Microsoft Word - Azi et al pdf

Vol. 5(7), pp. 72-77, August, 2013

DOI: 10.5897/JMCS13.0355

http://www.academicjournals.org/JMCS

Journal of Media and Communication Studies

Review

Use of photo-manipulation techniques in enhancing

magazine cover portraiture: Lessons for journalistic

graphics in Nigeria

J. I. Azi, S. U. Dakyes and S. O. Ogunwole

Department of Industrial Design, Ahmadu Bell University, Zaria-Nigeria.

Accepted 13 August, 2013

Evidence of the information age includes the flexibility, availability, accessibility and affordability of

information, consequently expounding the frontiers of Graphic Design as well as all the tools of its

practice. It is noted that publishing is one of such areas benefiting from digital transformation. Attempt

is being made in this article to highlight the role of a few photo-manipulation in developing a standard

magazine front cover, from the technological to the creative points-of-view. A critical assessment of

some prominent photo-manipulation tasks and their aesthetic, functional and other far reaching

implications are carried out. The essence being to elicit fundamental lessons Nigerian journalistic

graphic designers can learn, especially with a view towards enhancing their professional standing

(technically and ethically) and advancing the attainment of the information technology age.

Key words: Graphic design, photo-manipulation, magazine cover, journalistic graphics, Nigeria

INTRODUCTION

It cannot be denied that almost all facets of human

endeavor today have been affected by information

technology. Indices of the advent of the information age

include the dramatic enhancement of the capacity of

media in all ramifications. Research reveals that the

flexibility, availability, accessibility and affordability of

information; are among key manifestations of this

dominance, occuring through the convergence of diverse

dissemination tools and channels in the digital revolution.

This offers a unique platform for expanding the capacity

of traditional media like: TV, cinema, newspaper,

magazine, telephone and the emerging new media (the

internet, mobile telephony and interactive satellite

broadcasting). Publishing is the umbrella terminology

referring to the production of the digital contents used by

media such as audio (music), audio-visual (movies) or

visual (visual effects, screen saver etc.). According to

The Free Dictionary (2012), publishing entails preparing

and issuing (printed material) for public distribution or

sale. The outcome of which is posters, books, maga-

zines, brochures, newspapers or advertisement com-

mercials, movies, jingles and special effects.

Publishing is carried out by a team of technicians

ranging from writers, sound engineers, computer

programmers, lithographers, cameramen, editors and

graphic designers, information technologists, photo-

graphers, social psychologists, printers and marketers.

Interestingly, advances in hardware and software

technologies have in recent years drastically transformed

the methods and materials of digital media contents

design, production and dissemination (Azi, 1999).

Such advances have not only enhanced productivity (in

terms of output), but also the flexibility of information

management to all stakeholders (technicians). This is

especially relevant to the graphic designers whose

traditional roles of typesetting, page layout (manual cut-

and-paste), plate making, printing and finishing (binding,

trimming and packaging) have been transformed with

*Corresponding author. E-mail: azijoe86a2000@yahoo.com.

digital automation.

Bear (2012) affirms that before the invention of desktop

publishing (DTP) software the tasks involved in desktop

publishing were done manually, however the software

specifically allow for combining and rearranging text and

images and creating digital files. Most of these software

packages that come with inbuilt predesigned templates

facilitate and enhance the creation of page layouts.

Further cutting edge technologies have evolved that push

the publishing frontiers higher with the capacities to

digitally colour separate, print, trim, collate and finish

(packaging) in one process.

For instance, according to Trukmann’s (2012) the

Xerox 4 Colour iGen digital printing machine which is now

available for businesses of any size, offers a fast and

affordable short run digital printing process. Creating

superior quality, professionally printed and finished

pieces such as brochures, newsletters, catalogues,

handouts to name a few. ADS Worldwide Ltd. (2012)

ascertains that The Xerox iGen press technology does

not use plates or film and requires little set-up time, thus

making it very cost-effective for short production runs and

products requiring variable data.

It is noteworthy that when such technologies combine

with the expressive capacity of human creative ingenuity,

for instance in magazine design, be it at the cover or

inner layouts, the outcome is exquisite. Of course,

designing a magazine layout generally is undoubtedly a

daunting task. Cover design requires even much more, it

is part of a long process, creativity and skills in

typography, guides, visual communication, aesthetics,

principles and elements of design, logic and so on

(Vasile, 2012). Also, according to Insua (2012) a

designer’s basic skill should be his/her capacity to

absorb, understand and recreate the information given to

be expressed into a clear, concise and effective visual

solution, capable of providing the viewer with a fresh new

perspective. Wu (2009) argues that “the art of graphic

design is continually evolving with society, fashion, tech-

nology and politics.” Adding also, “styles and colors are

inspired by everything around the environment and in

turn snapshots can be seen of such evolving culture in

the designs of the recent past.”

