Cosmopolitan Feature Analysis

Cosmopolitan's feature article spreads across two double pages, as the star vehicle is important and requires a lot of attention to make it worth while for her. The graphology has been used in such a way that Cosmo is able to ensure it appeals to the specific target audience chosen and sell an abundance of magazine. Kelly Osbourne is a fashion icon, and therefore suitable to be featured in the magazine; although the article is not really about fashion, it doesn't need to be. The audience want to know about her life, they want to know the secrets to success and what she has been through in order to overcome any bumps in the road, they want to relate to these aspects of her life and allow themselves to become like her. The purpose of this text is to inform the reader of Osbourne's life, and entertain them. Though the primary target audience is females from the ages of 18-34, the audience widens up to welcome in the fan base of Kelly Osbourne, no matter what age or gender, as they would be interested in purchasing the magazine if she is in it. 

Some of the headline has been typed in capitals, which is a feature of the majority of articles, 'Be YOURSELF, YOU CAN'T BE anyone else.' The capitals are to emphasize particular words, and to emphasize a point to the reader, and though they are trying to fit in and act as though they are the star vehicle, Osbourne is trying to convince them to appreciate who they are and not to make attempts to imitate other beings, as they cannot truly change who they are. This direct address to the reader makes them feel as though it is personal, that Kelly is speaking to them and only them, no one else. It also makes the audience feel as though she understands each individual, caring about how they live their lives. The capitals also excite the readers, especially if they are big fans of the star vehicle. Personally, I really like the use of large quotation marks, as they have made it quite obvious to the audience that Kelly, the star, has said this, and they are saying 'look, these words have come from her mouth, not ours, because we know that you will listen to her'. They are in pink, correlating with the background behind Osbourne, and acting feminine with the purple from the telephone and her hair. Naturally, they have thought to use feminine colours to represent a feminine woman, and appeal to the feminine audience of which they have targeted, as they must appeal to the people. Three different fonts have been used within the headline, one reason is because different parts of it needed to be separated, to stand out more. The capitalized lexis is not as big as the normal lexis, as they are in a way trying to balance out the differences, yet still ensure that they are obvious. Linking back to the colour palette, the font included is very feminine, suggesting that Cosmopolitan either want to reinforce stereotypes that fall upon women, such as them enjoying elegant, feminine colours and fonts, or these truly to attract women and make them purchase magazines. Either way, they sell an abundance of magazines, so they are clearly doing it right. 

'Finally beating my addiction' suggests that Osgerby's 1998 theory applies to this particular article, even if this is not conceived as a negative representation by the youth culture. He says “We do not have to search too hard to find negative representations of youth in postwar Britain. Crime, violence and sexual license have been recurring themes in the media’s treatment of youth culture, the degeneracy of the youth depiction as indicative of a steady disintegration of the UK’s social fabric”. Kelly Osbourne suffered with a drug addiction, and though it makes an interesting read, it is a negative representation of her when she was youthful. 

In terms of typography, the main body of the text is jet black, harshly contrasting with the pure white background. The reasoning for this is to ensure that each of their customers are able to read the text with ease and not find it troubling to do so, as if they were unable to read a magazine they had purchased, it would be a waste of both their time and money, and they would not purchase the magazine again. A lot of ladies in the target audience, particularly the older ones, would need to wear glasses; as age progresses their eyesight worsens. Directly at the beginning of the article is the 'I', typed in the exact same font of the headline and is the same size. This is a typical feature of articles, and can be found in almost every one. It draws attention to the start of the article, enticing the audience into reading it. The 'I' also guide the reader directly to the beginning of the article, allowing them to easily navigate the magazine, ensuring ease and no confusion. The subheading are in bold, numbered and in pink, again allowing easily navigation, and breaking up the text so that it does not look as daunting to the reader; it is unlikely that they would find a block of text purely made up of words and no thought on layout appealing, as that would be the sort of layout of a book, and people who read magazines are stereotyped not to read literature. 

