• 9.6.18

    Andrew Rae Brings Our Pollutant Monster to Life for The New York Times

    In the deluge of news that we all face in this era, some critical stories go underreported, not least of which is our global pollution crisis. We hear a lot about greenhouse gasses, but plastic landfills are overwhelming our ecosystems and the Great Pacific Garbage Patch is now twice the size of Texas (or about three times the size of France). Some scientists and engineers are on the case, but little will be done until the population calls for it, and the population must be educated. The New York Times is taking that responsibility personally, and they made plastic pollution the cover story for the latest issue of The New York Times For Kids with a massive illustration by Andrew Rae.

    “Attack of the Plastic!” the cover proclaims, under Andrew’s threatening, four-armed, wide-mouthed monster made from a pile of plastic waste. The polymer kaiju is threatening enough that it’s devouring the E off the iconic title of the paper, reminding us that no one is safe or out of reach. But Andrew’s contribution didn’t end at the cover. The rest of the insert is filled with kid-friendly characters made from assorted plastic detritus. A toy frog head walks on a series of computer cables, while a rubber duck is chauffeured on a chariot made from a plastic pail and toothbrushes. A pill bottle is lashed to a ketchup bottle by a USB cord, forming a Frankenstein-esque body under a smiling (but spookily apathetic) bear’s head.

    Andrew’s illustration is deeply detailed, filled with shopping bags and instruments, bottles for shampoo, and conditional, and creams. There are ice trays and lawn chairs, dolls and cassette tapes, barrels and sleds. And behind every piece of a trash is a human hand that put it there. That’s the final message from this issue of The New York Times For Kids: this is our problem that can only be solved by our solutions. Andrew shows us the Goliath, it’s now up to us to take the mantle of David and defeat the monster of our own making.

  • 8.1.17

    Andrew Rae Lets Us Laugh at Chaos for New York Times Magazine

    Congress is on vacation and so is the president, but that doesn’t mean nothing’s happening. The last six months have been some of the most dizzying months in modern politics. So much has happened that it’s hard to keep track. Some say that’s on purpose, while others say it’s chaos. But it’s impossible to know. What we can know is all the ways the Washington establishment has changed to follow the comings and goings of Trumplandia. He was sent there by Americans who wanted a different system from what Washington was before he got there. The system is still the same, it just looks a little bit more like Trump than it did when he got there. New York Times Magazine asked Andrew Rae to help them illustrate the complexities of Trump’s Washington for the cover of a recent issue, paired with a story called “This Town Melts Down.” We can’t tell you if Washington is involved in a melt down but we can say that Andrew brought an incredible amount of detail to this fitting, and often good humored, piece.

    Every significant moment from Trump’s presidency appears on the magazine cover playing out on the White House lawn. Tweets fly uncontrolled from the white house. Sean Spicer hides in the bushes. Women (and a man) in a pink knit hat march while Turkish nationals engage in a tussle. Even Sarah Palin, Kid Rock, and Ted Nugent are there, posing for a selfie. 

    An additional illustartion inside the magazine gives a look inside Trump's DC hotel, a property that has been the focus of much debate. In the White House image, much of what's depicted is violence reaction to Trump and his presidency. Inside the hotel it's calmer, with a cast of characters that are more behind the scenes - Ivanka and Jared, Putin and a bear, even Bannon has found a spot on a couch to chill out and have a drink. And don't miss Sean Hannity posing with Washington insiders.

    Andrew's illustrations are incredibly detailed and complex, but reveal the nature of events that have unfolded in the early days of this presidency, while at the same taking a moment to let us laugh at them. Because, of course, if we can’t laugh at them the other options are far less inspiring.

  • 6.23.17

    Andrew Rae Travels the Globe (Kinda) with Delta and Tinder

    Where do you want to go but have never been? 

    If you’re like us, your list is as long as your arm, and although you’d love to make every stop around the globe it might not happen soon. But that doesn’t mean you can’t fake it! Delta knows that you can’t be everywhere at once, and they’d like to help you get to where you want to go, but in the meantime, they’ll help you pretend you’re there. They teamed up with Andrew Rae, dating app Tinder, and Wieden + Kennedy New York on a huge mural that gave passersby the opportunity to travel all over the world from the safety of their own sidewalk.

