The Illustration Issue: This month we sketch out a portrait of illustration, capturing the field in its many guises. Rob Walker has an epic look inside the Pencil Factory warehouse, long a creative hub for Brooklyn designers. Meanwhile, Fritz Swanson profiles the Dutch illustrator Tim Enthoven, known for his meticulous, uncanny vision; and Steven Heller sits down with R. O. and Nicholas Blechman, world-class designers who happen to be father and son. We’re also proud to introduce “The Last Word,” a new visual column in which the legendary Seymour Chwast will illustrate the final utterances of notable people, starting this month with P. T. Barnum. You’ll find it, appropriately enough, on the last page of the magazine.
Baltimore’s Sarah Templin brings together illustration, painting, and graphic design in an artful line of handmade textiles.
By Elizabeth Evitts Dickinson
|The Pencil Factory: An Oral History
Are the designers and illustrators sharing space in this Brooklyn building a gang, a scene, a movement—or none of the above?
By Rob Walker
|The Tiny Worlds Of Tim Enthoven
A rising Dutch illustrator uses detachment as a form of revelation.
By Fritz Swanson
|Hey, Art Directors—What Do You Think About Illustrators?
We couldn’t very well run an entire issue on illustration without talking to these gatekeepers and tastemakers of the publishing world.
By Print Staff
|Thoughts Of An Uppity Illustrator
Illustration should be more than just a foil for the text.
By R. O. Blechman
|My Son, The Art Director. My Dad, The Illustrator
A dual profile of R. O. and Nicholas Blechman
By Steven Heller
Paul Shaw on pictorial type, and Stephen Coles on icon web fonts
Can prototyping help save the world?
Martin Fox remembers Antonio, who reinvented fashion illustration.
David Barringer on Ken Garland: Structure and Substance, Teal Triggs on the M/M (Paris) monograph, and Debbie Millman on coffee mugs by Milton Glaser
In the Studio
Oliver Munday’s foosball heaven
A new illustrated column by Seymour Chwast