The main image is a common convention of every article. This allows focus of the subject and purpose of the article, through the use of star vehicles. It is beside the article itself, for the purpose of presenting WHO the article is about, Kelly Osbourne, before presenting WHAT the article is about, her comeback. This allows recognition for the star, and anyone who recognises her and enjoys her as a person will automatically feel an obligation to read the article. There is a slight comical element to the central image, as she is making a face which would not be suitable for a solemn photograph, implying to the audience that Kelly is not only entertaining, but a comical person herself. The mid shot of Osbourne has an atmosphere that reminds me of the filters on instagram, an implication that the magazine is in touch with technology, familiar with it and are very aware that their audience are too. They want to reach out to their audience with familiarity. They have used a warm colour palette, as to imitate positive emotions due to the nature of the article and how she has overcome many things. As Cosmo is predominantly a fashion magazine, fashion has inevitably been incorporated into this page in the form of Kelly's new style. They are conveying how she is now a fashion icon, and outfits that, effectively, they approve of. Thus, persuading the readers to go out and buy items of clothing that are similar to her own style, especially seeing as they have included the pricing of each outfit and where it is from. A family picture is there as a reminder that she comes from a very famous family and had to grow up in the spotlight, almost as to compensate for her drug use, giving a reason as to why she needed help. Columns, as a typical aspect of articles, are present to ensure the article does  not look like a daunting string of words, but rather easy to read, which would widen their audience, as people who, perhaps, are not particularly good at reading will not feel as intimidated by the text. There is a clear gap between each paragraph, through the use of headings, which breaks the text up. 

As I have decided upon a vintage theme for my own article, this particular article would probably not be appropriate int arms of style, as it is very fun and bold. I do, however, really enjoy the use of quotation marks and the way in which the producers of the text have sized them, so that is definitely an aspect I can think about incorporating into my own feature article. 

Cosmopolitan Contents Analysis

It is clear to see what the primary target audience for Cosmo is, due to the fact that whencetargeting audiences, stereotypes are used to widen the variety of readers. Rather than catering to individual women’s wants and needs, the general stereotype that all females like pink, fashion, makeup and sex has been applied to this page. And as the contents page only features those of white ethnicity, this is also the primary race targeted. The white female wearing the nude dress is a representation of these white females, or at the very least what they aspire to be. I have realize that a necessary factor to ensuring success within my own magazine would be to represent my target audience to an extent in order to attract the correct specified audience. The social grade of Cosmopolitan’s readers is A-C2, as it is classy enough for the likes of  an A and B grade social audience demographic, with their disposable income to spend on a fashion magazine. It ranges down to C2, as in a way, it gives this class something to aspire to.

Surprisingly, the magazines’ masthead has not been incorporated into the contents page as a title. This is quite uncommon in the magazine industry, as on the vast majority of contents pages you will find the masthead used within the cover. Instead of this, the lexis ‘December’ has been used. Not even ‘contents’, as the producers have presumed that their audience is far too intelligent and educated to need the obvious pointed out. ‘December’ is in a black font, contrasting harshly with a white background in order for it to stand above the rest of the text. It is simplistic, yet elegantly feminine; its curves almost imitating the way in which the female body moves. There is obvious reasoning behind the decision to incorporate a fancy, feminine font into the contents page as a sort of masthead, to appeal to the target audience. They need something that is going to represent them in the way in which they aspire to be portrayed: elegant and classy.

