Announcements!

Black Hill Press

BlackhillcoversI’m excited to share that the Series of covers I designed for Black Hill Press is now available!

I worked on covers for three new novellas: Renaissance Spook by Jason L. Pyrz, Skinny Blue by Nathan Pensky and 116 Days* With Dad by Cazzey Louis Cereghino

I will write a more thorough post soon, talking a bit about the process, but I wanted to share a link to the Black Hill site where the books are now available in e-book and paperback form.

 

 

 

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STL Hats!

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For better or worse I’m a hat person. For years I’ve wanted to produce my own hats and I’ve finally made it happen! These feature a unique STL monogram on a 100% wool hat from Ebbets Field Flannels. The hats are one size fits all with an real leather strap and are made in the USA.

Along with my buddy Andrew Warshauer I’ve set up a simple pre-order site here. they are selling for $40 during pre-order but that will increase once we have the full stock in hand. Take a look!

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Illustration West

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I was excited to hear that two of my pieces were accepted into the Society of Illustrators of Los Angeles Illustration West competition. My building cutaway for the National Humane Society Animal Sheltering Magazine was accepted into the editorial category and my National Portfolio Day poster for Washington University won a Bronze Award in the institutional category. Big thanks to all the judges!

 

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Howler

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Pleased to say that I’m going to be producing a weekly visual for Howler Magazine’s various print and web offereings. Howler is a new soccer magazine that is putting out one of the most beautiful print editions around with a focus on unusual longform stories about the beautiful game. As a lifelong fan it ‘s a dream job to be able to work on something soccer related each week. Check back for more!

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Float

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In the last few weeks I had the pleasure of working on a massive new banner that was just unveiled at the corner of State st and Adams on the Chicago Loop. The mural which is about 2500 sq feet depicts a surreal parade of aquatic animals winding it’s way through downtown Chicago. Commissioned by the Chicago Loop Alliance and art directed by the brilliant Tristan Hummel, this was an absolute honor to work on. I was amazed at how receptive the CLA was to my most out-there ideas. I really felt like the rug was going to be pulled out from under me at any moment but sure enough the final mural was officially unveiled this morning. I cant thank Tristan and the CLA enough for having the vision to make this happen and trusting me to produce it.

The announcement was covered by ABC7 news in Chicago here. Problem: tree obscuring part of the mural. Solution: BRING IN A HELICOPTER (!!!)

I also did a Q&A with the CLA discussing the production of the mural, a bit of my background and the value of public art. I’ve included that conversation below.
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Here at Chicago Loop Alliance, we have the privilege of frequently working with exceedingly talented, motivated, and creative young artists. Noah MacMillan, creator of our latest public art project, Float, is clearly no exception.

Float is now the largest mural in downtown Chicago, and can be seen wrapping around the Century Building on State and Adams from anywhere on the nearby streets. With the public announcement of the project this morning, we think it’s the right time for everyone to get to know Noah. So enjoy our Q&A below and meet the man behind the mural, Noah MacMillan.

Q: Noah, tell us about yourself. What’s your favorite thing to draw? What work from your past are you most proud of?

A: “I always have the most fun when I’m figuring out something that I’ve never drawn before but there are subjects that I always find myself coming back to. I love drawing animals, architecture, any kind of complicated machinery. I basically draw like a 12 year old boy with a slightly better understanding of composition and color.

One project that I’m particularly proud of was a collection of illustrated creation myths from around the world that I made for my final college project. I did a bunch of research and chose about 15 stories from all different cultures to draw. I learned a ton while working on that project about selecting the right moments to illustrate and really refined the techniques I’m using in my work now. The images wound up getting a bunch of attention online and were eventually published by Smithsonian magazine. (You can see a selection of them here).

Q: You’ve said before that Float was created completely digitally. Tell us a little about the process.

A: I think of my work process as about half digital and half old-school. I hardly touch a computer (except for finding reference images) all the way up until I’m ready for the final coloring. I do all of my concepting, sketching and drawing by hand with pens and paper and a lightbox. I find that computers get in the way of my thinking so I stay away from them until I’ve already made all the decisions.
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Q: Why work with that medium?

A: That’s just what I’ve come up with for making images in a predictable way on deadline that still have some looseness. It’s always changing and hopefully I’ll be doing things totally differently in a few years.

Q: You’ve previously described Float as “aquatic animals floating through a coral reef of Chicago” in a “surreal parade.” Beyond the beauty of the concept itself, why depict Chicago in this way? Is there something unique about Chicago that made you want to do this?

A: The incredible architecture all over the city was definitely something I was thinking about. The parade of sea creatures was actually an idea I’d had floating around (ha!) for a while but deciding to make it Chicago and include some specific buildings and existing public art pieces made it so much stronger.

Q: As you know, Float is located at a very busy intersection in the Loop. Thousands of people will walk by every day. How did the publicity of the piece affect the way you thought about the project?

