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Tania Yakunova’s Social Sampler for 5280 Magazine

Yakunova packs a city’s worth of social activities into one image for 5280’s guide to Denver’s best gathering spots
How do you illustrate a list? 5280’s feature on Denver’s 36 best “third places” poses the problem at scale. Tania Yakunova’s answer is in the structure of the composition. She builds a grid, then lifts one woman out of it entirely, positioning her as a guide threading us from vignette to vignette.
Min Heo’s Wired Kingdom for The New Yorker

For a film review about transferring consciousness into robot animals, Heo ditches Pixar’s CG polish and draws every creature like it might vibrate off the page
Heo’s composition splits along a fallen log that works as a species boundary. A pink wire loops out of a beaver’s consciousness-transfer helmet and spirals across the entire image before disappearing into a hollow log, where a wide-eyed girl peers out. It’s the technology that drives “Hoppers” rendered as a visual device holding together an image that wants to fly apart.

Nate Sweitzer Paints Lucinda Williams For Rolling Stone
A double-exposure portrait folds a Southern main street into the singer-songwriter’s silhouette for her 16th album about dark days.
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The Fortune Teller’s Tip
Thick outlines and hot colors give this Economist illustration a conspiratorial energy
Calvin Sprague’s Second Sight

What to do when your glasses need glasses
AI goggles sit on top of the figure’s own glasses, not replacing them but depending on them. It’s a visual equation where the high-tech instrument is useless without the low-tech one beneath it.
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