In terms of imagery, the magazine succeeds in fulfilling its purpose of attracting the correct target audience. The main image is stereotypically of a model, a perfect portrayal of the fashion world. I have noticed on social networking sites that young females, around the ages of 13-20, often place their hand upon their head in the manner of which the model is placing her hand, almost as to imitate models due to their desire and aspiration to be just like them. The long sleeves on the mid-shot are a portrayal of how it is winter, but suggest to the reader that although it might be freezing outside, they can still have fun partying, as nothing can stop them. In general, fashion photography is serious, and most targeted towards such a high demographic is full of elegance, as to portray their aspirations. The medium close-up of the male and female in bed has been incorporated to ensure that the audience do not think that they are solely about professionalism and money, but also about having a good time and a general optimistic outlook on life. It entices the readers into wanting to indulge themselves in the article, particularly in consideration of the fact that the most prominent audience is single women, at the median age of 31, where their sex lives are said to die down more. The pictures also connote how this is the stereotypical ideology concerning female views towards themselves; they wish to be like this, and think that if they buy the magazine, they can get an insight to how.  As the female is on top, pinning the male down, I believe that this image is a connotation of how the magazine wants females to be more powerful, and not allow men to control them. Jewelry, baubles and sex are also featured in the contents, almost as a statement made by the magazine to convey how they are not purely about fashion, but are bring forward so much more than this.  Each of the images are referred to an article, all have a number telling the audience which page to find them on, ensuring that the readers are able to swiftly find what they want from the magazine with ease and no difficulty.

The pictures from the feature article have not been included in the contents, which is a portrayal of how Cosmo is not solely about promoting their feature article, but would rather allow focus from the audience to spread across more than one aspect of the magazine, as these are just as important to them. It is almost standard for a magazine to incorporate some sort of imagery relating to the feature article on a contents page, so Cosmo have represented themselves as non-conformist. A lot of makeup imagery is on this page in order to demonstrate to the audience that by purchasing the magazine, they are able to easily take on the same aesthetics as the models. Fashion and beauty go hand in hand, and most fashion magazines do feature makeup, as makeup almost has a fashion of its own. The image of foundation is very similar in terms of colouring to the dress that the model is wearing in the picture beside it, linking the model and foundation together, further conveying to the audience how they can be just as beautiful as the model.

Typographically, the font and colour palette is successful in attracting and representing the specific target audience chosen to pitch this particular magazine at. They have ensured the text is suitable for the target audience and their interests; females interested in fashion are going to want something classy and stylish, hence the fancy typography for ‘December’, and standard black font that seems to be used in every fashion magazine for the majority of the writing. Capitals, such as ‘LIVE BIG & GO FOR IT’ shout out to the audience, grasping their attention for different sections. This is blue, and is a header, so stands above the majority of text and out to the reader. Through both choice of lexis and typography, ‘LOVE, SEX & SUCCESS’ stands out to the reader, who is stereotyped to take any opportunity to succeed in this economical crisis. It is in blue to ensure the readers see it above other features, this works especially well as the majority of text on the contents page is in black. The page numbers have been separated from the lexis through the pink colour to ensure they do not blend together.

Directly at the top of the page is ‘December’, ensuring this is the first piece of typography that the reader can see, as often eyes scan from the top to the bottom of the page, and the reader must immediately know what is going on with the page.  Though it is not direct in telling the audience that it is a contents page, it does not need to be, as ‘December’ itself signifies the intentions and purpose of the page, almost saying to the reader ‘this is what is in the December issue’. This is almost a mandatory feature that should be included, as the magazine must ensure that the readers understand where each page is and what they are about. Above this is ‘2012’, as it is a long-running magazine, so there are a lot of December issues, this just makes sure that the issues are not confused, especially for collectors. It is a lot smaller and in pink, which separates it from the black of ‘December’, ensuring both are easy to read. The picture of the shoe curves around the image of foundation, relating back to when I speculated about how the curves in the typography imitated the curves of a woman, linking a stereotypical woman’s aspirations to have a slender, hourglass figure; it almost subconsciously conveys to the reader that the magazine is able to assist them in their quest to find said figure. Under the masthead is the main image, the first aspect of the text that draws the audience in, and so it is vital that this is placed in such a way that the features surrounding will be seen next. It also connotes that the image represents the masthead and target audience, or what they aspire to be. The layout of the imagery is rather fun and bold, and they have clearly avoided being formal, which is clear to see as the imagery overlaps in an enjoyable manner. There is a description directly below each image to ensure that the audience knows which article and picture are related. Just above the image of the man and woman is a kiss, effectively linking the imagery, suggesting to the reader that their ‘lippy’ will assist them in getting sex. Columns have been incorporated as they are both a standard feature of magazines, and easy to navigate. This is what the audience are familiar with, so the readers recognise this feature, though it is laid out differently in different magazines. 

