NOVUM article in the best design magazine from Germany

Novum is the number one Graphic Design magazine in Germany.

The German design mag published a 4 pages article on my artworks and my background. Here is a translation of the original text from German to English.
Thank you Novum magazine for the nice article about me and my work as an artist.

Novum magazine

Especially when it comes to designers, it is important to stand out and to develop an individual style.
Easier said than done. Mega is an autodidact illustrator who stands out from the french design scene in his individual way.

drift racing car

Follow your own line is the political and social message you can sense in Mega’s work. The artist has this a certain rebellious and individual attitude. Mega grew up in a boring town in the southwest of France. At the time he spent most of his time with graffiti friends. Under the name of Middle Classes, the kids rebelled against existing norms and stereotypes, but their criticism was not about politic. They challenged the graffiti movement itself, despising B-Boy characters and Wild Style letters. I think I hated graffiti more than I loved it, Mega says today. Mega was influenced by the 3-D scene from Germany and Switzerland. He found more inspiration in graphic design rather than in traditional graffiti magazines. After a couple of years the illustrator moved forward and taught himself how to computer softwares and graphic programs. Eventually he moved to Paris and launched his own fanzines and became an art direction for various design publications.

Sergeant Paper gallery for Novum magazine

I tend to be really focussed when I work on my artworks. For this one I was at Sergeant Paper gallery in Paris.

After various jobs as a graphic designer and art director, Mega decided to work as a freelance illustrator. He worked mainly for record labels, magazines and fashion labels. He kept the name Mega, a name with different levels of interpretation. I have a weird sense of humor, says the artist, and find the name Mega to be funny, because it sounds so pretentious. Mega fly effortlessly from drawings to graffiti to vector graphics or typography. The multi-talented artist may be the product of a generation exposed to visual cultures from a very young age. Punk and hip hop influences are mixed with pixel visuals visual and glitter advertising. Mega mixes and resample his influences like a music producer. Urban culture meets mainstream and is interpreted in a unique way, a way that allow him to reach the audience of all the design scenes.

illustration of a philippine girl

History of gang culture in America

The history of gang culture in America:

A four pages article for the ‘Red’ issue of WAD magazine.
The great photographer Estevan Oriol liked it and gave me some of his photo to illustrate it!
Learn more about the history of gang culture in the USA.
Do you know how the battle between the Crips and The Bloods first started?

We could hardly deal with the theme of ‘Red’ in urban culture without going to Los Angeles. It may be the City of Angels and all possibilities, but Los Angeles is also the cradle of gang culture and bloody shoot-outs. You know the cliché: the Bloods dressed in red protect their neighbourhood and head off around town to find some Crips to gun down. But behind the bandanas and clinking bling-bling hides a social phenomenon that finds its origins in the very roots of American culture.


The story began in the 1920s when less than scrupulous landlords invented racial restrictions aimed at stopping African-Americans from living in Los Angeles’ traditionally white neighbourhoods. With the help of some reactionary laws, the landlords stopped all possibility of different communities mixing, and contributed to the reinforcement of a ghetto feeling among the population. Over the years, this segregation established until, by the 1940s, it was a social reality. Racial conflict grew at the same speed as the growth of the ghettos on the east of the city and with more and more people arriving, the neighbourhoods (whose geographic limits were strictly contained) were soon overcrowded. Despite this, the white community continued its firm, overtly racist stance on territorial claims and continued its opposition to the creation of new mixed-race neighbourhoods. The feelings of hate and fear grew to the point that the Ku Klux Klan, which had all but disappeared 20 years earlier, was reborn. Some of the young white population banded together to create “street groups”, small groups whose stated aim was to fight any attempt at integration. Spook Hunters, for example, was a genuine neo-fascist militia beating up blacks who dared to adventure out beyond the perimeters of their allotted urban space. In reaction to this persecution, the first black street groups appeared with names like Devil Hunters, dedicated to protecting themselves from attacks. As black groups sprang up, the white population gradually began to leave the centre of the city, attracted by the expansion of the new suburbs. The neighbourhoods of Watts, Central Avenue and West Adams emptied out and became the cradle of new African-American gangs.
The 1960s saw the first black-on-black conflict. Black groups from different parts of Los Angeles began to face each other down under the cover of claims to different territory. The brawls between eastern and western neighbourhoods became common; the fights were mainly hand-to-hand (even if knives were used occasionally) and murders were rare. The main aim was each neighbourhood gang’s desire to prove to the other group the supremacy of its neighbourhood, while winning the respect of the old-timers.


