There is a significant amount of similarities and differences between each individual issue of NME magazine that help establish overall brand identity, and allow for the observation of symbiotic links within the brand – and these vast array of similarities and differences is exemplified in the three issues shown on the previous page. Firstly, it is necessary to note that the font of the masthead remains consistent in all issues of NME, retaining the heavy-bold ‘sans serif’ style that is also represented in the general typeface of the front cover, although the later issues of the magazine may simply use serif to appeal to its older target audience. The fact that this font is regularly consistent introduces the idea that the editors of the magazine wish to make the font instantly recognisable and therefore associable with the letters ‘NME’, so that every time an occasional/regular reader sees the font, they will subconsciously be reminded of the magazine and this will increase their chances of buying it. This also interlinks with establishing brand identity. In terms of this, the mode of address also remains rebellious but not too harsh, with its chosen pull quotes using casual swearing and coining phrases such as ‘It’s time for revolution’ and colloquialisms such as ‘Babyshambles go legit’. Subsequently, this mode of address assists in specifying the target audience as young and ‘trendy’, with focus on living life differently or at least maintaining the illusion of doing so, and this can be seen in all issues of NME.

Despite the recurrence of font in issues of NME, the colour scheme is entirely variable within each individual issue, as can be seen in the three shown above. The masthead itself is liable to change (although majoritively remaining red with a white outline) and the main cover line and various other sell lines are susceptible to change in almost every issue, with the general colour scheme of red and white having no effect upon the colours used. This therefore displays how NME strives to be different in each issue while simultaneously pleasing its loyal fanbase with the recurrence of brand identity in other forms, and it is this difference that is also present in the structural layout of the different issues. For example, the main sell line is completely different in each of the three issues shown, with shifts in positioning, colour and font, enforcing the idea that NME strives for independency in each issue and also wants to emulate the style of the artist on the front cover through the cover line. Furthermore, the amount of cover lines also stick to no rigid structure, with the far left issue having three on the left as opposed to the middle issue having some boxed off in the top right corner, and none on the sides. Consequently, this defies typical conventions of a music magazine and allows for the editors to maintain a sense of individuality in their styling of NME through giving the magazine an amateurish, ‘thrown-together’ aesthetic that will show the focus to be completely on the music itself as opposed to the presentation of it. Further variables include the inclusion of skylines, puffs, feature article photographs, and the footer at the bottom of the page.

In terms of the main image, the artist/band generally appear in a medium shot in a simplistic pose, with minimal extravagance and serious body language/expression (shown by the middle issue). It is not uncommon, however, to use body language/facial expression as a representative of personality or music, though NME always focuses on making sure it looks effortless as it wants to exemplify its artists as ‘cool’ and therefore non-posing and casual. Unlike magazines such as Kerrang, the stance is never intimidating or suggestive of anything

potentially offensive or innocent, also due to this reasoning. Moreover, the hair of male artists is generally long and ruffled, coinciding with the casual rock of the music being advocated, and clothing is mainly variable depending on the band/artist and the music they play. As seen in the issues above, the artists in the main image are usually central to the page and dominate the vast majority of it, and for this reason only well-known bands/artists are used on the front covers in order to ensure that the reader instantly recognises them and is prompted to buy it. In addition to this, the background used is always simplistic, consisting of a plain colour in order to emphasise contrasting texts, although relevant backgrounds can be used as can be seen in the Lana Del Rey issue, which shows a flag relevant to her nationality and indicates it plays a substantial part in her music. Anchorage text will always be seen to accompany the main cover line, adding context to whatever was stated and increasing the likelihood of purchase, and this is also shared in the three NME issues shown.