Feature
The long look
Creating playful, thoughtful images for The Guardian’s ‘long read’ section relies upon a close relationship between the paper’s art desk and a roster of illustrators who can make exemplary work at speed
Reputations: Fuel
‘We love collecting vernacular … it’s functional, not following a preconceived idea of what is correct. This can give it an unexpected quality … in “real” design all those elements are lost. Everything is too considered.’ By Rick Poynor
Permanent opposition
Perched in a London office overlooking the Thames, Peter Brookes has just hours to turn headline news into hard-hitting cartoons for
The Times, skewering vain, inane and insane politicians with meticulous craft
Olivier Kugler: bearing witness
This contemporary illustrator uses his ears and eyes – plus a camera, digital voice recorder, sketchbook, pencil, scanner and laptop – to document stories of exile, displacement and the complex reality of refugees’ lives
Ambition and illustration
Alan Male welcomes a return to the ‘polymath principle’, the idea that an illustrator should engage with their subject matter at a deeper, more authorial level
Time machine
Each summer since 1973, artist Tom Phillips has taken photos of the same twenty places in his South London neighbourhood. The resulting artwork – 20 Sites n Years – is both conceptual art and social history
I am a poster
David Crowley, curator of ‘The Poster Remediated’ at the Warsaw International Poster Biennale, examines some of the relationships that exist between posters and the human body
Reputations: Stuart Geddes
‘I am interested in exploring different archetypes of books … I like to create friction between design conventions and juxtapose them to make something new.’
A manual of hand-made Modernism
In 1949, a comprehensive portfolio by Swiss designer Walter Käch helped set the stage for postwar innovation in letterform design
Take my concept
Boris Bućan’s early posters display an audacity that challenges divisions between graphic design and fine art