We decided that it would be best for our adverts to follow a dominant reading path, due to the simple nature of the adverts. The band name was placed in the top left corner in red font – so it would stand out from the white background and so it would be the first thing the consumer read – whilst the main image was centred – because it was the largest part of the design and the most iconic and therefore would be the most attention-grabbing element of our piece. Cameron added the reviews beneath this and the last feature to be placed in the advert was the band website – giving the consumer the option to go and find out more about the band, hence the reasoning for positioning it in the bottom right hand corner – so it is the last thing they read and therefore the thing that will remain freshest in their mind. Although the consumers’ viewing of the advert may be brief, because we have included bold colours and a unique and appealing design – which will also identify the genre of the music, as it is an individual, exclusive piece - they will be more likely to notice it.
Our digipak has a widespread, recognisable image, which has been manipulated to create a unique, slightly ironic image. The bold colours used in the piece also help our digipak to stand out from the crowd, and thus make our digipak more purchasable. We took a different approach to the Digipak than we did with the music video – create a slight tongue-in-cheek feel. I chose the images due to their link to the album title, which is unique to our piece, and then built the rest of the printwork – apart from the band photo – around this. This also creates a mischievous feel to the piece, which conforms to the dominant ideologies held about young male adolescents, because they are often associated with acts of rebellion, disobedience and tomfoolery. There is also presence of generic conventions in our digipak, as I placed a guitar – an iconic image associated with the indie/rock genre – next to the track listing on the back cover. The font used also links in with the ‘Emergency’ title and image of the man, as it is similar to fonts such as that for ‘Superman’. It is also similar to that used by The Pigeon Detectives in their album cover for ‘Up Guards and at ‘Em’. There is coherence within our printwork because both our digipak and advert use the same font and image, meaning that the album will be more recognisable to the consumer if they want to buy it. By using the same font throughout our digipak, booklet and advertisement there is consistency throughout our promotional material as each links together.
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| Our font |
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| Richard Dyer |
Richard Dyer set out a ‘stars theory’ regarding the influence of stars across different medium. He suggest in this that these stars are semi-mythological sets of meanings constructed around performers in order to market themselves to a large and loyal audience. He says that fundamentally, the star image is incoherent, incomplete and open, which is based on two key paradoxes:
· The star must be simultaneously ordinary and extraordinary for the consumer
· The star must be simultaneously present and absent for the consumer
Both of these paradoxes are present within both our music video and subsidiary media, thus linking the two together; in our printwork, the band are seen to be absent because in the poster, booklet and majority of the digipak there is no presence of the band, however they are also present because the consumer is buying into their product and the band name is still visible. The band are seen to be ordinary in their first person mode of address by breaking the fourth wall of cinema, yet at the same time they are extraordinary as they are a band starring in their own music video. The combination of these paradoxes ensures that the consumer is left striving to complete the band’s image, meaning that they will continue to buy into the band’s products due to the incoherent incompletion of the band image despite the promise of conclusion through the music video performance.
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