Judging from the left-side panel being slightly narrower than the others, I’m guessing this is a gate fold, right?
So the cover is the front-facing woman. Open that up and you see the person sitting on the books. Open that up and, um, not what might be expected — a big pretty photo of the Yorkshire countryside that isn’t laid out to match the trifold and still doesn’t tell me what this dang brochure I’ve just picked up is about. To get to the guts of the brochure, I need to turn to the back cover that has so much dense copy that I’d likely be disinclined to read it.
So let’s assume someone is interested in the cover because they think it’s about something interesting, like sex education. Well, they’ll be disappointed once they open it and begin to suspect it has something to do with a library of books. But assuming they’re still interested, they open the whole thing up and it’s a photo of the countryside. Huh? There are three sequential disconnects where you’ve shifted the focus of the trifold from something provocative, to books to a pretty landscape. By this point, you’ve baffled the reader. Figuring this out requires actually diving into the the dense copy on the back panel to find the brochure is about something totally unexpected — joining an archaeological society.
I suppose you could look at this shifting subject hierarchy as a puzzle that’s finally resolved by reading the back cover, but my experience says you’ll lose your audience by doing this. In my opinion, you need to be a bit more direct in what this brochure is about. As beautiful as the inside photo might be, put some information inside where people expect it to be and align that information with the folds. Save the back cover for the details, like addresses, contact information and, well, the kind of things people expect to find on a back cover.
Now if this trifold just happens to be an accordion fold instead of a gatefold, you’ve compounded the hierarchical arrangement of the information even further.