To conclude, I believe that this particular contents page is rather sophisticated, yet fun and bold. It is precisely what I want from a contents page, and I believe that this would be a good style model to base my own contents page around. I admire the use of headings, this is something I would love to do on my own page. Also, the imagery all seems to correlate in colours, allowing the season to shine through as a portrayal of their festivity. 

Cosmopolitan Cover Analysis

Though Cosmopolitan is not a regional magazine, I feel as though it is necessary to ensure that I have thoroughly analysed fashion magazines to ensure I know all that is necessary to produce a successful product of this genre myself. Cosmopolitan is a magazine that I actually purchase and enjoy, allowing familiarity with the product to guide this analysis. The purpose of the magazine cover is to portray women in an optimistic, uplifting manner; allowing an outlook full of power on females. In terms of the masthead, 'Cosmopolitan', they have been very clever in choosing a word of which connotes diversity, welcoming all races and a variety of different people into their audience. Though, they primarily target white women, they have ensured that any secondary audiences feel welcome; maximising potential audience, therefore money. This cover targets people of white origin, as the female used in a positive manner is white; this would not primarily attract people of other diversities, as they cannot relate to the cover star. The social grade is A-C2, as the audience need to have a disposable income to indulge in luxuries such as this magazine. The feature represents the target audience in a positive way, of which they are pleased with and feel as though  the magazine represents them correctly; therefore the features are able to attract the correct audience demographic. It is clear to see what the primary target audience for Cosmo is, due to the fact that whence targeting audiences, stereotypes are used to widen the variety of readers. Rather than catering to individual women’s wants and needs, the general stereotype that all females like pink, fashion, makeup and sex has been applied to this page. 

Usually, the masthead is located in the top 1/8 of the cover, but this is just over 1/7 of the page, presumably because it is quite a lengthy word, so they would not want to squash the title up. It does not make that much of difference, only it means that there is slightly less of a chance of the masthead actually being seen on shelves that are stacked with a lot of magazines, especially in newsagents/ newsstands, where often the masthead is the only thing that can be seen unless the magazine is at the front of the display. 

A Cosmopolitan is also a cocktail made with vodka, cranberry juice, an orange-flavored liqueur, and lime juice; often consumed by elegant ladies who are of a high class. An aspect that also suggests high class is the percentage of people who attended/graduated college (62.6%), so it is unlikely that these people would have jobs which are not high paid or do not bring a lot of class to their lifestyles. After researching and gathering information from the Cosmopolitan media kit, I discovered that the most prominent audience who purchased the magazine is of the age group of 18-34. This is quite a wide range of age, so I looked at the median age of the audience, and found that it is 31 years old, meaning that the magazine will predominantly target this age group whence in the process and creation of the magazine. 

The table above helps me to understand the reasoning for just how much sex is the primary topic for Cosmopolitan. They have taken advantage of the fact that the majority of their audience (approx 62%) are single or not involved with anyone. It is almost as though they are trying to ignite thoughts of sexual relationships in order for the audience to, perhaps, crave sex, therefore feel as though they need the latest advice to impress males; resulting in them purchasing the magazine. 'Love, sex, break-ups and bad behavior', clearly they have attempted to appeal to those of the audience who have had to deal with break-ups, and want them to make themselves feel better with 'bad behavior'.
The other 38% are married, which connotes how they might not be particularly active, and they seek advice on how to re-ingnite their sex lives.

