If there’s a more charming chap in the illustration world than Ryan Gillett, we’d very much like to meet him, but right now we don’t reckon there is – the crown belongs to this guy. We first came across his work via a lovingly-crafted piece of print that came through our letterbox, and that’s how our relationship has continued, with regular pieces of beautiful post landing on the studio floor. Of course they quickly find themselves on the studio walls where a couple of his prints have held pride of place for well over a year.
We love the way Ryan adapts his style to suit his client’s needs, but we’re also always impressed by his personal work, where budget and material constraints force him to make the best of his skills in less than ideal circumstances. Thus he’s become a master at using single and two-colour palettes to startlingly punchy effect, letting the bold mark-making of his drawing speak for itself.
- TFI the weekend! Here's the Best of the Web, as deemed by It's Nice That
- “Legs eleven, droopy drawers, dirty knees”: A clock that uses bingo calls instead of numbers
- Great new work for The New York Times and Bloomberg Businessweek from Oscar Bolton Green
- Dots, blocks and fades layered up in multifaceted exhibition identity for The Hague’s Royal Academy
- Patty Carroll’s bizarre photos hide women in chaotic, hand-built scenes
- Dougal Wilson’s Morris Dancing-heavy first music video in six years
- An insight into The Guardian’s newly released brand guidelines
- Art and architecture get exhibitions and galleries: graphic design should too
- Graphic identity lovers rejoice: “an unprecedented catalogue of modern trademarks” is here
- Russian photographer Erik Panov's latex and salmon themed fashion shoot
- Photographing the choreography and chaos of the England cheerleading team
- Japanese artist Tatsuro Kiuchi is back with more beautifully finished illustrations