Overcrowding wasn’t the only reason for the overriding feelings of distress. The misery of daily life was added to by an oppressive police presence. Police brutality insidiously reinforced the social pressure and feelings of persecution already growing within the population. The tension was already at a peak when in 1965 the violent arrest of a black driver lit the touch paper… and Watts exploded. The ensuing rebellion and series of violent riots lasted a week, with around 10,000 people taking part in the protest movement. The police were only able to restore order after 34 people had been killed and over 1,000 wounded. Yet it was in the ashes of this social upheaval that the consciences of a people in crisis were awoken. Influenced by the ideology of the Black Panthers and the US Organization, street gangs became radically politicized. The initial aim of the gangs, which over time had become blurred, was brought sharply back into focus through the spreading neo-Marxist message of Black Nationalist militants. Up until that moment, the battle had been a physical one (a defence of the neighbourhood from attack), but post-Watts it became a political battle to defend the neighbourhoods from the attempts at government subjugation. When black extremist organizations threatened to become some of the most important socio-political forces in the country, the police and the government began its attempts to thwart their irresistible rise. The powers-that-be created new paramilitary units (SWAT teams) to combat more efficiently any risk of future riots. The head of the FBI, J. Edgar Hoover ordered his agents to try all possible methods to create splits between the different parties. The FBI and CIA reproduced the plan dreamed up to fight Communism: set up a propaganda campaign portraying the political movement as ‘dangerous’ for the general population. This witch-hunt kindled divisions between the Black Panthers and the US Organization, the two main parties. By the early 1970s, the murder of one of the leaders of the Black Panthers, blamed by the police on the US Organization, can be seen as the beginning of the end of black political groups’ influence in Los Angeles.

estevan oriol

Photo by Estevan Oriol


The end of the 1960s saw the arrival of a new generation, one that had witnessed the height of the Black Panthers’ power and then watched in silence as it agonisingly collapsed. A whole generation marked by people they saw as social role models. They may have been too young to have taken in the political message, but they remained heavily influenced by the movement’s spirit of protest and fascinated by the party’s dress codes. And it was this attraction to the Panthers’ famous black leather jackets that was at the origin of the creation of the biggest gang in history. In 1969, Raymond Washington, a 15-year-old school kid, gathered together a few of his neighbourhood friends and founded the Baby Avenues, also known as the Baby Cribs. The gang’s original idea was to keep the revolutionary message alive and to protect the neighbourhood’s residents, but their interest quickly turned to more illicit activities. A look was central to the group and its identification with the Black Panthers pushed the members to sport black leather jackets. The gang dedicated itself to looking out for the famous jackets, attacking anyone wearing one and then stealing it. These attacks marked a turning point in Los Angeles’ criminal history when gangs went from fighting themselves to attacking the general population. The media were quick to jump on the gang’s criminal activities, in the process creating a certain aura that had an impact on the city’s young population. There has never been a clear explanation of the Crips name but one is that a local newspaper’s wrote Crips instead of Cribs and the typo stuck. Whatever the reason, from 1972 the gang became known as the Crips. The gang’s image was developed and honed. Between robberies and break-ins, the members paraded around in their jackets, carrying walking sticks and wearing earrings in their right ears. The ‘uniform’, aimed at bringing together the increasing membership, was then borrowed by various political/Mafia-like gangs in Chicago (such as the Disciples and Folk Nation). The increasing violence continued and it didn’t take long for the first murder to be committed: a 16 year old beaten to death for his leather jacket. The media coverage of the event did nothing to dissuade people from joining the Crips or creating their own gang. The phenomenon spread like wildfire, giving a population that had so often been marginalized a way of taking centre stage and finding an identity. At the end of 1972, there were more than 20 gangs and no fewer than 30 murders had been attributed to them. Due to their numerical superiority, the Crips terrorized the other gangs without fear of retribution. The Piru Street Boys decided to unite a number of gangs to create a solid anti-Crips union and protect themselves from the constant intimidation. The Bloods was born and the battle could begin.