The yellow dress has been used as mise-en-scene in order to portray the fashion choices and appearance of the people who enjoy this genre. Through this, a large number of the audience will see themselves in the magazine and what they desire, and so they will purchase it. The cover, in a way, mimics a sunset, as the colour palette is full of warm yellows and oranges, conveying the season to the reader and effectively getting them excited about it. Often with magazines that use the masthead to head the magazine like so, they will overlap the picture so it anchors the title, allowing attention to be focused on the subject of the magazine, as the magazine itself must already be quite well known to use this technique. Due to the fact that this magazine is respected and high up in the magazine industry, it can afford to splash out in terms of its feature article. Isla Fisher is the star vehicle in the article, very appropriate seeing as she is most well-known for playing the protagonist in 'Confessions of a Shopaholic,' a film predominantly about fashion and its role in the magazine industry. She is a fashion icon, and so the magazine would appeal to the audience who are looking for fashion to effectively copy. The image chosen for the cover is not the usual shot type that would be used, it is a mid-shot, whereas magazines commonly include medium-close-ups as to focus on the star vehicle. My presumption is that the producers not only wanted the focus on Isla, but wanted to focus on the dress, as it is a fashion magazine. Because she is hunched over there is some cleavage is visible. Mulvey's theory 'The Male Gaze' states that women in the media are sexualised, and only put there for the viewing pleasure of men.

Typical concerning layout, the main image of the female has nothing interfering with the face. This ensures that the readers know exactly who it is, and that the model can easily be viewed, rather than the face being covered by writing. The barcode is horizontal and magazines commonly have this feature located to the right; Cosmopolitan has conformed to this common convention. Text lines the side of her arm, again not interfering with the model too much. I noticed that the lexis 'You're beautiful' draws the eye of the viewer towards the models' curves, conveying to potential readers that if they purchase the magazine, this is what they could be. 

In conclusion, I feel as though this magazine cover would be a brilliant style model for my own magazine, as I believe that it contains features which would both be more than suitable to adapt and incorporate into my cover. Though I will obviously not be able to hire a real star vehicle, I could ensure my feature is more article-based rather than person-based. The elegance and happiness portrayed through Isla is something that I would like to imitate, as Bentley said, 'the creative process is the rearranging of the old and making of the new'.

Advertorial

After deciding upon taking on a somewhat tedious challenge, I discovered that Vogue has a whopping 263 adverts placed in its March 2013 issue. Aa a first impression, I believed that this seemed a little overdone, but after researching and figuring out the reasoning behind this, I gained understanding. Such prestigious magazines need a method of making big money if they want to produce the best possible outcome in each issue. In consideration of the fact that 150,000 people actively purchase the magazine each issue, and that it is priced at £3.99, the magazine makes approximately a mere £600,000 per issue through purchases. I say mere, but only mere in comparison to the amount of money it gains from advertorial. Now, as irritating as the adverts in Vogue are (and we can all admit to that), it makes sense for an overabundance to be incorporated into their magazine, for it is one of the most prominent ways to make money in this day and age.

As the vast majority of adverts in Vogue are one page, and this sis the most common advert seen in the magazine, I will be using this as the average. A one page advert is priced at $173,000, so 263 of these would make Vogue approximately a whopping $45.5 million every issue. This is a staggering amount of money, and shows that advertising really does play an important role in accumulating money in the corporate world.

The amount Vogue is able to make through advertising is 75x the amount of money they make through the likes of their audience purchasing the magazine, which means that is minuscule amount in comparison barely even affects their total. 

Synopsis of ideas

Initially, as I mentioned in an earlier post, I was going to portray stereotypes of Cornwall in my regional magazine though fashion; more specifically, the particular style that is similar to farmers/countryside wear. After looking at various locations, all extremely beautiful, where I could locate my photo shoot, I decided that it would be best to select a different 'theme' as to say, and take advantage of the beauty that Cornwall has to offer rather than just using a field, which can be found almost anywhere around the country. Whereas I would like to portray Cornwall in my regional magazine with places that are unique to the county. Also, this is not the particular type of fashion that I am interested in, therefore will not find the work enjoyable; it would be much better to focus on something that I am interested in, rather than not being able to find joy in my work.

