clear. Main cover line > Subsidiary lines.

Main Cover Line

The largest cover line.  Directly relates to the central image. Anchors the cover’s theme.

Will be a powerful phrase like “Archives of the Night,” or “Forged in Darkness,” positioned prominently.

Color Palette

A limited, deliberate scheme that creates mood and ensures readability.

A monochromatic or duotone scheme that aligns with goth aesthetics and the “archival” concept. A single accent like the color red could be used strategically. 

Puffs/Plugs

Graphic elements like starbursts or banners that promote special features (Exclusive, Free, +50 pages, etc.)

A subtle but clear puff could say “SPECIAL EDITION: Material Issue” or “Including 12 Page Fashion Editorial.” 

Barcode, Price, Date

Essential publishing information typically placed in the bottom left or right corner. 

Will be integrated cleanly, perhaps on a stylised label to maintain the “chronicle” aesthetic. Website/social media handles can be included.

Reflection on Introductory Task

Initially, I underestimated the need to use direct address so deliberately to create audience engagement. Most elements I got correct, but there is room for improvement. Such as dates and more clarification or visuals.

Contents Page Conventions

The contents page organizes the magazine and guides the reader, maintaining the established house style.

Page Heading - Contents or Features, styled to match the masthead's font.

Structured Layout - Often uses a column grid (2 or 3 columns) for clarity. Divides content into sections (e.g. Features, Regulars, Fashion, Culture)

Images - Several small images from inside features, anchored with page numbers and captions. Create visual interest and further teasers.

Page Numbers & Descriptions - Each listed item has a clear page number and a concise, enticing description of the article.

Editor's Letter - Often included, adding a personal touch and highlighting key pieces.

Maintains House Style - Uses the same colour palette, font family, and graphic elements as the front cover to ensure visual continuity.

My Application - For Gothic Chronicle, contents page would use a clean, editorial grid. Images will be high contrast shots of fashion and interviews. Descriptions will use intellectual and appealing language consistent with the cover lines.

Double-Page Spread Conventions

The DPS is the heart of a feature article, combining text and imagery in a sophisticated layout.

Headline - The article's title, large and engaging, often using wordplay or metaphor.

Standfirst - A crucial introductory paragraph under the headline, summarising the article and hooking the reader. Set in a distinct size/weight from the body text.

Body Text - Formatted in clear, readable columns (usually 2-4). Uses justified alignment for a clean look. Drop caps are a common professional detail.

Main Image - A dominant, high-quality image that sets the tone. Often bleeds off one or more edges.

Secondary Images/Captions - Supporting visuals with anchored captions that provide context.

Pull Quotes - Extracted quotes from the article, enlarged and styled graphically to break up text and highlight key ideas.

Byline/Photo Credits - Credits for the writer and photographer, typically in small print.

Page Numbers & Magazine Title - Consistent folio (page number and often magazine title/issue) placed in corners.

My Application - My DPS would profile a designer or cultural figure. The layout will be elegant but bold, maybe with one page dominated by a full bleed image of a detailed garment, and the other using a structured 3 column text layout with a dramatic pull quote in a gothic font.

(This research was compiled through analysis of physical magazines such as Empire and Vogue, alongside online resources from media studies institutions and peer blogs, which demonstrated the effectiveness of clear, structured formatting like this for presenting technical research. Examples of magazines I used for research below. Click on images for links.)

(Original Empire magazine source link deleted. Link leads to a Hunger Games fan blog showing the Empire Hunger Games Magazine.)

Research links:

https://www.slideshare.net/slideshow/codes-and-conventions-of-magazines-61504976/61504976#2

https://www.slideshare.net/slideshow/the-codes-conventions-of-a-magazine/5758423#2

https://media-studies.com/magazine-cover-analysis/

https://www.scribd.com/doc/262032977/codes-and-conventions-of-a-magazine-contents-page