    The mural features pictures from Honolulu, Paris, Los Angeles, Pisa, London, Mexico City, Amsterdam, Moscow, and Zurich, to act as backdrops for anyone wanting to take a selfie so they can pretend they’re in those beautiful locations – and then post them on Tinder (worldly profiles tend to get more attention, don’t you know?). Between the photos are illustrations by Andrew, including instructions on how to use the photos (pose, upload, match!), but also all sorts of different characters taking selfies of themselves – often inspired by the location that the photographs imply. You’ll see a baguette posing for a flick next to the Eiffel Tower, a communist bear by Moscow, and a ripped beach goer getting his photo in with LA’s Randy’s Donuts.

    Andrew’s illustrations remind us a huge truth: there’s always more to a photograph than what’s inside the frame. Sure, at the edges of these frames we learn that the photographed are not actually in those locations. That is true. But there’s also something a little more fun at work: everywhere we go we’re surrounded by characters whether they get close enough to be in our pictures or not. Andrew shows us some of those characters, based on truth or imagination, reminding us how wide and wonderful this world is. And what a blessing it is to travel it. And if we can’t, at least we can do our best to try – or pretend!

  • 6.7.17

    Andrew Rae Shows Us How He Fills a Blank Page

    Ever wonder how artists work? Looking for inspriation for your own work?

    Andrew Rae has just the solution!

    He's teamed up with his partners over at Wacom on a series of online tutorials called 'The Blank Page.' The first episode, 'Luck of the Draw,' was just made live and dives deep into Andrew's process, something he says is "The only way I'm capable of working."

    In this episode Andrew shows us why being an illustrator is great ("You get to be your own boss, you chose your hours... and you don't have ot shave or cut your hair"), why it can be tough ("Dealing with self doubt and procrastination"), and what to actually use to get the work done ("I use lots of equipment but I always come back to drawing with a black pen on a piece of paper - it's the clearest and quickest way to communicate").

    There are a ton of gems, techniques, and cool characters in 'The Blank Page.' Check it out on Facebook or watch the episode below!

  • 1.11.17

    Andrew Rae Gets Digital with Wacom

    An artist is more than their tools, but a great tool can mean the difference between a perfectly executed idea and a lot of wasted time. As an illustrator, Andrew Rae “creates monsters,” dragging up all sorts of beings from inside his head and turning them into a drawn reality. The creative process means he literally creates everything from scratch which presents its own barrage of challenges. “As an illustrator you’re trying to create a visual language, I suppose, so everything is a simplified version of the real world,” says Andrew. “I’m trying to draw through the filter of my own brain as opposed to trying to replicate reality too much.” Historically he’s created these fun entities by drawing them on paper and loading them into his computer through a scanning process and then playing that way. But that can be a time-consuming process. Wacom, the interactive pen and tablet stylus company, teamed up with Andrew to help them launch their Intuos Pro tablet and created a video together that explores how technology can inform an artist’s process.

    There are a lot of tablets on the market but Andrew needs something portable, that can follow him where ever inspiration takes him. “The beautiful thing about this product, the fact that you can draw on a piece of paper so it feels really natural. It’s going to be really handy particularly at the sketch stage. It allows you to sit and sketch in a kind of comfortable position, in the kind of position that lets intuitive drawings come out,” explains Andrew. “Basically what I want is a piece of paper that runs Photoshop and this is getting pretty close to that.”

    To hear more about Andrew’s process and how Wacom helps him out, check the video below. And check out his in-process illustration that was used on the packaging for this awesome machine.

  • 12.23.16

    Seeing the Unseen this Holiday Season

    Every holiday season we’re awash with joy. It’s the reason for the season, after all, to come together and celebrate everything that we have – be it family or material things. But there’s a lot that goes unseen. This year many will go without, and whether or not we see them they will experience the holidays in their own way. This holiday season B&A teamed up with the creative agency Aesop and Unseen to create Unseen Christmas, a physical representation of the stories that go untold and a way to honor them in Christmas tradition. 

