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Hannah Davies for Conde Nast Traveller Magazine

This elaborate illustration piece by Hannah Davies was created for a story featured in the June/July issue of Conde Nast Traveller about sex and travel in Mumbai, India.

The artwork displays beautifully crafted lines, suggestive of architecture, mountains, the sun & the moon, and tactile pleasures.

Hannah is represented by Illustration (USA) Inc. See more of Hannah’s illustrations through her Directory of Illustration portfolio and at illustrationweb.us.

Yann Legendre for Star Wars 40th Anniversary

Lucasfilm commissioned Yann Legendre to illustrate 24 stickers in honor of the 40th anniversary of the Star Wars movie, A New Hope.

The stickers are available in the App Store for iMessage and come complete with all 24 illustrations featuring classic characters and lines from the film.

Yann is represented by Debut Art. See more of his through his Directory of Illustration portfolio and at debutart.com.

©Yann Legendre

©Yann Legendre

Eyewash for Mental Floss

Eyewash recently completed an assignment for Mental Floss, featuring five illustrations for an article on Clair Patterson, the scientist who determined the true age of the Earth, created the first “clean room”, and fought for decades to have lead eliminated from gasoline.

The illustrations depict moments from Patterson’s professional life: testing new automotive fuels, digging for core samples in the Artic, and scaling active volcanoes to collect air samples, among others.

Check out more work from Eyewash through his Directory of Illustration portfolio and at eyewashweb.com.

©Eyewash

©Eyewash

©Eyewash

©Eyewash

Dahl Taylor for Albany Convention Center

This post originally appeared on the Mendola Artists’ website.

“After two years of planning, Albany-based artist Dahl Taylor was finally able to attend the ribbon-cutting ceremony at the new Albany Convention Center, where he created wonderful murals that give a tour of the history of Albany and all of the things it has to offer.

The project included five themed murals in the main lobby focusing on the transportation, commerce, culture, history, and nature of Albany, as well as two additional panels: an impressive overview of Albany in the center’s entrance, and a mural at the top of the escalator which shows Albany’s path to a thriving state capital.

To further enhance visitors’ experience, the Albany County Convention & Visitors Bureau has created an interactive website to accompany the murals and provide additional information about the images.”

Dahl is represented by Mendola Artists. Browse his body of work through his Directory of Illustration portfolio and at mendolaart.com.

©Dahl Taylor

©Dahl Taylor

©Dahl Taylor

©Dahl Taylor

©Dahl Taylor

Stephanie Hans Creates Variant Cover for XMEN’s Jean Grey Comic Series

One of the main characters from the XMEN comics, Jean Grey, is receiving her own comic book series and Stephanie Hans assisted in creating one of the variant covers for the first book.

Stephanie is represented by Shannon Associates. Check out more of her work through her Directory of Illustration portfolio and at shannonassociates.com.

©Stephanie Hans

Oscar Wilson for The Village Voice

Oscar Wilson was commissioned by The Village Voice, America’s first alt newsweekly, to create a portrait of Donald Trump to accompany an article titled “Stop Making Sense”.

Oscar created the portrait using Trumps’ own words that were selected by the Voice’s editors.

Oscar is represented by Début Art. To view more of Oscar’s work, take a look at his Directory of Illustration portfolio and at debutart.com.

©Oscar Wilson

Jude Buffum x BMW 100th Anniversary

For its 100 anniversary, BMW commissioned Jude Buffum, along with several other artists, to create a piece of art visualizing where transportation might be in the next 100 years.

The volume, The Next 100, contains hundreds of beautiful photos and essays on the subject and each artist involved were asked to give their own predictions on the future of transportation.

