This site uses cookies to improve your experience. To help us insure we adhere to various privacy regulations, please select your country/region of residence. If you do not select a country, we will assume you are from the United States. Select your Cookie Settings or view our Privacy Policy and Terms of Use.
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Used for the proper function of the website
Used for monitoring website traffic and interactions
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Strictly Necessary: Used for the proper function of the website
Performance/Analytics: Used for monitoring website traffic and interactions
In my opinion, illustration art has a brand of potency unrivaled by any other school or genre in the history of art. Peak Frazetta Hale N.C. Wyeth I defy you to find images with greater vigor and assertiveness in any art museum. The difference in visual impact between illustration art and traditional painting is not simply a question of subject matter.
Every font shown on this site is accompanied by a set of suggested pairings. These are all personal selections (would that they could be automated!) and we’re often asked about our methodology for deciding what fonts go together. The truth is that these are intuitive choices: since we design all the fonts ourselves, we’re intimately familiar with their visual, functional, cultural and historical qualities, and just have a general sense of “what goes.” And yet there are al
Compare Saul Steinberg's observation on the obstacles to creation.with John Cuneo's treatment of the same theme: Cuneo's hapless artist suffers from very different constraints. You'll rarely find a theme-- or a line-- in Cuneo's offbeat world as straight as Steinberg's leash. Cuneo's artist is bedeviled by his diminutive artistic size, by the huge, languid planet of muliebrity between him and his art, by that rump distracting him from his artistic mission, by that wobbly little easel perched on
Every font shown on this site is accompanied by a set of suggested pairings. These are all personal selections (would that they could be automated!) and we’re often asked about our methodology for deciding what fonts go together. The truth is that these are intuitive choices: since we design all the fonts ourselves, we’re intimately familiar with their visual, functional, cultural and historical qualities, and just have a general sense of “what goes.” And yet there are al
Speaker: Amber Asay, Creative Director and Founder of award-winning design studio Nice People
Understanding what trends are happening and how they’re impacting the competitive landscape is crucial to providing top dollar design strategy to your clients. With so many trends coming and going, it can be overwhelming to determine which ones you should capitalize on and which ones might not be worth the trouble. In this exclusive webinar with Amber Asay, we’ll explore graphic design trends that need to die, trends that are starting to pick up and why, trends that have come and gone, and how t
We organize all of the trending information in your field so you don't have to. Join 66,000+ users and stay up to date on the latest articles your peers are reading.
You know about us, now we want to get to know you!
Let's personalize your content
Let's get even more personalized
We recognize your account from another site in our network, please click 'Send Email' below to continue with verifying your account and setting a password.
Let's personalize your content