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92 Years of New Yorker Covers Visualized by Color

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Screenshot via C82

In February 1925, The New Yorker appeared on the magazine scene with a cover illustration of a dandy drawn by art editor Rea Irvin, a character later christened Eustace Tilley. Almost a century later, Tilley still graces the cover of The New Yorker at least once a year on the magazine’s anniversary. Other weeks, they commission artists to illustrate timely political topics and evergreen moods.

The magazine has run more than 4600 covers in its 92 years of near-weekly issues (it’s currently published 47 times a year), all of which you can explore by color, thanks to designer Nicholas Rougeux (who has previously visualized sentences and punctuation in classic literature).

Using an algorithm, Rougeux analyzed the top five colors represented in every cover illustration and created a color palette for that issue. Then, he mapped out a palette for every single cover, creating a timeline of New Yorker design. It allows you to see what colors have dominated particular years and decades. If you scroll over the individual palettes, you can see the full image of that week’s cover.

Rougeux found some trends in the colors that have repeatedly graced the magazine’s cover. “Limited and muted palettes were used the 1920s," he writes on his site, while "possibly due to printing limitations, darker greens were more common in the 1940s, lighter palettes were used in the 1970s and 1980s, louder contrasting palettes were popular in the 1990s and more well-rounded palettes started being used since the 2000s.”

You can explore the color timeline for yourself here.

All images courtesy Nicholas Rougeux

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History
Hole Punch History: 131 Years Ago Today, a German Inventor Patented the Essential Office Product
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The next time you walk into a Staples, give thanks to Friedrich Soennecken. During the late 1800s, the German inventor patented inventions for both a ring binder and the two-hole punch, thus paving the way for modern-day school and office supplies. Today’s Google Doodle celebrates the 131st anniversary of Soennecken’s hole puncher—so in lieu of a shower of loose-leaf confetti, let’s look back at his legacy, and the industrial device that remains a mainstay in supply rooms to this day.

If Soennecken’s name sounds familiar, that’s because in 1875 he founded the international German office products manufacturer of the same name. (It went bankrupt in 1973, and was acquired by BRANION EG, which still releases products under the original Soennecken label.) Not only was Soennecken an entrepreneur, he was also a calligraphy enthusiast who pioneered the widely used “round writing” style of script. But he’s perhaps best remembered as an inventor, thanks to his now-ubiquitous office equipment.

As The Independent reports, Soennecken likely wasn’t the first to dream up a paper hole-punching device. In fact, the first known patent for such an invention belongs to an American man named Benjamin Smith. In 1885, Smith created a hole puncher, dubbed the “conductor’s punch,” that contained a spring-loaded receptacle to collect paper remnants. Later on an inventor named Charles Brooks improved on Smith’s device by finessing the receptacle, and he called it a “ticket punch.”

For unclear reasons, Soennecken was the one who ended up being remembered for the device: On November 14, 1886, he filed his patent for a Papierlocher fur Sammelmappen (paper hole maker for binding), and the rest was history.

“Today we celebrate 131 years of the hole puncher, an understated—but essential—artifact of German engineering,” Google said in its description of the Doodle. “As modern workplaces trek further into the digital frontier, this centuries-old tool remains largely, wonderfully, the same.”

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architecture
Need a Dose of Green? Sit Inside This Mossy Auditorium
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Lecture halls aren’t known for being picturesque, but a new venue for lectures and events in Taipei might change that reputation. Inside, it looks like a scene from The Jungle Book.

As Arch Daily alerts us, a new lecture space at the JUT Foundation features textile art that makes it look like its interiors are entirely covered in moss.

The JUT Foundation is the arts-focused wing of a Taipei construction company called the JUT Group, and its gallery hosts talks and other events related to art and architecture. Designed by the Netherlands-based architects MVRDV, the 2500 square feet of greenery-inspired lecture hall is lined with custom carpeting designed to look like moss and biologically inspired textiles by the Argentinean artist Alexandra Kehayoglou.

A close-up of green, yellow, and red textiles fashioned to look like moss

A view of the back of an auditorium that looks like it's covered in green moss

Made of recycled threads from a carpet factory, the handmade 3D wall coverings pop out in a passable imitation of a forest ecosystem. The mossy design—which took a year to complete—pulls double duty as a sound buffer, too, minimizing the echo of the space. If you have to pack into a lecture hall with 175 other people, at least you’ll be able to pretend you’re in the middle of a quiet, peaceful forest.

[h/t Arch Daily]

All images courtesy the JUT Group.

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