    Radio, Andrew Rae, David Doran, and Tom Jay each provided illustrations inspired by modern day slavery and they’re available to purchase or download and be turned into paper chains – a traditional way to decorate during the holidays. All proceeds from the purchases directly benefit Unseen, a non-profit that works to end slavery in all of its forms.

    For his contribution, Andrew Rae’s work is connected to the story of Asif who escaped a torturous cycle of low or non-paying jobs after years. Andrew looked to literature for visual inspiration, diving into a story that’s no necessarily true but pervades our collective culture. “Charles Dickens was an inspiration for me for this project as he created characters that helped to educate people to the plight of people at the bottom of the pile,” explains Andrew Rae. “It seems to me that society is much more divided again as it was in Victorian times with all the wealth in the hands of a small elite and so it’s time to try tell these types of stories again.”

    Tom Jay was provided with a story about an African immigrant who came to the UK chasing hope for a better life but found herself thrown into unpaid service for her aunt. “Manisha came to the UK to live with her aunt who said she would get her into school and look after her. This didn't happen and she spent her days cleaning, cooking and doing housework and was beaten,” explains Tom Jay. “It was important to me take part in this project as slavery in this country is real and happening right now, often behind closed doors. I hope this project can raise awareness of modern slavery, and help support victims that come to Unseen for help.” The circular pattern that Tom Jay’s illustration turns into when a link on the paper chain reflects how infinite this daily pain can become.

    David Doran was given the story of Grace, an African woman who was kidnapped into sex trafficking. Instead of focusing on the horror, David made his work about Grace herself, celebrating her humanity and what it took to escape that horror. “I like to use illustration as a way of communicating visually, and often focus on including hidden concepts in my work. The idea of incorporating a lock and key in the Christmas themed pattern seemed a strong but sensitive way to communicate the topic whilst avoiding being too crass or graphic,” says David Doran. “It was an honour to be able to work with Unseen and to help raise awareness of a situation so shockingly close to home.”

    Finally, Radio tells the story of a worker from Unseen who is burdened to see what most of us never will. Facing such darkness is a service to the idea of freedom and the sacrifice of gazing into that darkness hoping for chance to pull someone into the light is blessing to us all. There’s pain in there, but it is worth all of our celebration. 

    This holiday season do not forget those who have less, and say a prayer for them, and for all of us.

  • 10.20.16

    Josh Cochran and Andrew Rae Introduce Google's Newest Generation

    If technology has achieved anything in the last two decades, it’s helped us communicate better. Whether we’re sharing our thoughts in a finite number of characters, images from our daily lives, or the latest presentation at work, we’re able to bring information to each other in incredibly efficient ways. But we can always be better, can’t we? When Google launched their suite of products that include Google Docs and Google Sheets, they did it with the intention of bringing everyone together - and they achieved it. Last month they decided to rebrand the entire project as GSuite and invited a handful of artists, including Andrew Rae and Josh Cochran, to help them launch it.

    The campaign celebrates how easy Google has made professional and personal communications no matter where users are, and both Josh and Andrew take that idea and turn it into a visual language.

    Josh Cochran’s “Airplane Window” shows multiple professionals working from their own private spaces as if through the windows of a plane. Each of them has found a way to be in their own corner of the world while being efficient workers. The strength of any company comes from diversity of thought and one way to keep that fresh is to allow employees to follow their personal curiosities. The constant communication and information sharing that GSuite facilitates allows each worker to make their own discoveries and deliver them back to their team. Josh shows each of these team members engaging in the exploration, enriching the final product of their collective work.

    Andrew Rae’s piece, “World Meeting” depicts figures from all over the world brought together into a single room. From first sight it looks like each of them are literally in the same room together, but upon further inspection we see that they’ve created a central location that is impossible: it features Big Ben, the Eiffel Tower, the Sydney Opera House, the Empire State Building, and more famous landmarks. Instead of this meeting happening in one location it’s happening through Google’s GSuite in the common digital space. Andrew shows us that GSuite allows us to be everywhere at once, and in one place together.

