Illustrator James McMullan

James McMullan (b. 1934) grew up in China, where his Irish grandparents founded an orphanage, and a lace and embroidery business that supported the orphanage. McMullan's father continued in the family business, but was killed at the end of World War II, while serving in the British Army.

McMullan and his mother lived in Canada and India during World War II, and after his father's death, James immigrated to the United States, where he studied at the Cornish School of Allied Arts in Seattle, and the Pratt Institute in New York.

Communication Arts  |  1986

In 1966, James McMullan joined the ground-breaking Push Pin Studios, where he worked with Milton Glaser and Seymour Chwast.

Communication Arts  |  1986

An outgrowth of that association was many illustration assignments for New York Magazine.

McMullan has also illustrated for many national magazines, including Esquire, Sports Illustrated and National Geographic.

In 1979, McMullan married Kate Hall, a writer of children's books, and they have collaborated on six picture books.

James McMullan has been closely associated with the Lincoln Center, and has produced more than 40 theater posters.

In 1998, Penguin Studio Books published The Theater Posters of James McMullan.

McMullan has taught for years at the School of Visual Arts in New York, and has written two excellent instructive books, Revealing Illustrations and High-Focus Drawing.

Communication Arts  |  1977

All illustrations for this posting that are not otherwise credited have come from James McMullan's own website. When visiting there, be sure to check out "Poster Progress," where you'll see how the artist's ideas and design solutions evolve!

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Illustrator Paul Davis

If you went to a Broadway show in the 1970s or 1980s,

you will remember the work of Paul Davis. 

Davis (b. 1938) was a member of Milton Glaser's Push Pin studios,
which revolutionized the advertising world of that time.
He had a unique style, one that hearkened back to early
20th century posters and road signs.

Though art directors initially balked at using his style -
which had a decidedly folk art look -
Davis became quickly popular and worked for many big clients.

He often did commercial jobs by painting on wood.

As you can see, Davis had a very earthy palette,
which helped make his work instantly recognizable.

I don't remember the source, but I have this note in my files on him:

"In January 1976, Paul Davis made a trip around the world.

His carry-on bag held six little canvases and nine colors:

• yellow oxide • cadmium yellow light • cadmium red light
• green oxide • burnt sienna • burnt umber
• phthalocyanine blue • napthol crimson • cerulean blue."

In light of the Internet, it's interesting to read this headline, isn't it?

Though not a particularly political person,
Paul Davis' work supported a number of liberal causes.
His iconic poster of Che Guevara outraged many,
and Davis was both surprised and frightened when the lobby of
the political journal Evergreen was firebombed because of it.

Paul Davis' work was influenced by American folk painters
like Edward Hicks, American Regionalists like Thomas Hart Benton,
and the Belgian Surrealist, René Magritte.

Paul Davis is still painting, though he has moved away
from advertising and editorial art.