“To me, being a visual activist means I only illustrate stories that resonate with me deeply, by giving voice to minorities or social situations that need to be addressed,” says Fatinha Ramos. “It is the only way I can truly connect with others.”
Based in Antwerp, the Portuguese artist and illustrator is well-known for blending analog and digital techniques to create rich, emotive compositions. Collaborating with clients like The New York Times, The Washington Post, Tate, and Scientific Am
“To me, being a visual activist means I only illustrate stories that resonate with me deeply, by giving voice to minorities or social situations that need to be addressed,” says Fatinha Ramos. “It is the only way I can truly connect with others.”
Based in Antwerp, the Portuguese artist and illustrator is well-known for blending analog and digital techniques to create rich, emotive compositions. Collaborating with clients like The New York Times, The Washington Post, Tate, and Scientific American, among many others, Ramos has cultivated a keen eye for storytelling through her distinctive visual language.
Recent partnerships include the Anne Frank Museum and MoMA, the latter of which commissioned the artist to illustrate an essay on her experience being compared to Frida Kahlo. Ramos was born with osteogenesis imperfecta, commonly called brittle bone disease, which spurred a childhood spent in and out of hospitals. Drawing and art-making quickly became a preferred pastime, allowing her to transport herself from such clinical settings.
This adolescent hobby stuck, and Ramos worked as an art director in advertising and publishing for 12 years before venturing out on her own. Boasting an impressive list of clients and collaborators, she considers her practice to be an antidote to stereotypical narratives, whether related to the climate crisis, sexism, racism, or the dire lack of empathy that seems rampant in today’s world.
“I want to move away from the narrative that turns artists with disabilities into symbols of resilience,” she tells MoMA. “Creativity does not happen despite limitations but through them. Art should broaden how we see the world—and that includes how we see bodies, too.”
At the moment, Ramos is only accepting select illustration clients as she focuses on her fine art practice, including a series of anatomical glass sculptures based on brittle bone disease. You can explore more of her practice on her website and Instagram.
Steve Bell, one of Britain’s foremost cartoonists, has spent over four decades satirising the Royal Family and public figures with his sharp wit and exaggerated portrayals, sparing no one—not even Charles III. Our latest exhibition, The Windsor Tapestry (open until 20 March), features Bell’s 28-meter tapestry inspired by the Bayeux Tapestry. Comprising 98 cartoons chronicling Charles III’s life from 1980 to 2023, it weaves a dual narrative: the modern monarchy through Charles’s lens and the crea
Steve Bell, one of Britain’s foremost cartoonists, has spent over four decades satirising the Royal Family and public figures with his sharp wit and exaggerated portrayals, sparing no one—not even Charles III. Our latest exhibition, The Windsor Tapestry (open until 20 March), features Bell’s 28-meter tapestry inspired by the Bayeux Tapestry. Comprising 98 cartoons chronicling Charles III’s life from 1980 to 2023, it weaves a dual narrative: the modern monarchy through Charles’s lens and the creative evolution of a cartoonist dedicated to holding power to account.
The exhibition also explores Bell’s other critiques of figures, such as Margaret Thatcher, John Major, and Tony Blair, and offers a glimpse into his creative process. How does he bring his ideas to life, and what inspires his sharp, fearless style? We spoke to Bell to uncover a few more secrets behind his work.
Steve Bell Steve Bell (born 1951) is one of the most revered figures in British cartooning. With a career spanning over 40 years, he is best known for his If… comic strip in The Guardian (1981-2021). He also has been one of the trustees of the Cartoon Museum for over 20 years and curated the ‘Drawing Life’, the display of the museum’s permanent collection in the main gallery of the new Wells Street site.
How long do you let a sketch evolve before you think “This is it”? Sketches tend to evolve as you’re doing them, and you have to try things out to see if they work. I came up with the Boris-as-an-arse thing in 2014 while he was still Mayor of London and I drew him as a tube train coming out of a tunnel, but I didn’t start using it regularly until five years later in 2019, just before he became Prime Minister. My caricature of him was pretty rudimentary anyway, dominated by the mop of blonde hair. Drawing him as an arse seemed to work very well after that and it saved a lot of time as it was so quick and simple when I had to draw him more frequently.