1. Preliminary Task #1: Research into Codes and Conventions of Magazines and Print Media This post details structured research into essential codes and conventions of magazine design. Front Cover Conventions The front cover is the primary marketing tool, designed to attract, persuade, and inform a specific audience at a glance. I will list an element, its technical term & purpose, and its key considerations regarding my magzine concept (Gothic Chronicle.) Masthead The magazine’s title logo. Estbalishes brand identity and genre. Considering the goth audience, the masthead must be distinctive using typography that reflects the goth subculture. For example, elegant fonts or bold gothic fonts. Central Image Usually a medium close up or close up photograph using direct address. Creates a direct connection with the viewer and signifies the main feature. My model should use a confident pose. Mise-en-scène is a must. Leather, buckles, dark makeup, and a matching expression to convey the magazine’s thematic core. Cover Lines Text teasers highlighting inside content. Use a hierarchy of font size/weight. Use intellectually stimulating vocabulary like “anatomy,” “archive,” “chronicle” to appeal to thoughtful audience. Hierarchy should be clear. Main cover line > Subsidiary lines. Main Cover Line The largest cover line. Directly relates to the central image. Anchors the cover’s theme. Will be a powerful phrase like “Archives of the Night,” or “Forged in Darkness,” positioned prominently.
2. Color Palette A limited, deliberate scheme that creates mood and ensures readability. A monochromatic or duotone scheme that aligns with goth aesthetics and the “archival” concept. A single accent like the color red could be used strategically. Puffs/Plugs Graphic elements like starbursts or banners that promote special features (Exclusive, Free, +50 pages, etc.) A subtle but clear puff could say “SPECIAL EDITION: Material Issue” or “Including 12 Page Fashion Editorial.” Barcode, Price, Date Essential publicing information typically placed in the bottom left or right corner. Will be integrated cleanly, perhaps on a stylised label to maintain the “chronicle” aesthetic. Website/social media handles can be included. Reflection on Introductory Task Initially, I underestimated the need to use direct address so deliberately to create audience engagement. Contents Page Conventions The contents page organizes the magazine and guides the reader, maintaining the established house style. Page Heading - Contents or Features, styled to match the masthead's font. Structured Layout - Often uses a column grid (2 or 3 columns) for clarity. Divides content into sections (e.g. Features, Regulars, Fashion, Culture) Images - Several small images from inside features, anchored with page numbers and captions. Create visual interest and further teasers. Page Numbers & Descriptions - Each listed item has a clear page number and a concise, enticing description of the article. Editor's Letter - Often included, adding a personal touch and highlighting key pieces. Maintains House Style - Uses the same colour palette, font family, and graphic elements as the front cover to ensure visual continuity. My Application - For Gothic Chronicle, contents page would use a clean, editorial grid. Images will be high contrast shots of fashion and interviews. Descriptions will use intellectual and appealing language consistent with the cover lines.
3. Double-Page Spread Conventions The DPS is the heart of a feature article, combining text and imagery in a sophisticated layout. Headline - The article's title, large and engaging, often using wordplay or metaphor. Standfirst - A crucial introductory paragraph under the headline, summarising the article and hooking the reader. Set in a distinct size/weight from the body text. Body Text - Formatted in clear, readable columns (usually 2-4). Uses justified alignment for a clean look. Drop caps are a common professional detail. Main Image - A dominant, high-quality image that sets the tone. Often bleeds off one or more edges. Secondary Images/Captions - Supporting visuals with anchored captions that provide context. Pull Quotes - Extracted quotes from the article, enlarged and styled graphically to break up text and highlight key ideas. Byline/Photo Credits - Credits for the writer and photographer, typically in small print. Page Numbers & Magazine Title - Consistent folio (page number and often magazine title/issue) placed in corners. My Application - My DPS would profile a designer or cultural figure. The layout will be elegant but bold, maybe with one page dominated by a full bleed image of a detailed garment, and the other using a structured 3 column text layout with a dramatic pull quote in a gothic font. (This research was compiled through analysis of physical magazines such as Empire, Vogue, and Kerrang!, alongside online resources from media studies institutions and peer blogs, which demonstrated the effectiveness of clear, structured formatting like this for presenting technical research.)

Colour Theory in Media

What I Learned in Art That Changes How I See Film

We focused on three main types of colour schemes. I knew the names already, but seeing them applied to actual paintings (and then thinking about films) made it real.

1. Complementary Colours

These are colours opposite each other on the wheel (like blue and orange, red and green, purple and yellow). They create contrast and make things stand out.

In Media: I immediately thought of almost every movie poster ever. Specifically, I thought of pretty much any Michael Bay film. Teal/orange everything. It creates maximum contrast. The hero often has warm skin tones against a cool background. Avatar (2009) also being an example. The Na'vi are blue, but many scenes uses warm orange lighting, complementing eachother. 