  • 8.18.16

    Money Is Time for Andrew Rae and The New York Times Magazine

    Money is a tough subject that makes a lot of people uncomfortable, and for good reason! Economics is complex with a myriad of rules at every level, and on top of that money is something we all need. Everyone needs to plan for retirement even if we don’t understand the laws that govern that section of the economy. Trade agreements eventually affect all of us at the register, but when they’re in debate they’re too dense for most people to understand. There’s a sense to it all and it seems like most of us are written out of the conversation. But that’s something that The New York Times Magazine is working to fix and they’ve asked Andrew Rae to help them do it. In their ongoing collaborative series, On Money, Andrew provides two drawings for each of these pieces and he uses the opportunity to expand his own understanding. “Economics is so complex and confusing and I’ve enjoyed being pushed to try to get my head round some of these ideas,” says Andrew. “There's always a way of making these drawings entertaining cause it’s such a bit scary subject that affects us all. I enjoy making work about a subject that actually matters and effects people.”

    When Andrew was first approached by the Times to work on this project, he was happy to take it and gave the newspaper two options for what he thought his illustration could be. The Times liked both of them, so since then he’s had to continue offering two illustrations instead of just one. It’s twice the work but he’s found that it actually helps him tell a richer story. “It’s not always easy but it’s interesting how you can make them work together, for instance creating a narrative between the two images or using the second image to expand on the idea in the first,” says Andrew. “I enjoy the challenge.” Instead of condensing the entire message of a piece into a single image, Andrew gets to create a visual conversation that explores the topics from multiple angles.

    His latest with the Times was for a piece entitled “Has Wall Street Been Tamed?” that explored how the aftermath of The Great Recession has changed our banking system. The thesis of the piece is that Wall Street really has changed, really is being better regulated but Andrew wanted to show them out of control. “It was about banking regulations which sounds very dry but when you think about the fact that the bankers caused a global meltdown it’s clear that it’s important,” says Andrew. “I thought about the banks as these big faceless scary organizations and then it was clear to me that I should show the bank as a giant robot attacking people.” The corner that Andrew had painted himself into requiring him to create two illustrations per piece is now working in his favor: he can create amazing (and hilarious) imagery and tell the story that needs to be told at the same time. This is what it looks like when an artist does great work.

  • 5.19.16

    Andrew Rae Circles the Globe with Google

    The digitizing of our culture has made the world feel a lot smaller than it is. The speed of communication and omnipresence of devices makes everyone accessible to everyone; we’re all just an email, tweet, or Facebook poke away. But sometimes it’s hard to bring that truth to the forefront, presenting it in an artful way. Google is changing that in a new browser game and they asked Illustrator Andrew Rae to help them make it as real and visceral as possible. 

    In Paper Planes thousands of digital paper airplanes are flying around the globe, and armed with a net you reach out and grab one. Once you catch a plane you get to open it up to see all the stamps from the locations where that plane has been. Each stamp represents a real person on their phone that held that piece of digital information. Then you add your own stamp to it and send it out. Andrew Rae created a great deal of the stamps that Google is using to help tag who is holding each of the planes, using fun animals that represent cultures all over the world. Aach stamp includes a little saying that is fun and exciting, blending seamlessly into the aesthetic of Google’s game. Andrew’s work is literally and figuratively zipping all over the world, and he says “It's really nice to know that people all over the world are looking at my funny little animal drawings.” The light energy presented in these illustrations is native to Andrew’s own humor, making the project pretty painless. “One of the quickest and easiest jobs we've ever done!,” says Creative Director Jerry Hoak at Droga5, the agency tasked with creating the project. 

    The tens of thousands of paper planes are all being traded all over the world through the digital sphere, creating a community of connecting synapses that exists in the cloud. It’s a seamless combination of old school forms with contemporary devices. In fact, it’s incredible who you’re able to come in contact with after even just a few seconds of using the game. Andrew used it himself and recognized that exact experience. “In the few minutes I was playing with it I saw stamps from Turkey, Dallas, New York, Wichita, Amsterdam, Chicago, Planet Earth and Fort Lauderdale. How crazy is that?” 

    To play for yourself, go to g.co/ioplanes on your mobile device. For a less interactive experience, check out paperplanes.withgoogle.com on your computer.