As time went by, the clothing rules of the two sides were established. They allowed the two gangs to affirm their unity and played a major role in the construction of their identity. In opposition to the Crips, who adopted the colour blue and wore their accessories on their right side, the Bloods dressed in red and wore their earrings and jewellery on the left. In prison, where uniforms made colour recognition impossible, members pulled up the trouser leg on the side that matched their gang affiliation. This practice was adopted in the street and even took in baseball caps (the peak was either worn turned to the left or right). The English brand British Knights saw its sales figures explode when the Crips decided to adopt its shoes, less for their looks than the significance of the logo: BK suddenly stood for Blood Killers. The Bloods responded by choosing Calvin Klein with the CK logo standing for Crips Killers. Affiliated with Chicago’s Muslim-influenced Almighty Black P. Stone Nation, the Bloods kept that group’s religious imagery and used the five-pointed star of Islam as their emblem. Over time, the red and blue colours were integrated into the tiniest details: bracelets, fat laces, socks, belts, rings, badges, bandannas, and so on. Some members even went as far as dying the inside of their pockets, which could be easily hidden should the police roll up. The two sides also wore Dickies and Ben Davis khakis, as well as flannel Pendleton shirts.


The foundations for modern gangs were laid in the 1980s. As an omen of the escalating violence that was soon to arrive, Raymond Washington, the Crips’ founder, was assassinated in 1979. From that moment on, no fight between the gangs could be settled without a bloody shoot-out. Gang territory moved out of its original inner-city ghettos, first across Los Angeles, then into many of the US’s larger cities. The savagery also grew exponentially and between 1980 and 1995, Los Angeles saw the creation of 150 new gangs, for the most part affiliated with either the Bloods or the Crips. The epidemic continues to spread to this day, reinforced by the catalysts of a number of cultural and social phenomena. Over the last 25 years, unemployment has continued to rise, generating in an already fragilized population a sense of bitterness and despair that sees no possible way out of its lack of prospects. In a more insidious way, cinema and music have contributed to spread the movement’s seductive image. The success in the early 1990s of gangsta rap and films such as ‘Boyz n the Hood’ and ‘Menace II Society’ (even if these films are far from rallying calls to the gangs) contributed to the popularization of the image of the gangsta in American society.
Today, the situation seems to be delicately balanced. With 400 gangs and around 50,000 members, the future of Los Angeles could be bloody. For the moment, while the number of gang members continues to rise, the murder rate has stabilized. The gangs’ aspirations for revolutionary change seem to have been definitively consigned to the past and it can be seen as a shame that the ghetto imagery has too often overshadowed political ideals. The gangsta has become a representation of a spectacular side of American folklore. The gangsta is now an icon, but one whose image is more useful in oiling the wheels of capitalism than fighting the problems of segregation and poverty that brought it into existence in the first place.

Mega article

Concept magazine wrote a huge article in Indonesian about me

Warrior bertopeng si “bule ndeso”
“Masked warrior from the village’s gringo.” Huge article in the biggest graphic design magazine magazine in Indonesia. I love Indonesia, I love Concept magazine, and this is one of the best article I ever had. So if you can’t understand I feel sorry for you, because you should learn this beautiful language…

Sosok lelaki bertopeng menggunakan sweater dan membawa tompak nampak mendominasi karya-karya Mega. Kadang kesatria ini nampak membawa pisau atau terlihat mimiliki tanduk yang panjang, Sepintas lalu, karakter warrior ini mirip seperti Aborigin, sementara di karya lain terlihat seperti Indian Maya. Namun Mega, sang pencipta karakter ini, mengaku kesatria tersebut bukanlah gambaran dari suku mana pun. “Itu berasal dari dalam diri saya sendiri. Tapi Anda bebas mengatakan bahwa warrior itu berasal dari daerah tertentu,” ujar artis asal Perancis ini.


Pertanyaan seputar inspirasi yang melatarbelakangi Mega menciptakan karakter tersebut memang banyak beredar. Tapi satu hal yang pasti, sang warrior bubahanya selalu muncul dengan seraut topeng yang unik. “Karena saya tinggal di Bali, banyak kawan-kawan saya yang mengira bahwa karakter tersebut berasal dari Bali,” lanjut Mega. Selain kesatria bertopeng, Mega juga menggambar perempuan, serangga, ganesha, garuda dan beberapa karakter lain yang dibuat dalam gaya realis. Senima vektor ini memang sangat tertarik dengan berbagai macam debuduyaan dan bahasa.

