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.
- Thomas Prior captures a Mexican festival involving exploding sledgehammers
- The misty-eyed and delicate pencil marks of Lee Kyutae
- Build’s brand identity for product design brand Plæy mirrors its playful and modular designs
- David Bailey's photographs of NW1, republished and exhibited for the first time
- Studio Mut creates a catalogue for Italian art prize that celebrates up-and-coming artists
- A forward-minded retrospective: behind the design of the massive Cedric Price monograph
- Wes Anderson directs H&M Christmas advert starring Adrien Brody
- The New Look: Looking back at Roundel’s 1980s identity design for British Rail’s Railfreight
- Discussing cinema with Laura Marling on her directorial debut, Soothing
- London’s first crisp restaurant, Hipchips, launches with branding by Ragged Edge
- Richard Sandler’s street photography conveys the intricacies of city life
- A "stress opus" from cartoonist Nadine Redlich