Magazine+Cover

1)http://www.time.com/time/covers/0,16641,1101801222,00.html Dec. 22, 1980

http://www.time.com/time/covers/0,16641,1101560514,00.html May 14, 1956

2)Both of the magazine covers brings two really important people, that were very influent in some how.

3)In the first one, the magazine cover brings John Lennon, the most important musician at the time. The main story of tthat cover, its how music "died" after the death of the legend John Lennon. He was very influent, and almost considered an "God". He and his band partners made one huge change in the music story, the irreverent Beatles. The second one, its Marilyn Monroe on the cover, she was considered the most beautiful, powerful and sexy women. Both of them were influent and important, and until now, they are remembered.

4)The design principle that are evident its Up-close. We can see the details of Lennon`s and Monroe`s face.

5)In the mid-1700s, the earliest magazines did not always have what we think of as covers. Many dedicated the opening page to a title and table of contents. When early magazines used covers, they tended to model them after the covers of books -- providing only a title and publication data. There were no descriptive words indicating what would be found inside the magazine.

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7) Cover lines began to appear within such generic covers in the later 1800s.The popular //Peterson's// women's magazine of 1872 uses a completely generic cover richly decorated with the leafy symmetry of Victorian embellishments, with a lovely assemblage of drawings at the bottom symbolizing the various roles of woman in the family.The simplest method for combining pictures with cover lines is to keep them in separate areas of the covers, a solution that has proved effective for more than a hundred years. From around 1890 to 1920, many magazines used highly segmented covers: A box contained the title, another box contained the picture, a third box contained cover lines or other publication data. Keeping text and pictures separate simplifies the printing proces and it eliminates the difficulties that can arise from printing type over a picture.

8)T he poster cover in a slightly looser way, to include covers on which the logo intrudes upon the art, and covers that, in addition to the cover art, contain a small cover line announcing the theme, or even an unobtrusive group of cover lines that are vastly overshadowed by the art. And art it is; most of these covers consist of gorgeous illustrations or captivating photographs.J ohnson and Prijatel define the poster cover as one in which "there are no cover lines, or themes announced, and the image generally is not covered by the logo... Most poster covers between 1890 and 1940 didn't even relate to a story inside the magazine. Rather the poster cover depicted aseason or conveyed a general mood".

9)When we look again at the combination of the photograph and the content of the cover lines, we can see that art and words combine to speak to the reader. Overall, the magazine promises readers specific, effective help with their lives. But it also speaks on a more personal, psychological level: The cover says, "We understand you. We appreciate what you are going through. We know who you are." Even more specifically, the cover says, //"We see you."// Taken as a whole, the cover communicates a warm understanding of its readers and clearly broadcasts its role in knowing, appreciating, and helping with their lives.For our purposes, the key to this cover (and the trend it represents), is the way it manages to place so many words around the picture. By my count, the cover contains 80 words in cover lines, not counting the logo and publication data. This is an amazing amount of text for a cover -- and even more amazing is the way the cover and the words form a harmonious and effective whole.

10)OUTSIDE THE BOX: The simplest method for combining pictures with cover lines is to keep them in separate areas of the covers, a solution that has proved effective for more than a hundred years. From around 1890 to 1920, many magazines used highly segmented covers: A box contained the title, another box contained the picture, a third box contained cover lines or other publication data. Keeping text and pictures separate simplifies the printing process and it eliminates the difficulties that can arise from printing type over a picture.

INSIDE THE BOX: Printers faced difficulties in placing text on top of an illustration, unless they made a separate run through the press after the first run was dry. To get around this, knockouts were used to create boxes inside an illustration, into which type could be placed//.//

COLUMNS: Another solution, which has appeared in many forms over the decades, is to create a colored vertical column for cover lines alone.//Esquire// used this approach during the '30s and '40s, as did this 1934 issue of the venerable fashion magazine, //Delineator.// Magazines have used considerable ingenuity in creating a column on their covers; on the 1921 //Designer,// a curtain is lifted to reveal a dark backstage, onto which white type appears. //Pep!// a risque magazine from 1929, creates a red cover column by the simple expedient of cutting a tall, narrow photograph into the red of the cover, leaving the rest for the title and cover lines.Any magazine that used cover lines could adopt the text-column approach for a single issue now and then, as //Good Housekeeping//did in February of 1933, in a variation its usual poster covers featuring cute drawings of children.

ZONES: Many magazines adopted a recurring cover format that regularly featured a column of cover lines. //The Commentator// from 1937 shows a cover combination still widely used today -- logo, picture, and cover lines, each in a separate, horizontal zone on the cover. Early magazines tended to place these zones into separate boxes, but later designers eliminated many of the confining and decorative lines on covers--though this example retains two.

BANNERS AND CORNERS: Banners seem to belong to attention-grabbing "loud" covers, and have been used little, or in restrained ways, by successful, mainstream publications. An example of restrained use appears in the Sept. 1952 //Life,// with Hemingway's "Old Man and the Sea" in it.

UNPLANNED AND PLANNED SPACES: It is useful to distinguish several ways of placing text inside a cover picture. In the simplest approach, text might be described as being fitted into spaces that seem almost accidentally left blank by the illustrator. On this //Physical Culture// from 1916, the cover lines seem to be squeezed into awkward spaces around the cover model. As early as this 1900 //Saturday Evening Post,// magazine designers experimented with ways of combining pictures with cover lines. This unusual //Post//cover modified a billboard in the back of a crowd scene to create a space for its cover lines.Editors were not bashful about designing illustrations that bestowed a special visual power on certain open spaces--so that cover lines could be placed into those spaces.Many, many illustrations created spaces especially for the display of cover lines, on elements inside the illustrations--such as walls, sails, columns, doorways, open windows, and other uniformly colored spaces against which type could be placed.