We’re huge adherents of Leif Podhajsky and in particular his design and art direction for the music industry. His work on the Kelis album Food was one of the stand-out album artwork projects of 2014 and so it’s great to see him picking up where he left off as we head into the new year.
I’ve walked past the poster for Bonobo’s Flashlight countless times in east London with its elemental back cover art and gold, lava-esque image. For the EP it forms the inside sleeve, glimpsed through the tiny holes in a dark grey die-cut cover. Leif’s also art directed the debut album for Liverpool-based band All We Are (who describe themselves as the “Bee Gees on diazepam.”) A brightly painted female figure with a blob of baby pink where the face should be is an arresting and intriguing image that works really well on the album and as an advert in situ.
- Louise Bonnet paints exaggerated bodies as symbols of melancholy and loneliness
- Mathieu Larone illustrates the "elusive liminal space between the cryptic and the understandable"
- Micaiah Carter interprets Uniqlo’s linen range with a sultry sun-drenched shoot
- We take a look back at the best stories of the year to date
- Atelier Brenda and Amélie Bakker create “squidgy” identity for Beursschouwburg
- Thomas Pratt photographs the effects of religion, natural disaster and globalisation on an island community
- Pornhub decides to try out beesexuality with new awareness campaign
- “The time just feels right”: Stuart Brumfitt and Mirko Borsche, editor and designer of The Face, on its relaunch
- Graphic designer Shao Nian's portfolio ranges from academic publishing to experimental magazines
- Daniel Gebhart de Koekkoek recreates the ingenious yet useless inventions of Chindōgu
- The Washington Post's climate change issue features 24 equally important covers
- Philip Gerald's lowbrow, crude paintings are a reflection of his views on the art world