  • 11.9.15

    Andrew Rae and NY Lotto Think You'd Be a Great Rich Person

    Luck is a great equalizer. Odds can be manipulated or weighted, but to the whim of chance we’re all the same. Playing the lottery can offer some small version of remembering that truth, that we all have the same chance, that luck is blind to us. How exciting. The other side of the lottery’s promise is the ability to change the lives of the people it touches. The winners get the resources to shape their lives the way they want it, to become the people they want to be, to bloom into the people they already were before they had the means to be their best selves. For New York Lottery’s latest campaign, Andrew Rae created dozens of animated GIFs for their micro-site that helps you discover what kind of a rich person you would be better than. Say what? 

    Rich People of New York gives a fresh new face to a familiar cast of characters that are everything repugnant about rich people. These are the definition of using money poorly and the low watermark for what it means to be a good rich person. The characters are funny, irreverent, and a little bit silly, but they are the picture of overindulged stereotypes who are just bad at being rich. Whether it’s a New York Snollyguster (a rich dude who takes a lot of selfies), a Hyperallergenic Hypochondriac (a man who can afford to isolate himself for fear of catching the diseases of the commoners), or a Knocking Opportunist (someone who has made an offensive amount of money selling tie-dye shirts to rubes) you’d probably be a much better rich person than any of them.

    On the micro-site, you can take a quiz to figure out which character in particular would pale in comparison to your wealthy wisdom, and Andrew created animations for each one. The movement in each portrait is subtle but brings each to life in its own way, paired with a tongue-in-cheek biographical fact sheet, we get a full understanding of who these less than stellar fat cats are and how we can do better. Take the quiz and find out for yourself!

  • 8.25.15

    The New York Times Magazine's New World Order with Andrew Rae

    For some parents, the worst six words they can hear from their children are, “I want to be an artist.” Since the rise of Napster in 2000, creative careers have been judged unfit for long-term commitment. The ubiquitous access of creative work was supposed to spell disaster for creatives who would in turn no longer be able to find regular sources of steady income. With pirated music and movies and tumbling paywalls, the traditional income streams for creative professionals were headed for the ICU. They had, in fact, mostly dried up leaving the old guard with hung heads and a dismal outlook. But it turns out the future did not conform to their bleak prophecies.

    Last week, New York Times Magazine released their “The New Making It” issue that includes a cover story about the current state of the creative class called, "The Creative Apocalypse That Wasn't." The cover features an illustration by Andrew Rae who imagined this new breed of artists as abandoning the sinking ship of the traditional establishment and flying off to new heights. As Steven Johnson, the journalist who wrote the piece, found that wages are up across all sectors from music, to film, and even independent bookstores whose extinction should have already come and gone. For Andrew, illustrating a story like this is a little funny since he is a professional artist. He, too, has been absorbing the common wisdom that his profession is dying, but found encouragement in the revealed truth that it’s a totally different story. “There’s so much stuff you read about how everything is going to shit for everyone,” says Andrew. “And it’s actually quite nice to read that things are not so bad after all. Because in my experience, and a lot of people I know and work with, things are a lot better now in many ways. So it’s good to hear that confirmed empirically.” In fact, Johnson dives deep into the numbers and proves, once and for all, these breeds of creatives aren’t dying at all.

    After seeing Andrew’s illustration on the cover, the inspiration is obvious, but a composition like this isn’t ripped from the sky. “I was having trouble thinking of actual images to draw, I was picking things from the text,” says Andrew. “I don’t know where it came from but I just hit on the idea of the sinking ship, and it just seemed to work. The ship represents the industry, the old school, with various people doing creative things launching into the sky.” It is the visual representation of the new creative world order. Only by abandoning traditional structures can these artists make their way. The same arguments of moribund disciplines are made every few decades, but it is never the art that suffers, only expired systems constructed to sell and distribute art. As the old adage goes, “Life finds a way.”

  • 7.10.15

    Andrew Rae and New York Times Magazine Have Serious Fun

    For many, if not most, money can be terrifying. Discussing money has become taboo in most social contexts, and the people who have the ready experience and are easiest to find, all work for banks who may not be the best folks to trust in every situation. In a world where investing has become an amateur break-time hobby, or the result of self-help books, there's a lot of room for benevolent assistance. For the lost and infirm, Adam Davidson's ongoing column "On Money" in New York Times Magazine has become an invaluable resource. 