The goal of this article therefore is to examine the pro-

cesses involved in magazine cover design, with specific

reference to the designer’s capacity to edit the main

image to fit specific aesthetic and utilitarian challenges.

The essence is towards solving an impending visual

challenge and meeting broader functional requirements

of a given publication. This is to be carried out through

different photo-manipulation processes, from resizing and

repositioning of a photograph to adjusting its brightness,

contrast and colour balance filters. It is also applicable in

photo-editing a damaged picture or integrating non-

existent elements, towards enriching the visual metaphor

and storytelling capacities of the image.

This is accomplished using software packages like:

Azi et al. 73

Adobe Photoshop, CorelDraw and InDesign (Azi 2012).

Of course, it is in consideration of these digital tech-

nology advances that Creative Skillset (2012b) argues

“publishing is going through a sustained period of change

and development.” Against which backdrop, this article

advocates for the enhancement of the creative craft-

smanship of publishing in Nigeria to meet global stan-

dards, this is especial relevant with regards to magazine

publication. Given the current explosion in magazine

publication in Nigeria, it is noted that dozens of special

interest titles have been added to the traditional

Newswatch, Tell, Newsweek magazines, like: Arise, Flair,

Mode, New African Woman, Y!, True Love, FAB, Pop

Africana, Elan etc (Plate 1 (a), (b), (c)). For which key

stakeholders include: graphic designers, artists, journa-

lists, government, creative writers and printers.

PARTS OF A MAGAZINE FRONT COVER

Key parts of a magazine cover design include: masthead

(also called: title, logotype, logo or nameplate); dateline;

main image (photograph); model credit; cover lines, main

cover line; left third; bar code and selling line (see Plates

1 and 2 below). According to Quinn (2012b) however

over the years the design structure of magazine cover

might have been tweaked to exploit new printing

techniques; that is switched from full face to a body shot;

used illustration rather than photography; moved the

target readership age up or down; or simply freshened

things up. Characteristically, magazines are periodicals,

hence published in regular schedule. They contain variety

of articles and are usually financed by advertising,

purchase price and subscriptions. Magazine have been

good sources of information and entertainment, for

instance a fashion magazine, art magazine, design

magazine, cookery magazine, car magazine, health

magazine, product magazine, sports magazine, computer

magazine and many more (Acebedo, 2012).

However, contrary to the saying you cannot read a

book by its cover, magazine designers strive to make

sale through offering a promising cover, by attracting

reader’s attention using the most skillful portrayal of the

summary of key inner contents on the cover page. Insua

(2012) argues that magazine covers not only offer

information about what is inside a particular issue, they

also provide significant cultural cues about social,

political, economic and cultural trends. With these

significant functions in mind, the need cannot be over-

emphasized for graphic designers to produce befitting

magazine cover pages with adequately captivating visual

imagery and complementary textual contents. Care

however must be taken by the designers, not to mislead

the beholder with forged concepts, unnecessary exag-

gerations or extreme unnatural fantasies. Capabilities

and liberties availed to the artists and designers of

magazine covers.

74 J. Media Commun. Stud.

DESIGNING A GOOD MAGAZINE FRONT COVER

According to Berg (2012), “magazine publishers, editors

and circulation directors know the importance of the

cover image as both a newsstand impulse buy and as a

brand.” Also, that “80% of consumer magazines’ news-

stand sales are determined by what is shown on the

cover, a fact that can mean the difference between a

magazine’s success and failure over time.” The cover

image and design reinforce the brand, as an important

identification factor because the average reader spends

only three to five seconds scanning a magazine cover

before deciding whether or not to buy that issue.

Morla (2010) argues that although in magazine cover

design, words are as important as images, however

images can be more powerful than words. Although,

Reed (2011) alluded to the fact that there is no secret

success formula to designing a magazine cover, however

submits the following as elements to look out for when

creating covers:

(i) Clever, provocative, fun

(ii) Simple

(iii) Edgy content

(iv) Compelling cover lines

(v) Bold visuals

In fact, a good designer must surprise as well as inform a

beholder. Hence, to make a magazine remarkable artistic

and marketable, magazine cover designs deserve a

closer study. This challenge is even more critical for the

developing world like Africa, where the practice of

journalistic publishing is still far from reaching the peak of

its development. Morcos (1999) observed that most

publications have a small readership and fewer advertise-

ments, hence are strapped financially; this makes it

difficult to keep up with changing technology. Vasile

(2012) asserts the importance of consistency in

magazine cover design, not only from one page to

another, but also from one edition to the next one. Adding

that all the big brands such as: Cosmopolitan, FHM,

Reader’s Digest, Men’s Health or Sports Illustrated, have

a style that have lasted a long time (see magazine cover

samples below).

