HOW Design Live 2018 is happening in Boston. Will you be there? Register by Feb. 1 for the best price. Some people think that digital art is a shortcut to making oil paint. Think again. Boston-based illustrator, designer and artist Pat Hines is a master of Microsoft Paint. From portraits of Bill Gates to serene landscapes, Hines has gotten a lot of rightly deserved hype around his work. Referred to as the “high realist” Paint artist—his artwork is work. He has devoted 15 year

Call for entries: The HOW International Design Awards closes the evening of Monday, Sept. 25. London-based Designer of the Week Andrew Rae recently caught the attention of our editorial team with this #hashtag10 illustration he did for Twitter. Rae, who art directed the award-winning BBC animation “Monkey Dust,” has worked with an impressive list of clients including The London Science Museum, Google and The Guardian, and he is a regular contributor to The New York Times. Nam

Illustrator Ann Shen: Bad Girls Throughout History “Suddenly they were very human, likely having the same doubts and fears, which made me feel more connected to them and as a result, a little braver.” It’s only February, and it’s already been an interesting year for feminism. We’ve said goodbye to Mary Tyler Moore, arguably one of Hollywood’s most iconic women’s rights advocates. We’ve marched in the streets around the world. And now illustrator Ann Shen is releasing a noteca

So we might be a little late to the game here, but there’s no time like the present to show off someone’s talents. Back in 2014, Josh Cooley’s name was all over the internet as fans shared the Pixar artist’s illustrations of iconic scenes from R-rated movies. They weren’t just any illustrations though. Cooley’s works took inspiration from Little Golden Books and were eventually published by Chronicle Books as Movies R Fun!: A Collection of Cinematic Classics for the Pre-(Film

Illustration is one of the most versatile forms of design and graphic design work, allowing visual artists and creatives to work in nearly any field. Some illustrators are advertisers, creating illustrations for companies and gaining a strong understanding of how products are made. Others illustrate journalistic stories or create children’s book illustrations, visualizing the written word. “Illustrators are the link between design and fine art. We are not designers, nor are w

Jon Krause creates intelligent, thought-provoking illustrations that command attention with their irony and unexpected visual twists.  Jon’s clients include The Atlantic, Time, Playboy, Businessweek, Money, Reader’s Digest, Random House, Little Brown and Co., The New York Times, Wall Street Journal, Scientific American, Government Executive, Kiplinger’s, Forbes, and Johns Hopkins. See his work at Theispot.com. Work by Illustrator Jon Krause: See more work by Krause here. #ill

Establishing a brand identity can be an intensive and difficult project. That is why MyDesignShop offeres an extensive collection of branding and logo design resources. And guess what? It’s Black Friday in July at MyDesignShop.Today only, take 40% off almost all resources for designers and creatives with code BFJULY40. Name: Jaymie McAmmond Location: New York City Design school attended: Ontario College of Art and Design How would you describe your work? My work is undergo

When approaching the ideation process for brand identity and logo design, one of the most crucial considerations is the typeface selection. What will be of the best use — serif, sans serif, decorative or script? A typeface infuses your design with emotion and meaning, defining your brand’s identity in every medium, from packaging and editorial design to website design and business correspondence. Strategic Customized Typeface Examples: Bobber by Lucas Almeida and Dmitry Golou

The 2015 RDA is now open for entries. Enter your work today for a chance to be spotlighted in the pages of our milestone issue. Print’s Regional Design Annual—the most popular issue of the year, the issue that brings you a comprehensive survey of graphic design in the U.S and features 350 winning designs chosen by esteemed judges—is finally here. The truth is, we should stop here, bring this blog post to a screeching halt in the second sentence—because we all know that to rea

The current exhibition Barbara Nessim: An Artful Life, curated by Douglas Dodds, Senior Curator, Word and Image Department, Victoria and Albert Museum, London is a essential piece of illustration history and practice. (The exhibition is at BGC Gallery from Sept. 19, 2014–Jan. 11, 2015.) I urge you to see it, and learn more about Nessim. A constant innovator for more than four decades, Barbara Nessim was one of the first professional illustrators to master the computer as an a