A: The biggest difference in terms of thinking was trying to keep in mind that this thing would be viewed from 100 feet away. I looked at a lot of murals and graffiti to get a sense of how much detail looks good, what looks too empty and what sorts of details get lost at scale. The pressure of knowing how public it would be was great for me. It made me want to focus on making every element as good as it could be instead of focusing my energy on one part and letting the rest be secondary (the Octopus still kind of steals the show though). The only part that really stressed me out was when I’d make a tiny ink smudge or mistake and think: “well, that’s going to be 14 feet tall”, but that’s what photoshop is for.

Q: This mural enlivens a busy intersection by directly integrating the City of Chicago with the art world. As the artist of this project, what kind of value do you see in connecting the art world with the public in this way?

A: I love public art. One of the things that first got me excited about art was riding the DC Metro and seeing all the incredible graffiti along the red line. I always looked forward to that part of the ride. One of the main reasons that I gravitated toward illustration instead of gallery art is that I wanted to make things that would go out and live in the world. I totally believe that public art can make a city a better, richer place to live. I visited the mural last week and it was so much fun to be a fly on the wall and watch people react to this new piece of art in their neighborhood. Folks were stopping to look and taking pictures and I saw a little girl trying to identify all the different kinds of animals, which made my day.  I think Millennium Park is the ultimate example of how great public art can be. There are people all around the Bean enjoying it all the time. As an artist, I’d rather have that than have my work on the wall in a gallery or somebody’s house any day.

Q: Do you see a future in these kinds of projects in Chicago or other cities in the United States?

A: I hope so. Cities like Philadelphia and Baltimore have done a lot with adding murals particularly in neighborhoods that don’t always get enough attention. It is a really easy way to make a huge difference in how a space feels. Building a new park can take years and millions of dollars but a mural can go up over the weekend for almost no money. I think they can have a similar effect in making people proud and excited about their public spaces. From an urban planning perspective public art is a great value.

Q: Do you see yourself pursuing this kind of work in the future?

A: Yes! Totally! As much as possible. Call me for all your huge crazy mural needs.

Q: Anything else you want to say about the mural or the project in general?

A: Just thanks to the CLA for having the idea and choosing me to execute it! Seeing the mural in person last week was the most rewarding experience of my career so far. I’ve said it before but I think that my drawing this thing pales in comparison to the fact that you guys had the audacity to imagine this massive piece of public art and actually figured out how to make it happen. I’m totally grateful to have been a part of it.”

Thanks again to Noah for sharing his creativity with the Chicago public, and we hope to see more of him in the future!

 

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Store!

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Guys! i’ve finally put together a working online store over at Society6. Right now I only have a few prints available for sale but I would LOVE some feedback if there is anything you’ve seen here or on my website that you would like to see as a print, t-shirt, pillow,whatever. Society6 have a good reputation for producing good quality prints and being professional about the order processing shipping etc. Thanks! check it out HERE

 

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Smithsonian

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I got an exciting call a couple of months ago from Smithsonian Magazine who had seen my Creation Myths, done for my thesis a couple years ago, and wanted to publish them in their February issue! Each of their issues has a theme and this one was origins of all kinds. There is a little writeup along with one of the illustrations in the print issue and a feature with several more on their online edition here. Leah Binkovitz did an awesome job summarizing the myths they chose to feature. I was blown away to have my work featured in such a great publication. The issue is full of great stories about Komodo Dragons, Banksy (the Graffiti artist and one of my idols) , ancient Rome, and a story about a failed assassination attempt on Lincoln illustrated by the awesome Edward Kinsella. Go grab it on the Newsstands!

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Neighbors

These are a couple of neighbors i pass on my bike most days and have long had the urge to draw. The real reason for this post, though, is that I’ll be participating once again in STL ArtCrank! I’m flattered to be one of 30 artists, designers and badasses to make limited edition bike-themed prints, all in support of another neighbor, Bikeworks. Last year it was a great show and a great party, and this year should be even better. from the FB page:

Friday, May 11 – 5:00pm – 11:00pm
Saturday, May 12 – 2:00pm – Midnight
Sunday, May 13 – 5:00pm – 9:00pm

ARTCRANK returns to St. Louis as part of the 2012 edition of the Missouri Professional Cycling Series — May 11-13. Once again, we’ll stage the world’s greatest bike poster show in the friendly confines of Atomic Cowboy.

We’re teaming up with Widmer Brothers Brewing and Atomic Cowboy to support St. Louis BicycleWORKS, an organization that gives kids the chance to earn a free bike while they learn about bike safety and maintenance through their Earn-a-Bike program, which has provided inner-city kids with more than 10,000 bikes.

Saturday, May 12 is race day in The Grove Neighborhood, and we’ll be offering free bike parking (and tasty snacks) thanks to Clif Bar. Plan to stick around that night for Street Sprints and Cruiser Drag Races on Manchester, as well as a special DJ set by Jeremy Powers (a.k.a. J POW), champion pro racer with Jelly Belly Pro Cycling.

More at http://artcrank.com/stlouis

 

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