The biggest news of the story of the past couple of years has probably been Edward Snowden’s crusade against the US authorities’ snooping tactics. It’s been spearheaded by The Guardian so it’s quite an honour for a creative to be asked by that very newspaper to create visuals for its own magazine’s coverage.
But Kyle Bean seems to thrive under that kind of pressure. In his two final images – a USB made into a whistle and a portrait of Snowden created from circuitry – he takes strong, simple (but not trite) concepts and executes them flawlessly.
Even in print his model-making skills shine through, as can be seen in the recent body hacking cover for The New York Times Magazine and his charming work to promote the Motion Factory exhibition.
Already high, Kyle’s creative stock seems to have risen to a whole new level recently.
- Camelot’s typefaces bring both the contemporary and historical to the table
- Scott Newett’s eerily quiet, ethereal portraits of Chinese utopia
- Jade Schulz’s atmospheric and imaginative editorial illustrations
- Emiliano Granado’s new zine puts a fresh spin on Tour de France fandom
- The big cover up: Mathieu Tremblin's translations of graffiti
- Artist Howard Fonda captures the vibrancy of summer for Ace & Tate
- Benedict Redgrove’s beautifully hypnotic film about how a tennis ball is created
- Tommy Cash subverts the tropes of rap videos with a fleshy celebration of the human body (NSFW)
- Ian Davis’ picturesque paintings of bureaucratic dystopia
- Is it ever OK to work for free?
- Pentagram unveils refresh of Mastercard’s brand mark and identity
- Peter Saville and Tate Design Studio create beer can artwork for Switch House pale ale