Gael Towey has kept storytelling and innovation at the center of her career. Among her numerous achievements, she launched the Martha Stewart Living magazine and propelled the brand into new directions through her leadership, even taking on the role of chief creative officer of MSLO in 2005. When she left the company in 2012, Towey applied her love of storytelling and design to a personal project: “Portraits in Creativity“. “Portraits in Creativity” are short films Towey dire

We were lucky to work with illustrator Laura Bifano to create the cover of the June issue of Print. With her unique style, she captured the core of the issue and the theme of “Innovation” with one central idea: a caveman re-inventing the wheel, as Bifano explains. We asked her to tell us more about her process, what inspires her and this project in particular — and she shares some images of another illustration piece. As Bifano explains her feeling about the cover as a whole,

The New York Free Press (originally the Westside News) started as a typical neighborhood weekly newspaper that evolved into left wing underground paper in 1968. The art director at the time, J.C. Suares, hired me, and erstwhile cartoonist, while I was a senior in high school to do paste-ups and mechanicals. When, a few months later, he departed for greener pastures, I became the art director. I knew precious little about design, although I could cut and wax galleys pretty fas

The Advertising Conference by The Goswogii by Richard Henry Little and illustrated by Ervine Metzl was published in 1927 in an edition of 175 by the Holiday Press. While there was a later reprint of the original, the book’s raison d’etre is something of a mystery — Ervine Metzl is not. He was a prolific illustrator and designer. Metzl even helped young Paul Rand find a position designing advertisements for a Manhattan ad agency. Metzl illustrated many Fortune covers and desig

Every year, Print celebrates the next generation of visual artists. From thousands of talented illustrators, designers and photographers, we choose 20 creatives who are making a splash in the art world and award them the coveted New Visual Artists designation. After all, you can’t buy your way onto our “20 Under 30” list—you must be nominated. The NVAs of 2014 have certainly caught the attention of the industry greats who submitted their names, and we contend that their work

Leigh Guldig first fell in love with illustration while designing T-shirts for Old Navy. After finishing her undergraduate design degree, she took a freelance job at the retailer’s San Francisco headquarters and began discovering some of the things that still drive her creative process today. She first worked with a Wacom at Old Navy, and she began experimenting with collage and integrating different pieces together. A young Guldig also found inspiration in vintage ephemera a

In 1977 a new illustration credit appeared on the Letters and OpEd pages of The New York Times. But S. Harmon wasn’t doing anything new; just the same collage style that Surrealist and Dada collagists had done decades before. The Times employed many of the latter day derivations. Still, S.Harmon’s work made an impression on me – and I commissioned a number of illustrations. Actually, I never met him. I’d send over the manuscript by messenger and he’d send back a finished coll

Most of you probably don’t know Joseph Low’s work. He was a popular illustrator in the late 1940s, ’50s and ’60s. He was known for his children’s book, Mice Twice and covers for The New Yorker, but he did much more (read his 2007 obituary here). His drawings were playful, expressionistic and conceptual, combining Baroque styling with delightful irony. He studied at the Art Student’s League with George Grosz (like Paul Rand), which may account for his sharply honed pen and ink

photo by Priscilla Rattazzi Our dead are never dead to us, until we have forgotten them. – George Eliot On Monday, I saw a news item that made me catch my breath, Jean-Claude Suares of Harrington Park, illustrator and graphic designer, dies at 71. I remember immediately thinking about the J-C Suares I knew that I had been exchanging emails with about the possibility of doing a class for HOW Design University on magazine cover design. My heart broke when I realized it was my f

We see deeply disturbing images in dark, murky colors: guns pointing at heads, children strung up by their feet, abandoned eyeglasses lying twisted in a void. Eventually, we come to a factory billowing smoke: the crematorium at Auschwitz. They’re from a series of 20 hand-colored etchings, titled “German Humor.” And they’re by Robert Andrew Parker, one of the masters of late-20th century illustration. They’re also part of a 60-year retrospective currently at the South Pasadena