Painting by Mega

Concrete jungle part. 1

Dalam berkarya, seniman generasi baru ini kerap berpindah tempat. Menurut pengakuannya, ia telah menghabiskan sebagian hidupnya untuk berkeliling dunia demi mempelajari kebudayaan-kebudayaan yang dianggapnya baru. “Saya orang yang senang belajar bahasa. Selama ini saya saya berkeliling dunia karena saya senang mempelajari bahasa-bahasa baru,” paparnya di sela acara diskusi dan pembukaan pameran seni vektor bertajuk “Madu, Racun & Negriku” di Serambi Salihara, Jakarta Selatan, pada 28 Mei lalu. Mega pernah menetap di Argentina dan Brazil untuk mencicipi kebudayaan masayarkat Amerika Selatan tersebut. Dan sekarang walaupun -untuk jangka waktu yang belum ditentukan- tinggal di Bali, Mega rajin menggelar pameran karya-karyanya di berbagai negara.

mixhell album cover

Cover for DJ duo Mixhell

Bari Mega, berkeliling dunia dan mempelajari kebudayaan berbagai daerah memberinya sebuah pemikiran baru dan inspirasi. “Saya tertarik dengan budaya, kuliner, dan agama. Saya tertarik dengan mereka punya enrironment dan pendidikan. Dengan begitu saya berharap mendapatkan sebuah pemikiran baru di luar pemikiran umum orang Perancis yang selama ini saya ketahui,” paparnya. Setelah puas bersinggugan dengan negara-negara berbahasa Latin, baik di Eropa maupun Amerika, antusiasmenya kini terjuju pada Asia. “Saya tertarik untuk mempelajari bahasa yang tidak ada kaitannya dengan bahasa Latin. Atau saya ingin mempelajari rumpun bahasa Sanskrit, saya pikir pasti bagus sekali,” jelas Mega.

Ketertarikan itulah yang mendorong pengagum Guy Debord (penulis, pembuat film Perancis dan pendiri grup Lettrist International) dan Louis Ferdinand Celine (penulis asal Perancis) ini memutukan untuk hijrah ke Indonesia. Walau mengakui keindahan wilayah Indonesia lainnya, Mega memilih Bali sabagai tempat tinggalnya di Indonesia. Bagi pria yang senang tampil dengan celana selulut dan sepatu sport ini, semua wilayah Indonesia badus dan menarik untuk dipelajari. “Menurut saya tidak akan cukup waktu seumur hidup untuk bisa mempelajari semua wilayah Indonesia dengan kebudayaannya warisannya, serta bahasanya.”

masked character

My masked character exhibited in the art space

Mega baru begitu mengagumi Indonesia. Ia mengaku heran melihat banyak sekali suku yang terdapat di Indonesia dan terbesar di banyak pulau, namun bisa hidup berdampingan dalan satu negara. “Bayangkan saja, ada banyak sekali suku yang ada di Indonesia yang sebenarnya berbeda-beda, bahasanya, budayanya, warisannya, bahkan juga genetiknya. Tapi semuanya masih bisa percaya pada satu negara. Bisa bersatu dan bersama dalam satu negara Indonesia.” Inilah salah satu alasan yang membuat Mega mimilih tinggal di Indonesia.

Menurut Mega, ketertariknya pada upacara dan akat kebiasaan masyarakat Bali banyak memberikan inspirasi baginya. “Saya tertarik dengan upacara agama Hindu yang buat saya sangat bagus, maka saya membuat karya tentang Barong dan Rangda,” imbuh Mega. Selain itu, freelance illustrator bagi beberapa perusahaan ini juga menggambar Dewa dalam kepercayaan Hindu Bali. “Karena mungkin saja mereka mau membantu saya supaya saya bisa mendapatkan inspirasi dalam hidup saya,” selorohnya.

Ketika ditanya tentang berapa banyak karyanya yang terinspirasi oleh Bali, Mega mengaku tak bisa disebutkan dalam angka. Menurut Mega, Bali telah merasuk ke dalam kehidupannya. sehingga dalam setipa karya yang ia hasilkan selalu mengandung unsur Bali di dalamnya.

autobiz mega auto advertising illustration

Di Bali, Mega tinggal di sebuah desa -desa dalam arti sesungguhnya, bukan desa wisata- di kawasan Nusa Dua bagian selatan. Ada kisah menarik di balik keputusannya untuk menetap di desa. Ketika tiba di Bali, Mega sempat merasakan tinggal di kawasan wisata yang didominasi oleh wisatawan mancanegara, tapi ia merasa tak nyaman dengan tingkah lalu para turis tersebut. Menurut Mega, orang-orang asing yang ada di Bali terlalu sombong dan seolah selalu inggin tampil layaknya selebritas.