    For every one of these pieces that is published, it is paired with one or more original illustrations by Andrew Rae. The nature of the changing subjects means that Andrew is always creating something different in response to an ever changing landscape of information. But when it comes time to create, he is not being over directed. Instead, New York Times Magazine has given him an incredible amount of creative license. "They give me total freedom to come up with ideas," says Andrew. "So I rough up some initial thoughts and then there is often a fair bit of discussion and reworking of the roughs to get to the final image. I like to have some discussion as it helps to hone the idea and make sure I haven’t missed the point of the piece." The pieces help to clarify and contextualize Adam Davidson's work so it is vital that it lines up with the themes but adds a new level to the readers' experience.

    Most peoples' experience with money is anxiety inducing, or at least mortally serious. But Andrew's style is playful, riddled with visual jokes (maybe even a jab or two). This is by design. His sense of humor sets the tone for a topic that readers may otherwise prefer to skip. "I’ve tried to avoid some of the more obvious money cliche’s by making the images and characters playful," says Andrew. "I hope that these images might persuade someone who might otherwise think of money as a dry subject to give it some time. These articles cover some very important issues that people should be thinking about especially in the light of the recent world economic crisis." When the financial sector becomes increasingly anxiety inducing, seeing an image of a two headed, self effacing banker may put a reader at ease enough to take a shot at reading  the article and learning something crucial. This potential is a huge factor for Andrew's own work. 

    Obviously, to create this work Andrew must read the pieces he's illustrating for, and this has had an understandable effect not only on the work, but also on him. "I have I’ve enjoyed reading them and I’ve really enjoyed doing work about current subjects that have an effect on all of our lives," says Andrew. "It’s important to me that my work has some relevance to the world around me rather than becoming a totally self absorbed fantasy." As much as Andrew's work provides context for the Magazine's pieces, the relationship is reciprocal. The pieces show the gravity to what Andrew is doing. Despite their playful style, they're tackling pivotal issues that will benefit whoever reads their accompanying context, proving that the study of finances truly could benefit from a few laughs.

  • 3.27.15

    Serge Seidlitz and Andrew Rae Show the World Through a Child's Eyes

    Imagine if we all saw the world as children do. Endless potential and opportunity, each path ahead of us an avenue of imagination. The shapes of clouds turning into medieval battles, and the whispers of rivers our favorite new songs. Each moment is unlockable, revealing a new game, a new way to play, and a new way to see our world. The voices of children, no matter how loud while at play, are piteously silent when considered by very important adults with very important adult lives with very important adult decisions. London's Museum of Childhood asks its attendees to explore the value of a child’s eyes, offering the challenge to shrug off our man made apparatuses that mercilessly eat up our days. Inside the museum are exhibits, events, and activities that remind attendees of their own childhoods, and teach about the childhoods of people worlds a way. But the lesson doesn’t need to stay within those four London walls.

    As a part of an environmental campaign, the museum teamed up with more than a dozen artists to create art out of the natural and pedestrian landmarks around London. Each artist created original work that played off native points of interest: a door's natural wear turns into an interested ostrich with the addition of an illustrated face. A crosswalk becomes the gaping mouth of a curious bird.

    For those of us that aren't around London right now, photographer Lydia Whitmore plays as our eyes. Hunting each native piece through the streets of London, Lydia fits each and everyone into her viewfinder so that we may see London in some different way. You can experience Lydia’s journey through London using the “See the World” micro site that includes Lydia’s photographs and the locations of each piece.

    Andrew Rae and Serge Seidlitz were a part of the creative roster to eke out the imagination of London's populace. Each environmental piece of art featured the Museum of Childhood’s bold encouragement to “See the world through a child’s eyes.”

    Serge Seidlitz’s “Ostrich” face, tail, and long legs are carefully arranged around the shipped paint of a fire exit on Brady Street. Splashes of paint on the wall of a self-storage facility on Sidney Street become the torrents from a thunder cloud, Serge’s creation “Cloud.”

    In Andrew Rae’s “Bird” two markings that had been painted on a crosswalk at Shipton Street and Columbia Road were repurposed as the beak of a large blue, aggressive bird. 

    Following Lydia's path through the map provided to us by the museum, we're able to use Serge and Andrew's imagination to see London with all the imaginative details that a child would bring to their vision, and that new sight changes the way we see the city. Now the question remains: how does it change your own vision?