In consideration of this, and through the observation of current trends, I have decided upon completing a vintage shoot to base my feature spread and cover for my magazine on. There is a lot of clothing in boutiques around Cornwall that are this style, so it will be really quite easy for me to source vintage fashion. Also, in the textiles department, I know that there are some dresses that could easily reflect this era. So, the clothing would be both original and suited to my shoot; if the clothing is original, the 

Primarily, I will focus on the vintage shoot. Although, I do want to produce more photographs for both the contents page and billboard advertisement. Rather than doing another shoot involving location, I would like to focus more on studio work, which I am able to do in the photography department, where they have multiple different backdrops for me to focus on. To do this, I will need to preplan another shoot, set up lighting and book models. A good idea, as the hair and beauty department are right next to our media class, would be to ask them to do each of my model's hair and makeup to ensure there is a professional aesthetic appeal to my photography.

An idea for the feature article would be to find different boutiques with style that coincide with vintage fashion, which would also be a good idea if I needed money to fund the magazine, as the boutiques could potentially spend money on advertisements that would get out to an audience who'd be interested in their fashion.

Legal Requirements

In terms of the legal requirements, when it comes down to the content which can and cannot be published, there are many differing 'rules' of the press, often which are avoided or completely rebelled against. It is important not to defy the law in this particular industry, and a good example of the consequences of breaking the law are prominent in the News of the World scandal. Here is an interesting article on the News of the World phone hack: http://www.guardian.co.uk/uk/2011/jul/04/milly-dowler-voicemail-hacked-news-of-world

One of the most ridiculously sidestepped around laws is the one in which states that you cannot lie. The statements must be researched and true, yet we as a nation hear an overabundance about how much gossip magazines do not adhere to this law, and how they fabricate stories in order to heighten sales, making their own product more interesting, therefore more appealing to their target audience.

There are two regulatory bodies that monitor the content of magazines: the PCC and the ASA. They both have different jobs when it comes down to what it is that they must each regulate. The PCC monitor whether the content that a magazine publishes is suitable for the particular audience it is targeting, as well as having set up particular codes and regulations that publishers and editors must follow themselves. One of the codes is 'accuracy', to ensure that all content in a magazine is as true as it can possibly be, as not to provide the audience with false information; the same rule applies to images as well. Another code is 'opportunity to reply'; the content must cover not one but both sides of the story, guaranteeing that both sides of a story are heard, rather than feeding information from one source to the readers, which would essentially give the audience an unfair opinion enforced by one side against another. They must also be open to add any 'replies' if their information is inaccurate. The final rule is 'privacy', so before publishing anything in magazines, the producers must first seek permission from any subjects involved, and also ensure that said content does not go against certain things that subjects may have asked not to be published. The ASA's role is to 'regulate the content of advertisements, sales promotions and direct marketing in the UK'. They do this through the investigation of any complaints made about adverts, sales promotions or direct marketing, and whether advertising adheres to its advertising standards codes. These codes specify that before distributing or submitting a marketing communication for publication, marketers must hold documentary evidence to prove all claims, whether direct or implied, that are capable of objective substantiation, and that no marketing communication should mislead, or be likely to mislead, by inaccuracy, ambiguity, exaggeration, omission or otherwise.


/Can't lie- statements must be researched and true- no misleading
No pornography
No racism
No phone tapping!



The ASA controls the adverts that are put in magazines to ensure they are fit for purpose and the target audience. 

Code of Practise-

All members of the press have a duty to maintain the highest professional standards. The Code, which includes this preamble and the public interest exceptions below, sets the benchmark for those ethical standards, protecting both the rights of the individual and the public's right to know. It is the cornerstone of the system of self-regulation to which the industry has made a binding commitment.