“Buat saga itu aneh, mereka ingin menjadi terkenal di dunia yang sangat kecil. Bali ini kecil sekali,” ucapnya serius. Alhasil. Mega memilih untuk menjauh dari komunitas orang asing dan tinggal di Desa Sawangan, sebelah selatan Nusa Dua, dan ia sangat menikmati tempat tinggalnya yang baru. “Saya belajar bahasa Indonesia. Tidak perlu ikut kursus, cukup mengobrol dengan warga desa. Saya juga ikut ritual agama Hindu yang biasanya mereka lalukan setiap pagi di pura kecil yang ada di depan rumah mereka. Walaupun tidak beragama, tapi saya juga membangun pura kecil di tempat tinggal saya,” ujar Mega sambil tersenyum.

Di Desa Sawangan, Mega menaku merasa terbebas dari ketidaknyamananya terhadap turis-turis asing, karena memang nyaris tak ada turis asing yang hilir-mudik di desa tersebut. “Kalaupun ada ya mereka tinggal di hotel,” ujarnya. Mega pun tak takut jika dianggap tidak modern atau kere, bahkan ia tahu ada juga dari turis-turis asing yang mencemoohnya. “Saya tidak mau dekat-dekat dengan komunitas turis bule. Saya tahu mereka juga mungkin melecekhan saya seperti mengatakan, ‘Waah itu Mega bule yang ndeso.’ Tapi saya tidak masalah karena justru itu bagus buat saya. Saya benci bule yang sombong,” ujarnya.

Mega mengaku mencitai dunia grafis sejak kecil.Slah satu hobinya adalah membuat sampul kaset kompilasi yang ia rekam sendiri. Untuk membuatnya, Mega mengorbankan majalah-majalah untuk kemudian dugunting dan ditempel hingga menjadi sampul kaset yang unik dan berbeda. “Beberapa hari saya asyik memilih-milih gambar, menotong dan mencoba beberapa komposisi yang baru,” ungkapnya. Setelah beranjak ABG, hobi grafisnya disalurkan melalui grffiti pada tembok dan dinding kereta api.

Satu hal yang unik, Mega tidak mau diatur ketika membuat graffiti karena menurutnya graffiti adalah kegiatan yang ilegal yang mengenal aturan. “Saya tidak suka bila ada aturan-aturan tentang gaya atau teknik. Kamu harus ini, kamu haus itu, waah saya tidak suka yang seperti itu. Karena buat saya ini hanya cat di tembok dan ini aktivitas yang ilegal. Aktivitas yang seperti ini harusnya ya memang tidak ada aturan khusus,” jelas Mega.

Selain giat berpameran, Mega juga sering terligat sebagai freelance illustrator dan art director di banyak media massa grafis di berbagai negara. Ia banyak terinspirasi oleh buku-buku grafis terbitan Jerman atau Swiss yang membuatnya berpikir membuat karya untuk majalah dan publishing lainnya. “Saya lihat buku-buku tersebut bagus sekali dan saya pikir saya juga harus mencobanya. Dari situ kemudian saya mulai membuat-buat majalah dan publishing.”

NBA wife artwork
Do you remember the NBA players wives I drew for Complex? Here is another artwork with the nice NBA wife and her 2 kids.

Kendati sudah banyak menghasilkan karya, Mega mengaku masih belum tahu apa yang menjadi ciri khas dari setiap karyanya, karena menurutnya hal terpenting adalah menghasilkan sebuah karya yang terbaik. Meski begitu, Mega sebagai seorang seniman tetap memiliki ciri khas dalam karyanya, yaitu pemilihan warna. “Jika untuk media seperti t-shirt atau kain, saya suka memainkan satu warna saja. Tapi jika untuk majalah atau media yang sejenis biasanya saya akan memainnkan banyak warna,” terang Mega.

Ia mengatakan, karakter masking warrior juga laya dianggap sebagai salah satu karya yang identik dengan dirinya. “Jika Anda melihat ada artwork tentang warrior di tengah hutan yang menggunakan topeng dan membawa tombak atau pisau, itu pasti karya saya. Warrior itu pasti karya Mega,” terang Mega.

