Crafting covers that sell: Whether your magazine is competing on the newsstand or the coffee table, creating covers that instantly attract readers is critical. Here's how to create a classic

Folio: The Magazine for Magazine Management, Feb, 2002 by John Johanek

Can you remember the last time a magazine cover really wowed you while you were perusing the magazine rack at your local supermarket? Is there a bestseller in your own backyard--a cover that's become legendary because it outsold anything you've offered in years? What is it about these covers that makes them so memorable?

The best covers are assembled so that all the elements--the logo, the image, the copy, the color, the composition and the type--work together to create a classic. Here's a look at the individual components and the rules for making them play nicely together.

LOGO

Whether your magazine is competing on the newsstand or the coffee table, the logo should be the primary selling point. Position it as close to the top of the page as possible without a risk of trimming it. And unless your brand is as recognizable as Time or National Geographic, avoid covering the logo with graphics.

If you're going for greater prominence, add a drop shadow, outline or other dimensional features, such as cut-outs or beveled edges, like the one that Popular Mechanics employs. Be sure to use colors that set the logo off from the background and separate it from other cover typography. High-impact logo colors--red, black, white or gold--suggest importance and urgency, enhancing visibility.

Sports Illustrated is one magazine that does logo display right. Its compressed type spans from spine to trim, providing maximum impact and newsstand presence. Cast shadows and strong colors further punctuate its design.

IMAGE

The focus of any artwork or photography must be clear and to the point. Eliminate extraneous clutter such as busy backgrounds or confusing elements. A strong cover image will have a poster-like appearance. It should be bold and singular and of the highest quality. Above all, the cover image should provide a clear sense of identity. Imagine the cover with the type and logo stripped away. Would readers be able to tell from the image alone what your publication is about? An image can be enhanced by supporting copy, but shouldn't have to rely on it.

Try zooming in on the image. The tighter the crop, the more intimacy the reader will feel with the image. This also creates a larger image, which adds impact.

Stop by any newsstand and you'll quickly notice that photos featuring people are strongest when the person on the cover is making eye contact with the reader. Beauty and fashion magazines like Marie Claire and Cosmopolitan have mastered this. Whenever possible, retouch the whites of the eyes to enhance the illusion. And while you're at it, clean up any unruly hair, lint or other distracting imperfections.

Try rotating the image. Take a cue from action titles like car magazines that often use an exaggerated angle or distorted perspective to enhance interest. An image can also be skewed to create better dead space for coverlines.

COPY

If the logo and cover image are the co-stars of the cover, coverlines are the supporting cast. Often, the largest coverline is editorially tied to the image. Set it off graphically from all other cover copy with a distinctive size, color and font treatment. Secondary coverlines need to step down in importance to avoid competing with other elements. Give the reader a visual sequence to follow and, above all, make the copy enticing.

The most effective coverlines are benefit-oriented and encourage the reader to turn inside. Remember, numbers sell. "101 tips," or "Top 500," or "25 low-fat deserts" are quick concepts for readers to grasp, and suggest value. Whenever you can, design these sales benefits into the upper-left corner of the cover, where they'll get maximum exposure.

COLOR

Color is a way to create mood--and mood sells. Study colors carefully to make sure you're setting the right mood. Time's black border on it's 9/11 special issue cover, for instance, was subtle but it delivered a dramatic statement.

Colors often send messages: Red says hot or spicy; blue projects clean and fresh; green works with gardening or finance. Avoid colors that send the wrong message for your magazine. Be mindful that some suggest gender, while others are professional (deep colors) rather than playful (primary colors).

Color should also clearly separate typographic components. Use one hue for the logo, and another for the lead sell line. Other colors can be used to unite secondary coverlines, while matching typography color to a color found within the image will help to unite the overall design.

COMPOSITION

Unless you're guaranteed full exposure on the front row of a newsstand, cover composition needs to maximize the primary areas readers are likely to see--the three inches across the top and three inches down the left side. For those that don't get front-row seats on the newsstand, left side exposure is further limited to just the top three inches--so this space needs your full attention. It should tell the reader who you are, what you're about and what's inside. But keep this in line with the ultimate goal of creating a cover that will look balanced and pleasing when given full exposure.