It is essential that an agreed code be honoured not only to the letter but in the full spirit. It should not be interpreted so narrowly as to compromise its commitment to respect the rights of the individual, nor so broadly that it constitutes an unnecessary interference with freedom of expression or prevents publication in the public interest.

It is the responsibility of editors and publishers to apply the Code to editorial material in both printed and online versions of publications. They should take care to ensure it is observed rigorously by all editorial staff and external contributors, including non-journalists, in printed and online versions of publications.

Editors should co-operate swiftly with the Press Complaints Commission in the resolution of complaints. Any publication judged to have breached the Code must publish the adjudication in full and with due prominence agreed by the Commission's Director, including headline reference to the PCC.

1	Accuracy
	i) The Press must take care not to publish inaccurate, misleading or distorted information, including pictures. ii) A significant inaccuracy, misleading statement or distortion once recognised must be corrected, promptly and with due prominence, and - where appropriate - an apology published. In cases involving the Commission, prominence should be agreed with the PCC in advance. iii) The Press, whilst free to be partisan, must distinguish clearly between comment, conjecture and fact. iv) A publication must report fairly and accurately the outcome of an action for defamation to which it has been a party, unless an agreed settlement states otherwise, or an agreed statement is published.
2	Opportunity to reply
	A fair opportunity for reply to inaccuracies must be given when reasonably called for.
3	*Privacy
	i) Everyone is entitled to respect for his or her private and family life, home, health and correspondence, including digital communications. ii) Editors will be expected to justify intrusions into any individual's private life without consent. Account will be taken of the complainant's own public disclosures of information. iii) It is unacceptable to photograph individuals in private places without their consent. Note - Private places are public or private property where there is a reasonable expectation of privacy.
4	*Harassment
	i) Journalists must not engage in intimidation, harassment or persistent pursuit. ii) They must not persist in questioning, telephoning, pursuing or photographing individuals once asked to desist; nor remain on their property when asked to leave and must not follow them. If requested, they must identify themselves and whom they represent. iii) Editors must ensure these principles are observed by those working for them and take care not to use non-compliant material from other sources.
5	Intrusion into grief or shock
	i) In cases involving personal grief or shock, enquiries and approaches must be made with sympathy and discretion and publication handled sensitively. This should not restrict the right to report legal proceedings, such as inquests. *ii) When reporting suicide, care should be taken to avoid excessive detail about the method used.
6	*Children
	i) Young people should be free to complete their time at school without unnecessary intrusion. ii) A child under 16 must not be interviewed or photographed on issues involving their own or another child’s welfare unless a custodial parent or similarly responsible adult consents. iii) Pupils must not be approached or photographed at school without the permission of the school authorities. iv) Minors must not be paid for material involving children’s welfare, nor parents or guardians for material about their children or wards, unless it is clearly in the child's interest. v) Editors must not use the fame, notoriety or position of a parent or guardian as sole justification for publishing details of a child’s private life.
7	*Children in sex cases
	1. The press must not, even if legally free to do so, identify children under 16 who are victims or witnesses in cases involving sex offences. 2. In any press report of a case involving a sexual offence against a child - i) The child must not be identified. ii) The adult may be identified. iii) The word "incest" must not be used where a child victim might be identified. iv) Care must be taken that nothing in the report implies the relationship between the accused and the child.
8	*Hospitals
	i) Journalists must identify themselves and obtain permission from a responsible executive before entering non-public areas of hospitals or similar institutions to pursue enquiries. ii) The restrictions on intruding into privacy are particularly relevant to enquiries about individuals in hospitals or similar institutions.
9	*Reporting of Crime
	(i) Relatives or friends of persons convicted or accused of crime should not generally be identified without their consent, unless they are genuinely relevant to the story. (ii) Particular regard should be paid to the potentially vulnerable position of children who witness, or are victims of, crime. This should not restrict the right to report legal proceedings.

