Israeli illustrator and cartoonist Tomer Hanuka needs no introduction. Ten years ago (before this website even existed) he was making extraordinary illustrated works – some of which inspired me to go to art college – for the very best editorial clients out there. He’s done Rolling Stone, the now defunct Spin, The New York Times and GQ, he’s worked for Marvel, DC, Universal and Lucasfilm. In fact there’s very few people out there worth working for by whom Tomer hasn’t been employed.
Although he’s closed for business for the time being – presumably working so hard for so long starts to take it out of you – his last piece for The New Yorker in February was a prime example of his inimitable skill; stunning line-work, sensitive colour palettes and a canny knack for creating a powerful sense of atmosphere. Let’s hope he opens his doors again soon or the world of illustration will be a much poorer place.
- Anthony Burrill tells us about his numerous Etsy WORK HARD rip-offs
- Stina Löfgren’s instructional illustrations for practical lunges
- Scandinavian aesthetics and do-right design approach: the brand values of Nudie Jeans
- A beautiful portrait of the communities, theatre and blingy pants of South Yorkshire wrestling
- Back to basics with Davide Di Gennaro’s symbol-heavy design workshop identity
- “I wouldn’t recommend trying to make it as an illustrator to anyone”: straight-talking McBess
- Should illustrators be treated like designers?
- Jonathan Barnbrook talks us through designing David Bowie's new album artwork
- Colourful masses with a Memphis aesthetic in Mariano Pascual’s illustrated alphabet
- Grey London's thoughtful, powerful and innovative new campaign for Tate Britain
- Anthony Burrill on starting out and staying focussed
- Introducing French design studio plus mûrs and its beautiful poster designs