Sergio García Sánchez’s “On the Same Page”

The artist discusses motion, stillness, and his love of libraries.

For the Love of Comics: Bill Griffith Takes On the Iconic Nancy

The cartoonist discusses the subtle brilliance behind the comic strip, and the meditative experience of reading it.

Jane Rosenberg’s “Courtroom Sketch, Manhattan Criminal Courthouse”

Truth is stranger than fiction: for the first time in its long history, The New Yorker is publishing a courtroom sketch on the cover.

Sammy Harkham’s Unbleached Perspective on an Oft-Maligned Medium

In “Blood of the Virgin,” the cartoonist chronicles the spectrum of surprises that his protagonist encounters at home and on set in Hollywood of the nineteen-seventies.

Sergio García Sánchez’s “Pulling Ahead”

The artist discusses capturing movement, creation as a collaborative endeavor, and the ways that visual communication can transcend eras.

Remembering Ian Falconer, the New Yorker Artist and Author of the “Olivia” Books

Falconer won a Caldecott medal in 2001 and contributed more than thirty New Yorker covers.

Diana Ejaita’s “Cultivated”

The artist discusses the spaces in which creative work can flourish.

Edward Steed’s “Curiosities”

The artist discusses the eerie side of human imagination.

John W. Tomac’s “New Tricks”

The artist reimagines our dandy mascot as a man-about-town’s best friend.

Malika Favre’s “Connected”

The artist discusses seeking inspiration from her surroundings and experiencing new ways of living.

Christoph Niemann’s “Highway and Byways”

The artist discusses serendipity in the studio and on the slopes.

Pascal Campion’s “Daybreak”

The artist discusses creativity, solitude, and certain slants of light.