The full text for Jude’s work reads:

” ‘If I were to speculate about what transportation will look like in the future, I would call it a mixture of the familiar and the fantastic,’ says Jude Buffum. Maybe the fuel that drives it would cost nothing, he adds. And maybe it would draw on various energy sources around us: hydrogen, wind power or solar energy. But what is paramount for this American artist is that it must be environmentally friendly. Perhaps, he muses, we don’t really need to be mobile at all and driving a car will be a nostalgic pastime. This exciting vision is illustrated by his work “No Turn on Red”. For, as he explains, while we are waiting for our atoms to reassemble themselves correctly after being beamed through the galaxy, we will have plenty of time to experience through video games what it was once like for our forebears to drive a car.”

Jude is represented by Mendola Artists. See more of his work through his Directory of Illustration portfolio and at mendolaart.com.

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Chris Edser for Nike

Chris Edser recently created various tiling illustrations for Nike (Jordan Brand) telling iconic stories from Michael Jordan’s career. Art directed by Daniel WhiteneckThe Last Shot and Poison (The infamous Flu game) are up as printed wallpapers in the change rooms of the new exclusive Jordan superstore in Hong Kong. You can read more about the store opening at this link.

Chris Edser is represented by the Illustration Room. See much more of his work at illustrationroom.com.au.

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Chris Edser for Nike

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Chris Edser for Nike

Chris-Edser-Poison-Jordan

Chris Edser for Nike

Chris-Edser-poison-changeroom

Chris Edser for Nike

Amy DeVoogd for the Wall Street Journal

Amy DeVoogd recently created a series of illustrations for the Ask Teri column of the Wall Street Journal. In the column, fashion reporter Teri Agins answers readers’ fashion and style questions.  Amy worked with Art Directors Ron Plyman and Pete Hausler for this project.

About Amy DeVoogd
Amy DeVoogd is an illustrator based in Chicago. Her illustrations have appeared in publications such as The New York Times, The Progressive, and the Wall Street Journal. Her advertising clients include Band London (IFPI Digital Music Report), Beardwood & Co. (Pfizer), and DeVito/Verdi (Daffy’s). Her last name is pronounced: deh-‘vogued (its Dutch). Amy is represented by Mendola Artists Representatives.

More work by Amy DeVoogd can be seen at mendolaart.com.

©Amy DeVoogd

©Amy DeVoogd

©Amy DeVoogd

©Amy DeVoogd

©Amy DeVoogd

©Amy DeVoogd

©Amy DeVoogd

©Amy DeVoogd

©Amy DeVoogd

©Amy DeVoogd

©Amy DeVoogd

©Amy DeVoogd

©Amy DeVoogd

©Amy DeVoogd

Spotlight on Peter McDonnell: Xicato Man Dazzles the Crowds at Lightfair 2015

Peter McDonnell was approached to design and create a powerful series of illustrations for Xicato’s innovative trade show booth after the client saw his work in the Directory of Illustration. His characters were also utilized in the company’s extensive social media campaign and in a printed comic book which was distributed to trade show visitors. Adored by the crowd, Xicato Man was a complete success and the booth received the Best of Show Award at Lightfair International, the world’s largest architectural and commercial lighting show which was held earlier this year at the Javits Center in New York.

The day when he first grabbed a crayon and scrawled it across a piece of paper to express himself, he had, unbeknownst to him, found his calling in life. Soon after his eyes could focus on the comics pages and the TV set, Peter found himself particularly drawn to the colors and design of comic art. He now specializes in classic pop-art comic-book style illustrations, caricatures and storyboards.

Peter’s early influences were George Herriman, Walt Kelly and Mort Drucker. He studied drawing and illustration at the California College of Arts and Crafts in Oakland, CA, and the Academy of Art College in San Francisco. He began free-lancing full time in 1985 and began working with his representative Linda de Moreta in 1988. Shortly after, he began collaborating with a wide variety of ad agencies, design firms and magazines to create finished illustrations and storyboards such as a Nestle campaign for Butterfinger candy bars which re-introduced The Simpsons as confectionery pitchmen. Today, Peter continues to work for a diverse assortment of clients locally, nationally and internationally. His client list includes The A & E Channel, Sports Illustrated for Kids, The Washington Post, Marvel Comics, Microsoft, Neiman Marcus, Rolling Stone, Sega and many others.