  • 1.15.15

    The Truth of Creative Exploration with Andrew Rae

    We are social beings. We hunger for connection with one another, and finding a common experience. As more and more of that experience happens online, our worlds become smaller and closer together creating a collective community. It is to that online community that we bring the results of our daily lives and we share them with one other, usually for a good laugh.

    Syzygy Group, the digital marketing agency, took a look at 2014 and found some of the most effective and invasive moments of the whole year. They whittled them down to their top twenty and asked illustrator Andrew Rae to take a crack at compiling all those moments into a single image. Using only optional clues, anyone is welcome to take a look at Andrew’s illustration and make their best guesses at the list of “20 Things.” Participants can win a signed print of the illustration just by engaging.

    20 separate elements are a lot to juggle when it comes to squeezing everything into an image. It can be a tall order. “At first I was kind of like, ‘I don’t know how I’m going to put this together, where do you start?’” says Andrew of approaching the project at first. “I actually found myself just naturally starting to work things together.” Initially he was going to work on each element separately, but by starting from a creative place, everything started to come together.

    As soon as Andrew gave into that creative impulse, the layout for the drawing presented itself. “I just started drawing really, and as the idea of how to draw each element came to me, it also seems to be quite apparent how to put it all together in an image,” he says. “It all kind of fell into place which is nice because it doesn’t always work like that.”

    Part of the joy of this project was that Andrew got to poke fun at all these pop culture events. “It’s quite nice to have a go at U2,” Andrew said with a laugh. “They were very open to me having some fun with it.” It was that creative allowance that meant Andrew was able to find his way into the piece and give it the composition it needed.

    Now the question remains, can you find all “20 Things that happened on the Internet in 2014”?

  • 10.14.14

    Andrew Rae Shows the Softer Side of Drones

    Since their introduction, drones have changed everything. They’ve made our world smaller and more visible. They’ve revolutionized warfare and intelligence, providing access to corners of the globe that have been overlooked or previously unimpenetrable. Significantly, they’ve changed the way we interact with our enemies, creating a way to survey or attack them in ways that put none of our human forces at risk. This particular shade of change has inspired debate over the dangers of these machines, casting a shadow of unease over the technology as a whole.

    Drones are precise in their abilities: flying, seeing, and sometimes, killing.

    But the technology has opened up so much more. Like any technology with severe capabilities, given proper calibration it can make way for advances previously untouched.

    In New York Magazine’s “Drones and Every Thing After,” Benjamin Wallace-Wells shows off what’s troubling about the technology and the more civil places it has gone since being redefined. Drones are now being used to help track the farming of produce, film weddings, and even perform along with dance troops (in Japan, obviously). They are now consumer products, like toys, almost like pets. New York Magazine needed to bring in that personable element, so they decided to add a delightful illustrated element and grabbed Andrew Rae to help them build some affinity. As Chris Cristiano, from Department of Visuals at New York Magazine, says, “Andrew’s ability to create these fun robots that even have a little bit of personality to each one sort of fit perfectly.”

    For the eight-page spread, Andrew created dozens of illustrations for the piece in a touching anthropomorphic style. We see drones that are cheerily capturing video, acting as a helipad for pigeons, drumming away on themselves, or serving martinis and tacos. Large machines help to protect and serve, even delivering packages, while a swarm of smaller drones have a stratospheric party. Andrew reminds us that drones are tools to be used by their controllers however they’re needed. So he provided us with some folks at the controls, watching their high-powered toys do the work they were made to do.

  • 9.26.14

    Andrew Rae Has 'THE' Creative Partnership

    Creative partnerships are challenging. There are a lot of ideas, expectations, and complex communications that can get muddied in a creative relationship. That’s why revisions and drafting are such an integral part of collaboration. But sometimes a creative relationship just clicks. For Andrew Rae and The Martin Agency that’s the kind of relationship that’s shaping up in Stoli Vodka's “A vs. THE” campaign.

