Our Favorite Magazine Covers of 2018 (So Far) – Folio:





As July 4th arrives every year, it brings with it many traditions – cheap beer, grilled hot dogs, and near-illegal fireworks, to name a few – but it also provides the opportunity to mid-way to reflect on just what has happened in the past six months. And there is perhaps no visual aid that more faithfully captures the emotion of our times than a well-executed magazine cover.

As we have done in the past, the Folio: The team leaned on several of our brilliant friends in the design community to share their favorite magazine covers from the past six months and tell us what was so special about them.

Click on one of the covers below for a full size view.


The New York Times Magazine
June 6, 2018
Creative Director: Gail Bichler
Editor-in-chief: Jake Silverstein

I’m not sure if “you get the magazine covers you deserve” is a saying, but I use it for that. Nothing equals the pleasure of seeing these simple but beautiful blankets, every 24.

Visually stunning, heart-stirring gems. It could have so easily tipped over to pretension, but the photography, typography, and composition are perfect. Thank you for cheering me up, NYTM.

– Chris Deacon, Creative Director, Playboy


New York trump cover

New York magazine
April 2, 2018
Design Director: Tom Alberty
Publisher: Adam Moss

Does it get better than that?

Yes, chances are you have to be an enemy to really appreciate this cover, but this one gets to the heart of the matter with a simple Photoshop job. This is the essential and only the essential.

This cover is subversive. And the visual storytelling layering is perfection. The cover lines are not even necessary but they have been placed with care and restraint. There was no need to shout the obvious.

– Matt Strelecki, Creative Director, Meredith Agrimedia

PrattEWWeekly entertainment
March 8, 2018
Creative Director: Tim Leong
Editor-in-Chief: Henry Goldblatt

This blanket caught my eye as soon as I saw GE the Instagram post from Creative Director (now Editor-in-Chief) Tim Leong. Not because it was “The Avengers”, but by the sheer ambition of the project. I love the idea of ​​a collection: collect all the parts and put the whole thing together. It took me back to opening a pack of Marvel Trading Cards with my siblings in the ’90s and stuffing them into the clear-sleeved sheets of our binders.

Beyond my personal nostalgia, what immediately impressed me was the amount of planning and editorial foresight that had to be invested in a project of this scale, which according to the same Instagram post, lasted almost a year. Not only do the covers come together into one cohesive visual with scale and drama, but each of the 15 covers is equally successful as a stand-alone. I love the creativity that is happening at GE, and even more impressive considering it’s a weekly. The cover is a good reminder not only to push the design, but also how we create excitement and a unique experience for our audience.

– Lesley Palmer, Artistic Director, AARP The Magazine

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ESPN The Magazine
February 5, 2018
Creative Director: Chin Wang
Editor-in-Chief: Alison Overholt

A symbol of the rights of workers and citizens throughout the twentieth century, the raised fist has appeared on countless posters. He even has an iconic sporting connection among athletes, Tommie Smith and John Carlos, on the podium at the 1968 Olympics. ESPNThe cover represents the confluence of African-American athletes and our current political climate. As with all great magazine cover designs, this is a dramatic and eye-catching poster for the ESPN brand — stand out from the crowd whether it’s oversized print or scrolling through an Instagram feed. The limited color palette is both dramatic and conceptual, hinting at the racial divide at play here.

The key to this cover, however, is Jeff Rogers’ handwriting. With the rawness and energy of punk zines and street art, it expresses the urgency and power of the cover story – it even encompasses the ESPN logo. The energetic lines emanating from the distressed image of the fist convey power but add warmth and humanism. These pictorial features were skillfully employed for the same reasons on formal athletic portraits in the issue as well. You can feel the hand of the artist behind the painted lettering – it is not a font.

Like the best ESPN covers was to push the boundaries in both subject matter and execution.

– Dave McKenna, artistic director, 5280


March 2018 Cover-Women 2

March 2018 Cover-Men 2Gasoline
March, 2018
Creative Director: Ronda Thompson
Editor-in-chief: Vanessa DeLucca

My favorite blanket this year (at least so far) was the Gasoline Split-run newsstand edition of March 2018 before the film “Black Panther” (Gasoline did a solo cover of “Black Panther” star Chadwick Boseman for subscribers). Everything about this pair of covers was awesome: the intimate and iconic photography (by Denis Leupold), the simple yet rich style (by Ade Samuel) and the neat typography. Artistic Director Ronda Thompson and the Gasoline The team produced a masterful visual treat rich in power, elegance and style.

