#magazine-illustration

#magazine-illustration

I was childless into my early forties. By then, my partner and I noticed that a lot of our peers were at a similar crossroads: dog, cat, or kid?

Pamela Anderson's new wicker furniture collection, 'The Sentimentalist,' for Olive Ateliers is a reflection of her love for gardening and outdoor living, showcasing her design sensibilities.

Xinyu Hou designs for adaptation, working with the body as it actually behaves under stress, rather than how it is only expected to perform for an audience.

Chris is a genuine anomaly in the media landscape. He consistently takes on projects that are difficult to execute under high-pressure deadlines, maintaining a calm demeanor and a contagiously positive attitude.

"It's an amalgamation of the Chicago neighborhood aesthetic with a Bulls fan, quite literally. It's kind of on the nose, but that's how I juxtapose the elements of my work, with the structure of a home and then a figure who is around or in the home."

The texture of the material and the handcrafted quality were aspects that particularly interested them. The challenge was to translate my style from stone to paper.

Yale came to me and said there isn't an overarching book about the history of printmaking; they wanted it to be about the printed image. There are a lot of books about printing-about the history of journalism or the history of books, the printing press and the printed word-but not so much about the printed image and its processes. So that was my challenge.

David Morrison continues his hyperrealistic explorations of flowers, seeds, and plants, capturing the intricacies and alluring textures found throughout nature in lush colored pencil.

Sand Art is a game by Kory Jordan and published by 25th Century Games for two to four players ages 10 and up. It takes about an hour to play, and has you collecting resources and then coloring in a bottle, making art in a bottle out of sand, in case the name didn't give away the plot. Gameplay Overview: Sand Art has you gathering and mixing sand, which is used to fill your bottle.

Static images don't show motion. You can't inspect real product structure. You don't see how interfaces evolve over time. You rarely understand what actually works in production. So I decided to go deep. I reviewed every major design reference platform I could find - not just the popular ones - and analyzed how they actually help in real-world work. The conclusion?

The ridges of eucalyptus bark, the geometries of shell formations, moss-covered trees, Indigenous grasslands and the hidden networks of fungi beneath the soil. These landscapes produce organic yet abstract patterns - natural systems that quietly shape the way we see and design the world around us.

There is a certain kind of presence that requires no grand staging. The editorial "Saint" captures exactly this moment: the intersection of youthful nonchalance and a nearly statuesque stillness. While the first part of the series maintained a cool distance in gleaming white, the continuation dives into an atmospheric darkness. Here, the boundaries between shadow and silhouette blur, lending the series a nearly sacral, heavy depth.

A graphic designer that isn't limited to working in 2D, Ward Goes has been working in aluminium of late. His recent solo show in Rotterdam, Literally Anything, was full of things that moved beyond the screen or printed page, including some wonderful metal signage and archival storage. The exhibition at Alley Space was the result of the designer's decision to pursue more tactical investigations alongside his commissioned work at the start of 2025.

For those who are in desperate need of stimulation, this zine delivers - its visual language is razor-sharp and packed with colour, each page feels like a porno magazine that has vomited everywhere. Hattie calls it a "frenetic deluge", a collection of themes that circle the drain of "online fatigue", a way to process an excessive amount of information in order to create meaning and seek comfort.