Mega tak memiliki resep khusus untuk membuat sebuah karya yang bagus. Menurutnya, yang harus dilakukan adalah berkerja dan berlatih. “Kerja. Untuk bisa menghasilkan karya yang bagus harus berkerja, berkerja, dan berkerja. Dan jangan ingin menjadi artis karena ingin kaya atau ingin menjadi selebritas. Lebih baik menjadi kaya dari karya yang banyak daripada kaya dengan uang yang banyak,” paparnya dengan mimik serius. Kekayaan memang sepertinya bukan hal yang penting bagi Mega, karena buat dia, ketika meninggal, manusia tidakakan membawa uang atau harta. “Jangan terobsesi dangan kekayaan, tapi harus terobsesi dengan karya. Jika berkarya melalui hati dan jiwa yang benar maka akan menjadi sebuah karya yang bagus. Yang penting berkerja, berkerja dan berlatih terus,” lanjut Mega.

Sebuah pemirikan yang bagus walaupun sangat sederhana. Rasanya aneh mendengar hal seperti ini keluar dari mulut orang bule seperti Mega. Ya, Mega memang bukan sembarang bule, karena ia bule yang “ndeso” dan kreatif.

Free version of issue 76

Exclusive digital version of the Spanish publication Lamono.

The new issue of Spanish magazine is out.
When I was in Berlin for my last exhibition, I had the pleasure to meet the really cool people behind the great art and lifestyle magazine Lamono.
We quickly became friends, and spent a lot of cool times together.
I even interviewed one of the artist in their team.
Feel free to read about Javier De Riba, and his inspiring Reskate artistic project.
Their new issue just came out, and here is a digital version of the publication.
More about the Spanish publication called Lamono.

Cover of the 76th issue of the magazine Lamono

Cover of the 76th issue of the magazine Lamono

Interview with magazine founder Eddy Zammit

T-world founder Eddy Zammit tells us more about his magazine.

T-world is an Australian magazine dealing with everything hot and new when it comes to… T-shirts
I met the editor-in-chief and founder Eddie Zammit (who also runs a tee label) in Melbourne during my exhibition there. We exchange a few words about the industry.
More about the magazine

Portrait Eddy Zammit

Portrait of the magazine founder Eddy Zammit

This publication is a hardcover magazine focusing solely on T-shirt culture. It is supposed to come out twice a year, but we’ve been a bit slow at releasing our latest 200-page New York edition. We blame our addiction to quality.

t-world anthony lister

Collaboration with the Australian artist Anthony Lister

The magazine was created based on my two great graphic design loves: printed 
T-shirts, and magazines. When I started, I poured my own energy and savings into producing the first issue, after my Dad’s untimely death. Life is short. Follow your true passions, I say. I try to get a lot of the print costs and production bills paid for by advertising. T-world is not one of these niche publications that doesn’t believe in advertising. To me, without paid advertising T-world would truly not exist. Content is king, and so long as there is a divide between both, then that’s the best possible scenario.

T-world selects content based primarily on research. The key values we place on promoting artists, designers and labels are; the quality of their art; the originality of the idea and its execution; and finally, longevity. Saying that though, we also support emerging artists and designers.

free wesley

Free Wesley


Everyone has personal interpretations, which I respect. However, if it were my decision solely, I‘d say a black tee with a graphic print that has a simple colour palette with a pop culture twist.

Collaboration New York Asian Film Festival

Collaboration with the New York Asian Film Festival

Personally, a plain white V-neck T-shirt for guys. I also despise fake T-shirts that have blatantly ripped off other people’s ideas and/or designs.

giant silk screen

Oversized Silk screens

I imagine the T-shirt world full of MEGA tees. This idea would therefore create a new sizing category – S, M, L, XL and MEGA!! Seriously though, the future is very bright. I genuinely think the T-shirt category is an exciting canvas, and as we move into the future, technology will start to play a key focus with new T-shirt graphics. If we look at how far computers have come in the last 20 odd years, imagine what technology has in store for the humble tee.

Monster Named Me

Free and exclusive preview of Monster Named Me.

NewWebPick e-magazine is one of the most popular and reputable information exchange platform for the design industry in the world.
Their mission is to set up a designer’s platform for showing the global pioneer artwork, collecting the latest international design news, evaluating the design trend for in any period.
They just released their # 35 issue named Monster Named Me, and as I was part of the previous one, it has to be good (the #34 was totally amazing) 😉
More about New Web Pick new issue.

Artwork released for the 35 issue of New Web Pick

Artwork released for the 35 issue of New Web Pick

Exclusive preview of an illustration done for the Monster named Me issue

Exclusive preview of an illustration done for the Monster named Me issue

Photography art done for the 35 issue of the e-magazine

Photography art done for the 35 issue of the e-magazine

Artwork you can see in this Monster Named Me issue

Artwork you can see in this Monster Named Me issue