Dividing the cast into groups of men and women was a brilliant decision, which not only highlighted an important aspect of the film, but gave some well-deserved prominence to some of the actors, especially Danai Gurira and Letitia Wright, that could have been exceeded. or simply omitted – from a larger casting photograph. The overall black, white, silver and gold color scheme enhances the regal feeling of the images.

These are great blankets that seem to connect with the Gasoline audience at several levels. Gasoline seems to be hitting a big leap with its covers lately, and is really rocking it, creating celebrity covers that combine the allure of the newsstand with the power of social media.

– Robert Newman, Creative Director, This Old House

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The New York Times Magazine
December 17, 2017
Creative Director: Gail Bichler
Editor-in-chief: Jake Silverstein

On the morning of December 17th I ran to the nearest Starbucks, I caught The New York Times, cashed in and, like an excited five-year-old rummaging through a cereal box, pulled and tossed sections of the newspaper until a blood-red “S” appeared. Better. Price. Never!

I love the simplicity and boldness of this cover. It’s empowering, relatable, and a statement piece that will be built into the story, for sure.

The design is timely, timeless and something I would like to frame to pass on to future female generations in my family.

– Taylor Le, Creative Director, Pacific Standard


vanity-fair-cover-hollywood-reese-witherspoon-910232

Vanity Fair
February, 2018
Issue Editor: Graydon Carter
Creative Director: Chris Dixon

There are times when a magazine bECOMES history, rather than the beautiful wallpaper in the background of the Netflix series of our lives. The moment someone—do not one of the people who witnessed and signed the cover – noticed that Reese Witherspoon may have had an extra leg, and Oprah for Of course had three hands, was one of those moments. The problem was not that a retoucher made a mistake and no one timed it. This is because readers already knew that magazines edit regularly and often to excess. It just illustrated that sometimes we do it in a fun way.

I have chosen Vanity FairThis is a very slightly infamous cover as it may be the one that opens the door to a less illusory industry, a fraction of an inch. Or, the moment we look back and laugh that magazines even tried to put some of their cover stars together in one place for a shoot.

The term “Photoshopped” is generic and scornfully thrown over magazines like handfuls of cheap confetti. I was on a photoshoot years ago, in which a leopard was hired at the photographer’s request. When he arrived he was fat (probably because he had to be well fed not to eat the magazine staff). “We can Photoshop it thin,” was the retort. In the end, people assumed the post-production slim cat was either plush or fully photoshoped. In short, no matter the cast, props, or location, readers think we’re faking everything anyway and shrug their shoulders.

What’s my point? When I gave my father a copy of Gladiator, knowing that his favorite movie is Antony and Cleopatra, he watched her in unimpressed silence. “I know it’s not real,” he said finally. “When Liz Taylor came into Rome on this sphinx, they really did.”

I’m not advocating an era without retouching or compositing for magazines – God knows readers deserve to get away from it all – but the trend for simpler, clearer, more honest covers might be a good direction for more magazines to explore. bold.

– David Gray, Creative Director, Out & Lollipop


March 19-April 1_2018_HopeHicks.nocrop.w710.h2147483647Editor’s choice:
New York magazine
March 19, 2018
Design Director: Tom Alberty
Publisher: Adam Moss

If the purpose of this roundup was to recognize outstanding overall design accomplishments over the past six months, I would probably choose to recognize either Michele Outland Enjoy your meal or that of Leo Jung California Sunday Magazine. But since I can’t choose one of these blankets that I liked the most, I go with this brilliant hold of new York magazine – which I still haven’t managed to throw away, despite having been on my kitchen table for three months now.

I admire any magazine that is willing to step outside of its typical aesthetic limits in order to capture a particular moment in time, given its bi-weekly publication schedule, new York has more room to experiment than most – and this blanket executed the idea perfectly.

“What is scary is the number of articles in this issue that lent themselves to this treatment,” said editor Adam Moss. “Headlines have rarely been so fun to write. “

As efforts by the left to avoid “normalizing” the current administration often turn hysterical, this tabloid-style cover story accurately expresses the absurdity of our time in a way that is not only clever, but poignant and impossible to understand. ignore in newsstands. At least it was for me.

– Greg Dool, Editor-in-Chief, Folio:





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