Steve Bell, “Effocracy,” The Guardian (January 2021). Image courtesy of the artist and the Cartoon Museum, London.
How do you capture ideas when they pop up unexpectedly? Ideas come in all sorts of ways and in all sorts of places, but usually as a result of thinking hard about what I’m trying to say. The trick is to see when something might work, and strip cartoons depend on ideas being recognisable, simple and repeatable. I always found it helpful to go to party conferences and soak it all up, take pictures and make sketches which were/are very useful later.
Portrait of Margaret Thatcher (black felt pen), Steve Bell
How do you keep track of daily topics, political events, or current affairs that you might want to use as subjects later? I keep track of politics by following the news and reading the papers avidly, which obviously I do less these days. I used to have Radio 4 on from 6am onwards, except when I actually had to sit down and think of something, in which case I find that most background chat and music gets in the way of thinking. When I’ve finally cracked how I’m going to do something, the Radio, or music, or, these days, an audiobook or whatever, can come back on while I get on with the finished drawing. If an idea comes unexpectedly I try to note it down in a sketchbook, or at the very least make a strong mental note so it doesn’t disappear forever.
Are there any new characters or subjects you want to portray now? I keep track of politics by following the news and reading the papers avidly, which obviously I do less these days. I used to have Radio 4 on from 6am onwards, except when I actually had to sit down and think of something, in which case I find that most background chat and music gets in the way of thinking. When I’ve finally cracked how I’m going to do something, the Radio, or music, or, these days, an audiobook or whatever, can come back on while I get on with the finished drawing. If an idea comes unexpectedly I try to note it down in a sketchbook, or at the very least make a strong mental note so it doesn’t disappear forever.
Steve Bell
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Cartoonists carefully craft striking, consistent imagery to make figures instantly recognisable and memorable. These creations go beyond humour, shaping public opinion, influencing politics, and leaving a lasting mark on our everyday life. We invite you to explore the artistry of Steve Bell and the profound impact of caricature at this exhibition.
Our current exhibition, The Windsor Tapestry (open until 27 March), features Bell’s cartoons spread sequentially across a 28-meter printed fabric tapestry, inspired by the Bayeux Tapestry.
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This Saturday, June 6 at 2:00 PM SLT, a techno set from DJ Plastics and hypnotic techno from DJ Kastor, an experience you could only call divine.
Leave your binary body behind and dissolve into the mesh that wraps around us all at VICE Nights Club. We'll be waiting for you on the dance floor!@ maps.secondlife.com/secondlife/Quesada/47/44/3873
₳lexandre ️ De Cyriac aka Joker Melodie posted a photo:
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Grainy textures and gestural lines characterize the lush compositions of Tania Yakunova. Collaborating with a range of commercial and editorial clients, the Kyiv-born illustrator harnesses the visual impact of bold shapes and vibrant color palettes to convey brand narratives and inexpressible feelings. Bare feet planted in dandelion-strewn grass and a greenhouse-style figure housing flowers attempting to burst from the glass cages, for example, conjure Yakunova’s homesickness, since she left
Grainy textures and gestural lines characterize the lush compositions of Tania Yakunova. Collaborating with a range of commercial and editorial clients, the Kyiv-born illustrator harnesses the visual impact of bold shapes and vibrant color palettes to convey brand narratives and inexpressible feelings. Bare feet planted in dandelion-strewn grass and a greenhouse-style figure housing flowers attempting to burst from the glass cages, for example, conjure Yakunova’s homesickness, since she left her native Ukraine for London in 2023.
The artist’s distinct expressions translate across mediums, whether working in hand-built ceramic sculpture, painting, or digital and graphite illustration. Keep an eye out for new print releases and her latest projects on Instagram.