Our brains are wired to notice contrast. Blue and orange is especially popular because human skin tones sit in the orange range, so putting a warm person against a cool background is visually satisfying.

2. Analogous Colours

These are colours next to each other on the wheel (like blue, blue-green, green or red, orange, yellow). They create harmony and a unified mood.

In Media: I thought of The Lion King (1994) being yellow/orange/brown because the African savanna is all warm, dusty tones. It feels natural, hot, and alive. Another example could be Joker (2019) being green/yellow/brown. The whole film looks dirty and uncomfortable. The greens and yellows feel sick, claustrophobic, and mentally unstable.

It creates a world that feels intentional and immersive.

3. Monochromatic Colours

This is using one dominant colour or a very limited set. It creates a strong, immediate emotional response.

In Media: In The Wizard of Oz (1939), Kansas is dull, brown sepia (boring, trapped). Oz explodes into colour (magic, freedom, adventure). You feel the shift emotionally. 

Less is more. By stripping away colour, you force the audience to focus on shape, light, and story. When you do use colour in a monochromatic world, it hits like a truck.

Why This Matters for My Production Work

We have to produce our own media pieces soon, and I've realised more about colour that isn't just "decoration."  It communicates before the audience even reads a word or understands the plot.

Here's what I'm taking away from that Art lesson:

1. Colour Tells the Audience How to Feel

If I'm making a thriller, I shouldn't use warm, happy yellows (unless I'm trying to create unsettling irony). I should be thinking about cold blues (danger, isolation) or desaturated greens (sickness, unease).

If I'm making a beauty advert or a fashion spread (like the Vogue covers I analysed), I need to think about the emotional temperature. Gold and warm tones feel luxurious. Cold, sterile whites feel modern and clinical.

2. Colour Creates Consistency (House Style!)

This linked back to our house style research. A consistent colour palette across a magazine, a film, or a brand creates identity. If I use the same 3-4 colours throughout my project, it will feel intentional and professional. It will look like I planned it, not like I just picked colours I liked on the day.

3. Contrast Controls Focus

If everything is the same colour, nothing stands out. If I want the audience to look at something specific (a product, a character's face, a title), I need to make it contrast with the background. Complementary colours are the easiest way to do that.

Quick Reference: Colour Moods in Popular Films

Colour Mood / Feeling

Blue: Cold, isolated, techy, sad

Orange: Warm, energetic, dangerous

Green: Sick, fake, unnatural, jealous

Red: Love, anger, warning, attention

Yellow: Happy, crazy, hopeful, warm

Purple: Royal, magical, dreamy, strange

Pink: Fun, feminine, fake, playful

Conclusion / Reflection

When I start my production work, I'm not going to just pick a colour because I like it. I'm going to pick a palette with a purpose. I'm going to ask myself: What do I want the audience to feel here? and let the colour wheel answer. Even if I never mention colour theory again in this blog, this lesson has fundamentally changed how I look at media. 

Magazine Analysis - The New Yorker, Culture and Commentary

 "Nothing to See" by Haruka Aoki

The New Yorker (16th June 2025)

The Cover: A charming, softly coloured illustration. A white cat sits on a table, tipping over a wine glass. Red wine is paused in motion, about to spill over the white carpet below. The cat looks directly at the viewer with mischievous eyes. The title: "Nothing to See."

The New Yorker's house style is unique. The cover is always a single, full bleed piece of original art with no cover lines whatsoever. The art must tell the entire story, capture a mood, or make a cultural observation.

The Masthead The iconic Irvin typeface sits at the top. It's classic, literary, and slightly whimsical. It's the perfect frame for the artwork below.

The Imagery This is a full-bleed illustration by Haruka Aoki. The style is soft, expressive, and slightly humorous. It's not photorealistic. 

The Typography There is barely any. No cover lines. No teasing articles inside. Just the masthead, date, and price discreetly placed. The illustration carries the entire weight of the cover's message.

Codes & Conventions: Adhered or Broken?

Adhered: The cover strictly adheres to The New Yorker's defining convention: the cover is art, not advertising.

Broken/Subverted: This cover beautifully subverts the expectation of what a "news" cover should look like. On this date, major world events are happening. But The New Yorker chose a quiet, domestic, slightly humorous scene of a cat spilling wine.

