Imagery always figures large in football graphics, but that’s no reason to make it clichÃ©d action shots of players. For the Observer Sports Magazine’s World Cup guide cover, art director Gary Phillips commissioned a Simon Henwood portrait of David Beckham because, as Phillips says, ‘it was classy and very different. Difference being the most difficult thing to do in a newspaper’. The When Saturday Comes wallchart too goes for tongue-in-cheek, Japanese-themed illustrations by Dave Robinson featuring Godzilla, Sumo wrestlers and pagodas, alongside witty text likening stadia to a particularly nasty verruca or a bidet. Cheeseman explains it thus: ‘Illustration can communicate immediately that something is obviously critical, satirical or frankly rather immature. With the chart, we used [Robinson’s] illustrations to make it stand out and maybe raise a wry smile.’ Cheeseman will be supporting Senegal, Phillips will be supporting Italy. See, it’s all about difference.
The Future Starts Here explores the advantages and perils of ever-advancing technology and product design, from artificial intelligence to 3D-printing and cryogenic freezing.
BrandOpus has created the identity and packaging for Scrubd, which aims to reflect changing attitudes towards male grooming.
Ahead of the annual London Illustration Fair this December, its directors Alastair Eland and Samuel Bennett pick out the designers and illustrators they are most excited to see at this
The Autumn Budget and its effect on designers, a peep into retailers’ Christmas windows and the Design Museum’s new show – the news from the last seven days.