Of course, changing design concepts too often will not

help in building a strong visual identity. It is noted that

magazine front cover page structure can either be

designed mainly as textual, pictorial (using human,

product or abstract images) or a combination of texts and

pictures (Plates 5 and 6). Consider the versatility and

dynamics of the magazine front cover design samples

presented on Plates 3 to 5 and their different

characteristics as appropriate examples that showcase

these structures. Quinn (2012a) affirms in the book:

Secrets of Cover Design 3: Some Finishing Touches that

magazine front covers have used the main elements of

image and text in terms of words, pictures (human full

body or close-up facial posture) or a combination of

words and pictures.

One common fact in all of these design compositions is

that, they were all carefully crafted using different photo-

manipulation techniques and complementary computer

graphic software packages.

PHOTO-MANIPULATION PROCEDURES

In digital editing, photographs are usually taken with a

digital camera and input directly into a computer, how-

ever transparencies, negatives or printed photographs

may also be digitized via a scanner. Images may also be

obtained from stock photography databases. With the

advent of personal computers, graphics tablets, scanners

and digital cameras; the techniques of image editing have

been transformed beyond the traditional darkroom

procedures onto a handful of hi-tech devices and

manipulation skills. Photo manipulation is often much

more explicit than subtle alterations to color balance or

contrast this may involve overlaying a head onto a

different body, changing the colour of a shirt or even

enhancing the textual feeling of an image.

Of course, the technical procedure for photo-

manipulation span from being a fun seeking activity to a

stunning exhibition of intense artistic mastery. During

which processes, image editing software are used to

apply effects on an image until the desired result is achie-

ved, such an image may have little or no resemblance to

the original photograph (or photographs in the case of

compositing) from which it originated (Ask Define, 2012).

THE ROLE OF PHOTO-MANIPULATION IN MAGAZINE

COVER DESIGN

In publishing a book, magazine, brochure, newspaper,

pamphlet or leaflet, relevant images are used to com-

plement inner textual contents. However, seldom do

pictures exist to fit exact dimensions and purposes for the

proposed published items, for instance, most times it is

observed, design spaces allotted for photographic

images and other complementary elements may either be

too large or too small. Hence, requiring a form of

manipulation or editing so as to fit design specifications of

such a publication. Also, the quality of the image may

require some form of retouching in order to make it

appropriate for the specific purpose it is meant for.

According to Lim (2012) image editing encompasses

the processes of altering images. Employing photo-

manipulation or photo-editing techniques empowers the

designer with the capacity to reshape a photographic

image to fit specific needs like newspaper, magazine or

web publication at a point in time. Photo manipulation is

one of the most creative art forms to come out of the

digital age (Outlaw, 2011). According to Grant (2012)

photo manipulation is an ever evolving collaboration

between photography and graphic design, combining

certain elements to create a unique image that can

convince even the most experienced set of eyes and re-

quiring very creative set of skills. Of course, manipulation

of a photograph gives a realistic view of an unreal

posture, which offers designers the tool to be able to

express their inner creative skills.

Technically, raster graphics editor is used as primary

tool to edit a digital image through processes that include:

manipulating, enhancing, transforming, applying effects

and filters and file formats converting. Image editing has

become a common activity that everyone is engaged in,

including non-professional designers; this is due to the

technological advancement that has place variety of

amateur digital cameras and DeskJet printers on creative

and curious every tables. Also, a lot of free software

programmes can be downloaded online. All of which

developments make the task of editing family or personal

pictures no longer a difficult nut to crack. This

development is one of the most significant benefits of the

digital age; its capacity to make for ample availability,

affordability and flexibility of information.

It is important to state however that irrespective of this

opportunity availed by digital technology; the quest for

competent designers who would handle high-end

professional photo-manipulation challenges still remains

unfulfilled. Of course, whether the need is to simply crop

a photograph or more professionally retouch a damaged

part or even altering certain components to meet a set

goal the need for exceptional creative ability cannot be

overlooked. As Gralla (2010) puts it “sometimes your

pictures turn out less than perfect and you have to adjust

their color, remove red-eye or alter the dimensions, photo

editors can do all of those things and more.” Adding that

“even if you are a professional photographer, your

pictures still could use the occasional touch-up and

certainly software exist that are up to the task. In all, it is

needless to overstress the significance of technical com-

petence digitally and creatively, especially in accom-

plishing design reputability in magazine publications.

