Journal

Five years ago Hodas embarked on a solo, self-assigned challenge to create one new 3D renders every day. His viral ‘Pop Culture Dystopia’ shows run­down concrete structures larger than life, defunct fossils in post-apocalyptic environments. The series became a viral social media sensation and created a space for him to develop the work further. The Prague-based artist discusses his work in more detail.

When music and art become intertwined, a formula that helps enhance human senses through powerful chemistry. A chasmic collision of emotions creates a deeper connection between music and art. Aaron Lowell Denton is the designer who has created the hypnotic work for Leon Bridges, Tame Impala, Shintaro Sakamoto, and Khruangbin.

While the resulting spaces are often fantastical in their settings, with a soft, utopian world view, Charlotte Taylor hopes one day to realize her designs. “My work is gradually moving towards actual spaces, blurring the line of what is rendered and what is existing. I envisage the spaces to become inhabitable architecture,” she explains. Walk into her wonderous digital environments and learn about her approach to collaboration.

"Print is still necessary. I can still appreciate some important values in print that digital doesn’t provide. Print means a reduced, physical space where you have the whole view of a story. It takes a different mental focus to proceed. The way we consume the news in print is complementary to digital," explains Javier Errea, one of the most renowned individuals in newspaper design.

Once hanging on the fringes of unusual pastimes, climbing has undergone a generational transformation—turning the sport into a cultural phenomenon. From small cults to Oscar-winning widespread popularity, the sport is now regarded as an Olympic sport. Julie Ellison, co-editor of Cliffhanger, discusses the sport's rise to the top.

"Libération’s most recognizable element is, without a doubt, its red diamond-shaped logo," but also its striking visual journalism and typography. Characterized by a very distinctive use of typeface from the start, we delve into how Javier Errea aimed to distance the newspaper from the dominant visual aesthetics of the time.