Below is a cover of the New York Times magazine by an illustrator Christoph Niemann. I’d seen this cover before, but came to appreciate it even more after watching a documentary with a segment highlighting Christoph’s work, Abstract: The Art of Design.
I was pulled to this cover by the powerful figure of a giant fried egg on the pink background. The extreme scale and perspective make the cover feel dynamic and fun to look at. The small detailed figure on the bottom gives you a reason to look more than once.
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While the typical New York Times Magazine (NYT Mag) tends to have covers dominated by a single graphic or photo, this cover has even less text than usual.
The NYT Mag logotype is a custom lettered feature that usually provides consistency between issues, but is barely visible on this cover. It is mostly covered by a giant fried egg.
The only sets of full text are small strings with the issue name, feature article title, and date. The font used is Theinhardt.
The placement of the text is used to emphasize the prominence of the giant fried egg by deferring to either its layer height or geometry. The article title follows the curve of the egg’s edge. The header is layered under the egg.
Color and layout are closely intertwined in this piece as it made up of a limited number of solid color shapes and a limited palette of 5 colors. There are no gradients or lines.
The giant egg is made simply with two, solid color circles. The yellow of the yolk pops in contract with the solid, bright pink background.
The small figure on the bottom balances the brutal simplicity of the egg by having the most complexity in terms of detail, color count, shape complexity packed in a figure much smaller than the egg.
Rather than a cartesian grid orientation, the layout has a single axis with a top to bottom hierarchy and directional flow.
Objects closer to the top of the page are:
- implied to be higher in space.
- use simpler shapes
- have fewer colors
Placing the fried egg off-edge emphasizes the vertical symmetry by removing its horizontal symmetry and also emphasizes that it is the top layer.
The strong vertical symmetry is softened by the asymmetric placement of the small title texts.