There’s a wonderful child-like quality to Hanke’s illustrations, not in the way they are illustrated or even the subject matter itself, but the way they feel free of the hardship of adulthood.

I found the work of New York-based photographer Daniel Anton in my usual way — the neverending clickthrough of links, likes, favorites, and various tags that bind the world of social media together. I was immediately struck by how natural his photographs were. His figures, all women, living as they do.

Filmmaker Wes Anderson’s 1998 film Rushmore is a minor epic. The film is a coming-of-age story for 15-year-old Max Fisher as well as the 50-something industrialist Herman Blume. At the center sits Max’s teacher Rosemary Cross, a beacon of peace weighed down by the death of her husband. In Rushmore, Anderson’s fervent whimsy is on display, a blown-out silliness that first showed itself in his debut film Bottle Rocket and has since become a hallmark of the Anderson universe that has become a genre unto itself.

Horeis keeps a consistent color palette throughout her portfolio, one of a sun-soaked haze of yellows, greens, and oranges. Her illustrations are organic — soft and elegant. Each final piece keeps the rawness of her linework, bringing to life surreal moments of quietude, singular fantasies bathed in her special brand of autumnal light. 

The animation of Adult Swim’s Rick and Morty is built around simple shapes and colors. It is as visually blunt as it is thematically nuanced.