It's a moment of shared human experience. Everyone who has a cat or has been to the house of someone with a cat has seen this exact scene. It creates an intimate and knowing connection with the reader. It's an act of gentle rebellion against the 24-hour news cycle.

What I Liked / What Was Effective

The Title "Nothing to See." This is genius. It's exactly what every cat owner tells their guests when the cat does something mischievous. It's the cat's guilty plea of innocence. The contrast between the chaotic spill and the serene, innocent claim of "nothing to see" is comedic gold.

The Cat's Expression. Haruka Aoki has captured the perfect "mischievous cat" look. It's adorable and utterly guilty.

Emotional Resonance. It's not a political statement. It's not trying to inform. It's trying to make you feel, to smile, to recognize a moment, to appreciate the gentle chaos of life.

Conclusion: Inspiration?

Yes, for finding beauty in the everyday. This cover is a profound inspiration for several reasons.

Humor and Humanity. In a world of serious, dramatic design, this cover is simply delightful. It reminds me that design can be playful and human and still be taken seriously as art.

The Power of Restraint. By refusing to plaster headlines all over the art, The New Yorker elevates the illustration to a place of honor. It trusts that the reader will appreciate the art for its own sake. This challenges me to trust my audience more and clutter my designs less.

Magazine Analysis - The Economist, News & Current Affairs

 

The Economist (17th February 2024)

The Economist's house style is built on intellectual wit, conceptual illustration, and disciplined restraint. This cover is a perfect embodiment of those principles.

The Masthead As always, the iconic white-on-red stripe sits at the very top of the page. It never moves, never changes. This consistency creates an immediate frame of reference. You know exactly what you're reading before you process the image.

The Imagery The MAGA hat is rendered with precision, the bright red fabric, the stiff brim, the embroidered white text. But it's isolated. There's no person wearing it, no political rally, no American flag. Just the hat. This forces the reader to confront the symbol itself.

The Typography Minimal and precise. One main headline. One sub-headline below it. The font is clean, serious, and unobtrusive. The text explains the image.

Codes & Conventions

Adhered: The cover strictly follows The Economist's core convention: use a single, powerful conceptual image to represent a complex political issue.

Broken/Subverted: In a clever twist, this cover subverts the expected use of the MAGA hat itself.

Removing the Context The MAGA hat is usually seen on a person. Shouting at a rally, grinning at a podium, part of a chaotic crowd. By removing the person and the chaos, The Economist forces the reader to look at the hat as an object of political and cultural significance, not just a prop.

Neutrality through Isolation The stark white background and clinical illustration style drain the image of the usual emotional heat associated with the subject. It becomes an object of study, not a provocation. This is The Economist's signature move: treat emotional topics with cool, analytical detachment.

What I Liked / What Was Effective

The Power of the Symbol I love that they didn't need to show Trump's face. Everyone knows what this hat represents. It's a masterclass in visual shorthand. The hat is the story.

The "Clinical" Treatment By illustrating the hat so cleanly and placing it in isolation, they've turned a highly charged political symbol into something that looks almost like a museum exhibit. It invites analysis.

Conclusion: Inspiration?

Yes, for symbolic thinking. This cover is a massive inspiration for how to handle complex or controversial topics in design.

Show the Symbol, Not the Subject. You don't always need to show the person or the event. Find the object that represents the idea. It's often more powerful.

Context is Everything. By stripping away the chaotic context (the rally, the crowd, the flags), they changed how we look at the object. I'm inspired to think about how removing elements can sometimes add more meaning than adding them.

Coolness Under Pressure. The cover deals with a highly emotional topic through a cool, analytical lens. It proves that design can be intellectual without being boring, and political without being hysterical.

Magazine Analysis - Vogue Lifestyle & Fashion

February 2022 issue of British Vogue

House style

Vogue's house style, particularly the American edition, is built on a foundation of aspirational luxury. The key visual elements are remarkably consistent. The masthead has an iconic didot font (a high contrast serif) is always prominently displayed across the top of the magazine. It's often partially obscured by the celebrity subject. This "peeking" masthead is a power move, the brand being so strong it doesn't need full visibility.

However, for this specific issue cover, British Vogue, under the editorship of Edward Enninful, has cultivated a distinct house style that honors the classic Vogue DNA while pushing for modernity, diversity, and cultural relevance. The February 2022 issue is a perfect study.

