Inside this week’s issue of The New Yorker: https://t.co/4E5BIqmuXJ pic.twitter.com/VuRZwwm42g
— The New Yorker (@NewYorker) July 26, 2021
Tag Archives: Magazine Covers
Front Cover Views: The New Yorker (July 26, 2021)
Front Covers: New York Times Magazine (July 18)
Front Cover Views: ‘The Week’ – July 23, 2021
Views: Scientific American – May 2021 Issue Features
Architecture & Culture: Harvard Design Magazine ‘American Paradigm’ (2021)
The latest issue of Harvard Design Magazine reveals full redesign and new editorial model as it assesses the establishment, and reconsideration, of the paradigm of “America”.

Harvard Design Magazine 48: America marks a turning point for the magazine as the first issue under new editorial director Julie Cirelli, featuring Mark Lee and Florencia Rodriguez as guest editors. This issue also debuts a full redesign by Alexis Mark, the Copenhagen-based graphic design firm. Publishing this month, the issue gathers contributions from leading figures across the fields of architecture, design, urban planning, fashion, art, and governance, including Maurice Cox, Shaun Donovan, Michèle Lamy, Sylvia Lavin, and Marc Norman. Join Lee, Rodriguez, and Norman, alongside contributors Paul Andersen, Neeraj Bhatia, and Maite Borjabad Lòpez-Pastor, for a virtual launch event next Tuesday, March 23, 7:30pm ET.
Harvard Design Magazine 48: America reflects on the theme and definition of “America” through lenses of cultural production, racial justice, and architectural and design practice. In the 20th century, a paradigm of America characterized by progress, openness, and democracy was perpetuated—but with an ominous underbelly of exclusion, racism, and inequity left unexamined. While viewpoints on America’s story and history differ, if not reject one other, what is widely shared is a sense of 2020 as a breaking point—or, “a consciousness of an imminent existential threshold,” as write Lee and Rodriguez.
Illustrations: ‘The New Yorker Cover’ (1925-2020)

For The New Yorker’s ninety-sixth anniversary, Sergio García Sánchez draws the magazine’s trademark dandy, Eustace Tilley, masked and with a vaccine dose in hand. We also see scenes of pandemic life, and the contours of a city waiting to reëmerge.

“With masks, social distancing, and vaccines, we’ll slowly recover life in the city,” Sánchez told us. “The chance encounters with people of all cultures; the thrill of eating outside at any hour. The city is a container for so many stories, and soon they’ll be out in the open again.”
This is Sánchez’s début cover, but he isn’t the first to reimagine our mascot. When Rea Irvin, the magazine’s inaugural art editor, drew a Regency dandy for the first issue, in February, 1925, he likely wanted readers to laugh—this self-serious gentleman was a caricature of the dour, bourgeois old guard. A year later, to celebrate The New Yorker still being afloat, Irvin and the magazine’s editor, Harold Ross, decided to republish the cover, establishing an anniversary tradition that endures to this day. Tilley, of course, has changed with the times, and we’ve collected, below, a few of the ways in which artists have remade him.
Literary Arts: New Website Archives Work Of British Illustrator And Designer Peter Campbell (1937-2011)
The website is about the work of the designer, writer and illustrator Peter Campbell (1937‑2011). The intention is to present an archive of Peter’s illustration, design and editorial work, as well as occasional selections from his writing.

When asked what he did for a living, Peter would usually say he was a designer, or, a typographer. Designing for print – books, exhibition catalogues, magazines, posters –
took up the most substantial part of his time, at the BBC in the 1960s and 1970s and thereafter as a freelance. He was also an illustrator, a journalist, an author of children’s books, an editor and a publisher. The great range of his professional work, and his encompassing interest in the work of others, made him a collaborator sought out by writers, publishers and artists.
Diana Souhami, who worked with Peter often, wrote in the Guardian after his death: “He had the ability to conceptualise what each publishing project needed and to get it right. He was hugely and diversely productive, but seldom hit a wrong note.”
Discussing his journalism in her appreciation in the London Review, Mary‑Kay Wilmers wrote: “There are people whom getting a grip doesn’t suit, who don’t want to be confined. One can honour the world in depth or across a wide range and there were few aspects of the world that Peter didn’t wish to honour.”
He probably would have been delighted by – and certainly modestly sceptical of – Alan Bennett’s appraisal, in the posthumous publication of a catalogue of his pictures in Artwork, that he was “an heir to Ardizzone, Bawden and Ravilious.”
Peter Campbell was born in Wellington, New Zealand in 1937. In 1960 he emigrated to London where he lived for the rest of his life. He died in 2011.
Magazines: “The New Yorker” – 95 Years Of Excellence, And “Eustace Tilley” Covers (1925 – 2020)
In February, 1925, Rea Irvin, The New Yorker’s first art editor, designed the cover of the magazine’s inaugural issue. That cover’s central character, a dandy peering at a butterfly through a monocle, would come to be known as Eustace Tilley, and he has graced the cover of the magazine nearly every February in the ninety-five years since. This is all a matter of historical record—but Barry Blitt, in this year’s Anniversary Issue, tells a different origin story. We recently talked to Blitt about drawing a familiar face.
You’ve drawn many a Eustace Tilley. Is there something pleasing about revisiting familiar forms?
Well, certain familiar forms are probably traumatic to revisit, but Tilley is a joy to draw repeatedly. All the hard work has been done for you—it’s a beautifully designed image. Hard to make a mess of those shapes and colors, though I give it the old college try.
Culture & Politics: “2019 – A Year In Review” (Time)



