There’s a darkness and sinister air to New York-based Daniel Zender’s editorial illustrations, which is emphasised by their menacing colour palette of red and black. We featured Daniel’s textural paintings two years ago and they were equally as nightmarish in tone. In his latest works, Daniel’s progressed his style and it feels more refined with smoother gradients and defined shapes.
The illustrator’s client list is still as impressive with commissions from The New Yorker, New Republic, LA Times, Boston Globe, Bloomberg Businessweek and MIT Technology Review. Daniel’s approach is consistent and lends itself well to the often unsettling content of the stories he’s illustrating whether its terrorism, gun violence or police brutality. His figures are simply put together with little detail yet the imposing silhouette-like forms manage to convey a moody atmosphere.
- “Fear and desire for connection and the blocks to it”: artist Martine Syms on her exhibition Grand Calme
- Iggy Ldn captures beauty, power and pain in his short film, Velvet
- Art Bank Taiwan joins London Design Biennale this week, exploring cultural identity through political and social commentary
- Tiziana Jill Beck explores the identity of anonymous travellers through masks
- The new issue of Indoek brings America's oldest city to life
- Master of plasticine Kate Isobel Scott is back with a new animation
- Uber gets another new logo, gives you something to make small talk about this weekend
- “Go, go, go”: how DIA messed with design theory, only to improve it
- Type designer Kia Tasbihgou on how “knowing cool designers and nice fonts isn’t enough”
- Watch the trailer for the Don't Hug Me I'm Scared, the television show
- V&A curator Marie Foulston wants us to look at video games through the lens of design
- You know that great feeling of popping a spot? You'll get that from Sophie Koko Gate's new animation