The cover: A breathtaking, high-contrast portrait of model Anok Yai, shot by photographer Steven Meisel. She wears a sculptural Burberry ensemble, her skin glowing against a minimal, moody background. 

The iconic Vogue logo in its custom serif font sits proudly at the top. In a classic British Vogue move, it is partially obscured by Anok's head. This "peeking" masthead signals ultimate brand confidence. It basically tells you: We are Vogue. You know who we are, we don't need to show the whole masthead.

The photography is high-fashion, dramatic, and deeply artistic. The lighting on this cover is masterful, It creates a sculptural quality, highlighting Anok's features and the texture of the Burberry fabric. The moody, dark background makes the subject pop with almost three-dimensional intensity.

Codes and Conventions

Adhered: The cover strictly adheres to the core fashion magazine conventions. A striking central figure, a visible (if partially) masthead, and a primary cover line that sells the issue's theme. It follows the rule of a clear visual hierarchy: Image → Main Cover Line → Secondary Lines.

Broken/Challenged: Where this cover breaks new ground is in its cultural statement.

Representation Anok Yai, a South Sudanese model, is celebrated in this issue. This issue and cover actively challenges the historical lack of diversity in the "supermodel" narrative.

The Gaze The image is powerful and commanding, not passive. Anok looks directly at the camera with a serene but intense confidence. It's a presence. This subverts the traditional "objectified" gaze often seen in fashion photography.

Simplicity While Vogue covers often have multiple cover lines, this one is relatively restrained. The focus is almost entirely on Anok, making it feel more like a declaration than a typical advertisement for multiple inside stories.

What I Liked / What Was Effective

The Lighting and Texture The way Steven Meisel has lit the shot is extraordinary. The highlights on Anok's skin and the tactile quality of the Burberry garment are mesmerizing. It makes you want to reach out and touch the cover.

The Cultural Moment This cover marked a moment in fashion history. It celebrated a new generation of diverse models taking the throne. 

The Color Palette The rich, cooler tones of Anok's skin against the deep, moody, warmer background and the black and white text create a palette that feels luxurious and powerful. It's sophisticated and regal.

Conclusion: Inspiration?

Yes, absolutely. This cover is a masterclass in several principles.

1. Confidence in Imagery It reminds me that when you have a powerful image, the best design decision is often to get out of its way. The typography supports the image, it doesn't contrast it badly.

2. Design as Statement The cover proves that design choices (who you put on the cover, how you light them, what words you use) are never neutral. They carry cultural weight and can be used to make a powerful statement.

3. Texture and Mood I am inspired to think more deeply about the mood of my visuals. The lighting and texture here create an emotional response before you read a single word.

For my own work, this cover inspires me to prioritize a strong, emotive central image and to use typography as a supporting player, not the star. It's a lesson in powerful restraint.

Learning From Codes and Conventions

 What I Created

I used Affinity to create this cover. This is a software that I have no previous experience with. I searched through the pre-downloaded fonts in the software and used my own knowledge on why these fonts could work as a title and cover lines for a gothic magazine. The fonts I used include:

Onyx, for the masthead. “Gothic Chronicle” title. It is a bold capitalized serif or gothic styled font. 

Gloucester MT Extra Condensed, cover lines and feature text. I used a smaller, condensed, less bold serif for readability.

Original image used

 Original non-edited photograph I used of an artificial goth model in leather and buckles.

Inspiration 

My cover was inspired by gothic subculture fashion magazines and visual aesthetics of goth culture. I wanted to create something that felt both archival and modern.

What I Included (My cover analysis)

Masthead: "GOTHIC CHRONICLE" in bold font at top. This follows conventions as mastheads are typically placed at the top of the cover. Central Image: Goth woman in leather with buckles, using direct address (looking at camera). This follows conventions as direct address creates connection with the audience. Main Cover Line: "The Architecture of the Self: Building an Identity Through Lace & Leather". This follows conventions as it relates directly to the image and theme. Cover Lines: Multiple lines about psychology of adornment, accessories, and an exclusive designer feature. This follows conventions as cover lines tease interior content. Colour Palette: Monochromatic dark tones with high contrast; text in dark colours. This follows conventions and suits the gothic genre. Puff/Plug: "+20 PAGE FASHION EDITORIAL" in a boxed text. This follows conventions as promotional elements attract readers. Barcode/Price/Date: "ISSUE #7" is included, but price is missing. This partially follows conventions but misses essential elements. Additional Text: "The weight of it all, the psychology of adornment" as subheading. This follows conventions as it anchors the theme.

