Cowboy Henk joins in with the worldwide frenzy around Daft Punk’s resurrection. From this week’s Humo Magazine.

In today’s Mutts strip, Patrick McDonnell pays hommage to Dutch modernist painter Piet Mondrian. And while he’s at it, he has his characters get all meta about his own medium. Better than your average Sunday comic, if you ask me.

Mutts © 2013 Patrick McDonnell. All rights reserved. MUTTS is distributed by King Features Syndicate Inc.

The Clear Line tradition in the Low Lands seems to be saved. Peter Willems delivered this illustration for a recent special biking issue of the De Morgen daily, which clearly shows influence by Swarte en Meulen (and even a cameo by the latter).

Willems specializes in the creation of isometric information graphics. He mostly uses vector-based techniques, but also likes to sharpen his pencils once in a while. Check out his website for more amazing examples of his (licensable) artwork, and for a few peeks behind the curtain of his creation techniques.

To celebrate Mother’s Day, Chris Ware and the New Yorker came up with this all-mother family.  And just count on the people of the Internet to start bitching about the fact that the blonde mother looks too male…

Italian ad agency H-57 published the book Shortology, a collection of stories told in a minimum of images. Instead of using a lot of words or images to tell and retell the same story again and again, the creators aim at a format that allows you to tell a story in five seconds or less. It’s a constraint that elicits creativity, and the results are often quite funny, and never boring.

A recent series of additions to the cabal tries to retell popular movies in handy graphical overviews.

(via The Roosevelts)

Winter weather in the Lithuanian capital of Vilnius can be harsh (as for the rest of the country, I gather). Outdoor advertisers JC Decaux and agency New! wanted to give their public a little ray of hope and presented them with these neat little comic strips, focusing on the good things in life that would come back soon. The campaign proved to be so succesful that their colleagues in Luxemburg asked whether they could run it too.

The artwork was by Lina Vysniauskaite.

(via Ads of the World and I Believe In Advertising)

This beautiful and very atmospheric illustration by Adrian Tomine appeared  in the April 15, 2013 issue of The New Yorker. It accompanied a review of the new Terrence Malick film, To the Wonder.

Diversified holding company Loews wanted to be heard in the current investment news market as a sound opportunity for long-term returns.  They chose the form of a comic featuring Lotta Value, a corporate version of Lana Croft, flying, paragliding and lounging her way to the truth about Loews’ offerings.

I like it as an effort, and the semi-vintage art and coloring is not half bad, but overall it’s not really anything more than a spruced up PowerPoint presentation (albeit without an intro and a recap).

Oh, and before you decide to invest in Loews based on the comic (or the Ephemerist’s coverage of it), don’t forget that “you should read the annual, quarterly and other reports filed with the Securities and Exchange Commission by Loews Corporation and its subsidiaries, CNA Financial Corporation, Diamond Offshore Drilling, Inc., and Boardwalk Pipeline Partners, LP”

(via Mike)

(comic © David Lasky)

Luke Pearson seems to have grown beyond his fame as contributor to various Nobrow publications (not in the least his own Everything We Miss and Hildafolk comics).  Next week’s New Yorker magazine features a cover by his hand, which shows a slight departure from the style he’s been using this far, and positions him somewhere between Jordan Crane and Chris Ware.

I don’t think this is the last New Yorker contribution he’ll ever do.  Read what art editor Françoise Mouly has to say about it.

(Illustration © 2013 Condé Nast. All rights reserved)