Dozens of photo-manipulation software programmes

exist for all requirements and competency levels. These

include: Picasa, Opera, Nero, Photoscape, CorelDraw,

HP Photosmart Essential, Adobe Photoshop/Illustrator,

Free Image Editor, ACDSee, Ulead PhotoImpact,

EPSON Easy Photo Print, jetAudio, Neroo Multimedia

Suite, Photo! Editor, Phantasmagoria, InDesign, Image

Analyzer, Artweaver, Active Pixels, Evan’s Image Editor

and MAGIX Xtreme Photo Designer to mention a few

(Plate 7).

Gube (2009) conducted a survey of 150 respondents

via the website ‘Six Revisions’ in a quest to know the

‘best image editing software’ currently in the market and

found the top 5 to be: Photoshop, GNU Image

Manipulation Programme (GIMP), Fireworks, Inkscape

Azi et al. 75

and Pixelmator.

SELECTED PHOTO-MANIPULATION DESIGNS

Over the years dozens of designers have been involved

in the art of photo-manipulation, creating visually stunning

editorially effective magazines covers. It is noteworthy

however, while some of these creative works become

award-winning master pieces, others turn out as

controversial. For instance, The American Society of

Magazine Editors announced the winners of the best

magazine cover design as The October 3, 2011 issue of

New York Magazine - entitled “Is She Just Too Old for

This?” Magazine editors plucked it from a group of thirty

finalists in various categories (The Huffington Post, 2012;

Miller, 2011). See Plate 8 (a, b) (below) entitled “is she

just too old for this?” and “are you mom enough?”

Some of the best contemporary photo-manipulation

artists and designers include: Karol Kolodziski, Christohe

Huet, Jill Greenberg, Clive Biley, Koen Denmuynck,

Jonathan Foerster, Craig Shields, Justin Maller, Chris

Haines, Jennifer Farley, Cristiano Siqueira, Alberto

Seveso, Jerico Santander, Eduardo Rodrigues, David

Waters to mention a few.

LESSONS FOR JOURNALISTIC GRAPHIC

DESIGNERS IN NIGERIA

Journalistic graphics designers are involved in the

appropriate selection, manipulation and use of graphic

images to enhance information present for publications.

These skills often require the use of photographic and

textual images. Hence, in addition to writing a successful

journalist report, the graphic journalist must be visually

literate and creative. The essence is in order to be able to

appropriately apply visual images and translate visual

languages for a magazine publication. It is fundamental

that as social engineers of public information, journalists

should keep abreast with the knowledge of creativity,

visual communication and graphic design principles and

their application to publishing.

Stovall (n.d.) argues that purpose and content should be

the chief considerations in the design of a graphic work,

not the ability of a computer programme to design a fancy

or pleasing picture; design should always give way to

function. Accurate presentation of information is the chief

goal of a graphic journalist. In fact, just as good

journalistic writing often takes the simplest form possible,

so also should good graphics be simple (Azi, 1999).

Against which backdrop, Nigerian magazine journalists

should note that although photo-manipulation is a

desirable graphic tool for resizing, editing, repositioning of

magazine cover photographic or other images, care must

be taken not to use the tool for unethical practices.

It is advisable that extreme illogical and unnecessary

76 J. Media Commun. Stud.

exaggerations must be avoided, especially if doing so

would deform the originality of the image or become

insignificant. Of course, while some of such controversies

may have positive effects on the designer and or the

company responsible for the publication, others may

have very far reaching negative consequences. Of

course, controversial publications may or may not affect

the designers and sponsors alone, but can even trigger

local or international social unrest.

CONCLUSION

Photo-manipulation is a development whose advent

dates back to traditional darkroom as well as lithographic

processes however digital technology advances are

dramatically transforming its development. The outcome

would forever affect the outlook of magazine publications

remarkably. This advancement the Nigerian journalistic

graphic designers can carefully and creatively take

advantage of, in repositioning their practice and business

in a digital age. It is noted that while on the one hand,

photo-manipulation can be a positive design tool for

visual accentuation, however care must be taken not to

misuse these craft towards falsehood, irrelevant

exaggerations or triggering unnecessary controversies.

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