What I Missed (Based on My Research)

After researching professional magazine conventions, I identified several elements missing from my debut cover: Price is a standard convention (for example "£4.99"). I would add this near the barcode or under the masthead. Date/Month shows issue currency. I would add this near the issue number or barcode. Website/Social Media is important as modern magazines include their digital presence. I would add small text at the bottom saying "gothicchronicle.com". Secondary Cover Lines - I only have 3-4 visible and could add 1-2 more. I would add smaller lines in the side margins. Photography Credits are sometimes included on covers. I could add small text near the bottom.

What I Did Well

My cover has a strong central image. The model's direct address and confident pose creates audience connection. There is a clear theme with "Architecture of the Self" which is intellectually engaging and suits the goth audience. The consistent aesthetic with dark tones, leather, and buckles all reinforces the gothic genre.

My cover has clear text hierarchy and ensures the eye flows clearly from masthead to image to main line to secondary lines. I made good font choices with a simple mix of fonts that creates hierarchy without clashing. The puff "+20 PAGE FASHION EDITORIAL" is enticing and professionally placed.

What I'd Improve

First, I would add missing conventions including price, date, and website. Second, I would add more cover lines as 3-4 is the minimum. I have good content but could add 1-2 more teasers.

Software Experience

As stated previously, I used Affinity to create this cover. I had not used Affinity before this cover poster design.

The easy parts were layering text, positioning elements, and choosing fonts. The challenging parts were ensuring text readability against the dark image, cutting out the subject cleanly, and achieving the right contrast. I learned how to use layers effectively, how to adjust text transparency and backgrounds for readability, how to use different color tones and filters, and the importance of planning before starting.

Three Key Takeaways for Next Time

First, I will use a checklist before finishing to ensure nothing is missing such as barcode, price, and date. Second, I will plan text placement around the image and identify clean zones where text will be most readable. Third, I will add more layers of cover lines as professional magazines pack more information onto their covers.

Preliminary #2: Defining House Style

Research Poster: Defining House Style

What is House Style?

At its core, house style is a set of predetermined rules and standards for writing, design, and formatting that ensures all content produced by an organization is consistent and recognizable. I decided to use a poster as an alternative mode of presenting my research and definition of house style.

I used my own already existing knowledge of brand identity and style while also incorporating information I learnt from researching about house style.

Sources for research and information:

https://dictionary.cambridge.org/us/dictionary/english/house-style https://www.collinsdictionary.com/dictionary/english/house-style https://www.slideshare.net/slideshow/house-style-26778537/26778537#3

Sources for images used in poster:

https://pocketmags.com/it/the-guardian-newspaper/wednesday-12-february-2025 https://www.tomorrowspapers.co.uk/guardian-front-page-2023-08-09/ https://inkbotdesign.com/house-of-brands/ https://dorve.com/blog/mcdonalds-launches-2021-brand-redesign/

Magazine Brief and Debut Cover

This post will be me making a key decision and establishing my current skills through a debut cover. 

I have chosen to work on the magazine brief for my portfolio project. I chose the magazine because I'm fascinated by layout, typography, and brand identity. This also ties into my interest for graphic design and art & design in general. Storytelling through visuals and text interests me. I hope to achieve a better understanding of media to use in the context of my magazine. 

As part of establishing my starting point, I've created my first magazine cover. I created a cover for a non-existent magazine called "Gothic Chronicle" focused on all things goth like fashion, poems, stories, diving into the culture, etc.

My concept cover for "Gothic Chronicle" February 2026

The inspiration for making and designing the magazine cover was the many things that goths have in their culture that could be included in a magazine. Things such as politics, fashion, architecture, music, makeup, art, etc. I personally love goth and gothic things, which is another reason why I chose it as the subject for my cover. Through this cover, I was trying to communicate the monotone vibe around goth culture, with the only pop of color being the model's face, bringing out the monotone black and white palette. 

What came naturally for me on this task was the typography. It was clear what type of fonts to use for the cover. What was challenging was the layout, how to make it appealing, and even trying to actually make it look like a magazine cover.

Thanks for reading and expect more soon!