“I'm not even sure I have an imagination anymore,” Toor says. “Or maybe my process of imagining became fully visual: I need to draw and see things in order to imagine new things. Things happen on the canvas and not in my head so much. It's really important for me to stay surprised. I don't see much point in making anything that I can predict..." Read the full article on Ori Tor by clicking above.
The post Deciphering the “Gibberish Drawings” of Ori Toor first appeared on Hi-Fructose Magazine.
“I'm not even sure I have an imagination anymore,” Toor says. “Or maybe my process of imagining became fully visual: I need to draw and see things in order to imagine new things. Things happen on the canvas and not in my head so much. It's really important for me to stay surprised. I don't see much point in making anything that I can predict..." Read the full article on Ori Tor by clicking above.
Living in a high-rise apartment or a house with a small yard comes with the disadvantage of not having access to garden space. Fortunately, fine wallpaper manufacturer Astek has a way to bring beautiful blooms indoors. The company’s collection of dreamy floral mural designs called Eterna Nouveau reinterprets the Art Nouveau movement of the early 20th century, which historically flourished in Europe and emphasized nature-inspired motifs like flowers and birds.
Eterna Nouveau’s arching, sinu
Living in a high-rise apartment or a house with a small yard comes with the disadvantage of not having access to garden space. Fortunately, fine wallpaper manufacturer Astek has a way to bring beautiful blooms indoors. The company’s collection of dreamy floral mural designs called Eterna Nouveau reinterprets the Art Nouveau movement of the early 20th century, which historically flourished in Europe and emphasized nature-inspired motifs like flowers and birds.
Eterna Nouveau’s arching, sinuous stems and leaves nod to its namesake style’s characteristic “whiplash” lines. “Aquavita,” for example, features lilies and other water plants and illustrates life both above and below the surface. And “Carnivoria” celebrates more unusual plants, like Venus flytraps. A variety of colorways emphasizes the designs’ bold forms and delicate metallic outlines.
The motifs were first created by hand, then digitized so that they can be sized up or down to fit custom spaces. Printed to order, the colors and shapes can even be customized for special projects. See more on Astek’s Instagram.
The Daily Cartoonist wishes the wonderful cartoonist and caricaturist Gerald Scarfe a happy 90th birthday! Artist Gerald Scarfe, born on June 1, 1936, joins our Senior Strippers Club.From the Gerald Scarfe homepage: Born in London in 1936, Gerald’s career has spanned more than 60 years. He established himself as a satirical cartoonist working for Punch […]
The Daily Cartoonist wishes the wonderful cartoonist and caricaturist Gerald Scarfe a happy 90th birthday! Artist Gerald Scarfe, born on June 1, 1936, joins our Senior Strippers Club.From the Gerald Scarfe homepage: Born in London in 1936, Gerald’s career has spanned more than 60 years. He established himself as a satirical cartoonist working for Punch […]
In folklore, twilight is often interpreted as a liminal, even magical time during which spirits emerge in the transition between light and dark. It’s sometimes even seen as a period when extra caution is advised, as will-o’-the-wisps, shapeshifters, and fae may try to influence people in their path. For artist Nicholas Moegly, nightfall sets the scene for neighborhoods and quiet streets in which curious creatures roam, and lights flicker on in houses, signaling the end of the day.
Many of
In folklore, twilight is often interpreted as a liminal, even magical time during which spirits emerge in the transition between light and dark. It’s sometimes even seen as a period when extra caution is advised, as will-o’-the-wisps, shapeshifters, and fae may try to influence people in their path. For artist Nicholas Moegly, nightfall sets the scene for neighborhoods and quiet streets in which curious creatures roam, and lights flicker on in houses, signaling the end of the day.
Many of Moegly’s works possess a dreamy realism along the lines of photographer Todd Hido’s Houses at Night or the illustrations of children’s book author Chris Van Allsburg. There is both a timelessness and a sense that these locations could represent virtually anywhere around the U.S. Sometimes, deer and foxes meander through yards or down alleyways, glancing backward as if responding to a sound. In other compositions, lights shine from upper windows of a house or shop on a hazy street corner, although people are nowhere to be seen.
