We were singing Keith Negley’s talents from the rooftops last October when we first came across his emotion-driven narrative illustration, and as it turns out we’re still singing now. (Starting to get a bit hoarse. Top marks for enthusiasm though.)
He’s been in the spotlight a fair bit as of late for his beautiful editorial illustration for the New York Times, which accompanied a story about how suicide rates tend to peak in the spring. It’s high time that his work be recognised, too; taking often tricky subjects such as depression, abuse and loneliness, and finding a way to bring them to life armed with nothing but a soft colour palette and incredibly varied textures, Keith confidently treads where other illustrators fear to, which goes some way to explaining why his client list is longer than several of our arms joined together. How he manages to tackle this difficult topics without succumbing to a perpetually gloomy glass-half-empty outlook is beyond us, but we’re awfully glad he does.
- Living for the weekend, it's Best of the Web!
- The photographer archiving South Africa’s black lesbian community
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- Designer Kara Zichittella talks about her typographically-led projects
- “Where’s my community?”: Skin Deep and POC on the need for diversity in the film industry
- A new national identity: Smörgåsbord Studio rebrands Wales
- Graphic design gems: Chicago gang business cards from the 1970s and 80s
- Photographer Dougie Wallace captures the super rich spenders of “Harrodsburg”
- “Romance in a sort-of fantasy world”: photographer Molly Matalon's new work (some NSFW)
- Studio Michael Satter’s sophisticatedly simple graphic design portfolio
- Harry Pearce and Pentagram create a new identity for Pink Floyd’s record label