We had the pleasure of talking with Pete recently. Here’s what he had to say about his style, the Xicato project, and his dream job.

Peter McDonnell is represented by Linda de Moreta Represents. More of his work can be seen through his Directory of Illustration portfolio and at lindareps.com.

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How did you get your start as an illustrator and why did you choose to focus specifically on pop-art and comic-book style art?

I would say I got my start gradually. I was getting work as a caricature artist and cartoonist along with illustration and various storyboard jobs but I wasn’t really focused on the pop-art images until I sent my work around to several Bay Area reps and Linda de Moreta, my agent today, wanted to work with me. We discussed focusing on a style that would be more commercially viable because at the time I was doing mostly cartoon and satirical work. Pop-art became my stylistic statement, rather than having too many different styles. Today, when I do an illustration project for clients, they typically call for something in the classic comics or Roy Lichtenstein type of style.

You recently created a number of panels and artwork for Xicato’s trade show booth which were also used in a social media campaign and distributed as a printed comic book. How did the client find you and why do you think they wanted your specific style for this project?

The client saw my spread in the printed Directory of Illustration. I have a very strong background in character design and character development as well as the ability to create a very classic comic book look. They wanted to hire someone who could create a visual representation of their company as a character in a comic book and my portfolio has enough of that style that they thought I could help them create just the right characters and illustrations to tell their story.

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Tell us the concept behind the campaign and what kind of creative direction you were given.

The central idea for the project was to create a comic book based around the company, Xicato. The main character was to represent the company along with “villains” that would portray qualities of lighting that were subpar, to represent their competition. The project started with a set of character ideas that they had developed in-house. I was given general direction on what each character was going to be about, but they needed me to design the look for each one. They had originally wanted the main character, Xicato, to be a secret agent with a trench coat – something along the lines of James Bond – but the idea changed to have him be a superhero based on what I thought would work better with the storyline. For the villains, I came up with characters who had the qualities of bad lighting representing Xicato’s competitors- lights that would spread out too far, lightbulbs that would flicker, etc. Based off my designs they chose which characters worked best. I came up with the scripts that would be used for the panels on the booth. They also wanted their name, Xicato, to be created as a comic book style logo that would be put on the booth and on the comic book cover. The actual booth itself ended up becoming a theater with various displays. They also made two 3-D foam core comic book sound effects for the front display area of the booth.

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How many illustrations/panels did you end up making overall and how long did the project take to complete?

I created the Xicato logo, 9 panels for the booth, 3 interior illustrations and 2 sound effect comic book images that went on the front of their booth. I also did a cover for the Xicato comic book which was printed out and distributed at the trade show. The work took about 2 months from first sketches to finalizing everything.

Had you created art before on this massive scale before?

Not of this size! When I received the measurements they were about the size of my garage/converted studio. I’ve done billboards in the past, but nothing quite like this.

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What were the most challenging aspects of bringing this project to life?

Along with the very tight deadlines, it was very important that every illustration worked with the physical dimensions of the booths. There were two doorways, one in front and one in back. The front of the booth had a marquee that the art had to wrap around. There were also three-dimensional display cases in two of the panels. I worked with architectural renderings as it was important that everything fit really neatly.

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How was your working relationship with the client and what role did your representative, Linda de Moreta, play in the execution of the work?

The client was great, I really enjoyed working with them. They were just a lot of fun to work with and we had a great working relationship. Hats off to Linda for seamlessly managing the project every step of the way. She was closely involved with the entire process and made sure that everyone knew what everybody else needed, deadlines were met, everyone stayed happy, and everything ran smoothly. It couldn’t have been done without her!

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Do you have a dream job?

I would love to create a whole line of superheroes for the NFL, NBA, or MLB, along with a comic book story for each character.

Is there anything else we should know about Peter McDonnell?

I really like the process of getting involved in a creative project with other creative people. I love to help bring projects to life and to provide my imaginative input. I enjoy a collaborative process where you can get involved in making it all cohesive and great.