10	*Clandestine devices and subterfuge
	i) The press must not seek to obtain or publish material acquired by using hidden cameras or clandestine listening devices; or by intercepting private or mobile telephone calls, messages or emails; or by the unauthorised removal of documents or photographs; or by accessing digitally-held private information without consent. ii) Engaging in misrepresentation or subterfuge, including by agents or intermediaries, can generally be justified only in the public interest and then only when the material cannot be obtained by other means.
11	Victims of sexual assault
	The press must not identify victims of sexual assault or publish material likely to contribute to such identification unless there is adequate justification and they are legally free to do so.
12	Discrimination
	i) The press must avoid prejudicial or pejorative reference to an individual's race, colour, religion, gender, sexual orientation or to any physical or mental illness or disability. ii) Details of an individual's race, colour, religion, sexual orientation, physical or mental illness or disability must be avoided unless genuinely relevant to the story.
13	Financial journalism
	i) Even where the law does not prohibit it, journalists must not use for their own profit financial information they receive in advance of its general publication, nor should they pass such information to others. ii) They must not write about shares or securities in whose performance they know that they or their close families have a significant financial interest without disclosing the interest to the editor or financial editor. iii) They must not buy or sell, either directly or through nominees or agents, shares or securities about which they have written recently or about which they intend to write in the near future.
14	Confidential sources
	Journalists have a moral obligation to protect confidential sources of information.
15	Witness payments in criminal trials
	i) No payment or offer of payment to a witness - or any person who may reasonably be expected to be called as a witness - should be made in any case once proceedings are active as defined by the Contempt of Court Act 1981. This prohibition lasts until the suspect has been freed unconditionally by police without charge or bail or the proceedings are otherwise discontinued; or has entered a guilty plea to the court; or, in the event of a not guilty plea, the court has announced its verdict. *ii) Where proceedings are not yet active but are likely and foreseeable, editors must not make or offer payment to any person who may reasonably be expected to be called as a witness, unless the information concerned ought demonstrably to be published in the public interest and there is an over-riding need to make or promise payment for this to be done; and all reasonable steps have been taken to ensure no financial dealings influence the evidence those witnesses give. In no circumstances should such payment be conditional on the outcome of a trial. *iii) Any payment or offer of payment made to a person later cited to give evidence in proceedings must be disclosed to the prosecution and defence. The witness must be advised of this requirement.
16	*Payment to criminals
	i) Payment or offers of payment for stories, pictures or information, which seek to exploit a particular crime or to glorify or glamorise crime in general, must not be made directly or via agents to convicted or confessed criminals or to their associates – who may include family, friends and colleagues. ii) Editors invoking the public interest to justify payment or offers would need to demonstrate that there was good reason to believe the public interest would be served. If, despite payment, no public interest emerged, then the material should not be published.
THE PUBLIC INTEREST There may be exceptions to the clauses marked * where they can be demonstrated to be in the public interest. 1. The public interest includes, but is not confined to: i) Detecting or exposing crime or serious impropriety. i i) Protecting public health and safety. iii) Preventing the public from being misled by an action or statement of an individual or organisation. 2. There is a public interest in freedom of expression itself. 3. Whenever the public interest is invoked, the PCC will require editors to demonstrate fully that they reasonably believed that publication, or journalistic activity undertaken with a view to publication, would be in the public interest and how, and with whom, that was established at the time. 4. The PCC will consider the extent to which material is already in the public domain, or will become so. 5. In cases involving children under 16, editors must demonstrate an exceptional public interest to over-ride the normally paramount interest of the child.

http://www.dailymail.co.uk/news/article-2240715/Leveson-Report-Investigative-journalists-breach-data-protection-rules-face-2-years-jail.html This article was interesting to read in regards to changes that are being made to ensure journalists can't use personal information which is an important issue since the phone hacking scandal. 

Graphics

As an aspiring Graphic Designer, hoping to go into the area of magazine design and layout, I feel as though it is one of the more important aspects when trying to make a magazine feel comfortable. Here is a video on youtube that helps me to gain a better understanding on design.