“A Suspended State”
Moegly is currently in the midst of the largest oil painting he’s made thus far, experimenting with the relationship between scale and realism in a way that’s challenging his artistic direction. He’s also working toward future exhibitions, transitioning from online releases to more in-person shows. See more on his Instagram.
“A Summer’s End”“A Constant Search”“Whestel”“An Old Friend”“An Inevitable Fate”“Eastwood”
Home to some of London’s most iconic landmarks, the City of Westminster sees around 25 million of tourists every year. Add that number to residents and professionals who transit through central London daily, and we’re talking lots of people using the Underground, a.k.a. the Tube. Fortunately for travelers, eight stations are getting restroom upgrades with a big assist from Hugh Broughton Architects.
When the Victorians established the first underground train network in the mid-to-late 1800
Home to some of London’s most iconic landmarks, the City of Westminster sees around 25 million of tourists every year. Add that number to residents and professionals who transit through central London daily, and we’re talking lots of people using the Underground, a.k.a. the Tube. Fortunately for travelers, eight stations are getting restroom upgrades with a big assist from Hugh Broughton Architects.
When the Victorians established the first underground train network in the mid-to-late 1800s, they incorporated arched details and tile work that is preserved today, often augmented with contemporary nods to the city’s history and culture. Opened in 1863 along the Metropolitan Line, Baker Street is one of the oldest stations. In a design convention seen throughout the Underground, decorated tiles added later feature a silhouette of Sherlock Holmes—a tribute to the character’s fictional address on the station’s titular street.
Tile designs are richly embedded throughout the system. An architect named Leslie Green is known for a slew of deep red tile facades on more than a dozen central stations. Some interiors are covered practically top to bottom with the material, with the location names and “Way Out” signs made entirely from ceramic. Bethnal Green station features fantastic relief tiles of London icons, and a few years ago, a design student named Jeffrey Miller even repurposed the Tube’s own waste into Art Nouveau-style tiles modeled on historic versions.
Hugh Broughton Architects’ redesign continues this tradition, but it also serves the practical purpose of making these spaces safer, more inclusive, and more accessible. “There is a clear demand for public toilets across London, and many councils struggle with the costs surrounding maintenance and issues around antisocial behaviour,” says a statement. “To address this issue, the council is creating a series of inclusive facilities that demonstrate high-quality design and enshrine as much civic pride as the Victorians displayed when they first started looking at a proper sanitation system for the general public in the 19th century.”
The facilities at Victoria Embankment, Parliament Street, Piccadilly Circus, Green Park, Carnaby Street, Westminster Pier, Covent Garden, and Leicester Square are all getting vibrant makeovers. The tiles incorporate designs by artist and illustrator James Lambert, who interprets the distinctive character of each location through historical motifs and iconography. Among numerous playful references, you’ll find patterns consisting of the King’s Guards in their iconically tall, black, furry helmets and a tribute to George John Vulliamy’s giant sphinxes that guard Cleopatra’s Needle on the Embankment.
The restrooms are being refurbished in succession. Victoria Street opened in February 2025, followed by Parliament Street, and now Piccadilly Circus and Green Park. The next will be Carnaby Street and Westminster Bridge. Follow updates on the firm’s Instagram.
Sour Grapes is new at GoComics, sour grapes is an old story with newspapers, The Singh Brotherhood vexes the olde and the new Phantom, Henry Barajas presents good trouble, bad trouble for Scott Adams and revolutionary trouble with Sam Adams, MAD memories with John Ficarra and Gerry Gersten, and Keith Knight about That One Black […]
Sour Grapes is new at GoComics, sour grapes is an old story with newspapers, The Singh Brotherhood vexes the olde and the new Phantom, Henry Barajas presents good trouble, bad trouble for Scott Adams and revolutionary trouble with Sam Adams, MAD memories with John Ficarra and Gerry Gersten, and Keith Knight about That One Black […]
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