    In the campaign, Stoli shows the difference between making “a” choice and making “the” choice, meaning the right choice. A worm is insignificant: it’s a tube of an animal that feeds on dirt. But THE worm is an enticing and exciting dance. To elegantly express these ideas, they tapped Andrew Rae to create a fortune of images to use in clever, hilarious animations. “We seem to be on the same wavelength,” Andrew says about working with The Martin Agency and Stoli. “All the references that they’re giving me are things I’m familiar with or like already. We’re on a wavelength. It’s good. It’s nice when this happens.” It’s kind of rare, according to Andrew, to have a working relationship like this. But for a project like the one with Stoli it’s really important. Especially because of the scope.

    So far four spots have been released, but that’s a drop in the ocean. They’re gearing up to release at least 25, or possibly even more. Many more. They’re constantly on a roll out schedule to continue to produce all of the spots and that means Andrew has barely stopped working. When asked how much he’s working on the vast campaign, Andrew says, “It’s kind of all the while at the moment.” We’ve caught him at the beginning when only a handful have released, so he’s still at the beginning of what will undoubtedly be a fantastic artistic challenge. “Bonkers, isn’t it?,” he remarks.

    But there’s a lot to stay interested with a campaign of this breadth. And Andrew is already having a great time. Since he’s doing all the drawings, and the animations are being taken care of elsewhere, there’s still some surprise when he sees the final product. He says, “Those first three I particularly enjoyed. The hawk guy. I like the little sound he made: ‘Ku-kurro-ko.’” That exploration and surprise keeps things fresh and feeds back into the relationship that Andrew and Stoli are building together.

  • 7.10.12

    Best Piece of Advice Ever ebook and prints now available

    Bernstein & Andriulli celebrated their latest book "Best Piece of Advice Ever" - a collaborative effort with Creative Social, designed by ilovedust - in London at the infamous Shoreditch space "Village Underground" on June 26.

    The event featured talks from the leaders of the global creative community and a lively panel discussion, chaired by B&A Director of Illustration and Interactive, Louisa St.Pierre. Numerous artists featured in the book were also on-hand to sign books and talk about their inspiration and work, and Andrew Rae illustrated live his response to a stream of people's "best piece of advice" submitted to the website. A Samsung notebook and its signature stylus were his tools, and the images were projected onto huge screens for all to view, facilitated by interactive hot shop: Special Moves. See the whimsy and irreverence here:


    In addition, Sir Peter Blake limited edition bags containing Kidrobot toys were gifted to those who purchased the book and tickets for the event.

    The e-book can be purchased now at Blurb here.

    Limited edition art prints from the book are available for purchase now from Jealous Gallery.

    The Best Piece of Advice book was born of a simple yet quite fantastic question by one of the Socials at Creative Social Paris to one of the speakers - 'What's the best piece of advice you have ever been given?'

    Jim Haynes, an accomplished fellow, notorious for the lively open dinner parties hosted at his Parisian apartment for 35 years responded "if you do something for someone, forget it immediately. If someone does something for you, remember it always".

    Advice we try to adhere to every day.

    The book collects the best piece of advice from each of the members of Creative Social, matches them with the talented illustrators and designers from Bernstein & Andriulli, and brings them to life.

    It's a bigger idea that will live on way beyond the event, so we'd like to pose the question to you: what's the best piece of advice you've ever been given?

    Submissions published here: http://www.bestpieceofadviceever.com/

    [caption id="attachment_10083" align="alignnone" width="568" caption="Tristan Eaton"][/caption]

    [caption id="attachment_10084" align="alignnone" width="568" caption="Andrew Rae"][/caption]

    [caption id="attachment_10085" align="alignnone" width="568" caption="Rod Hunt"][/caption]

    [caption id="attachment_10086" align="alignnone" width="568" caption="12Foot6"][/caption]

    [caption id="attachment_10087" align="alignnone" width="600" caption="Gary Baseman"][/caption]


  • 1.26.12

    Andrew Rae Winterizes Bear Naked's Website

    Andrew Rae collaborates with VML to give Bear Naked's website a winter makeover. The granola brand calls itself the "official fuel of winter fun." The "Winteractive" site features a Wintervention, polls, games, and advice from the Mountain Oracle Man. The site allows users to connect with their friends over Facebook and Twitter by sending them the different interactive features.

    Rae used his signature illustration style to create fun characters at play in a winter snow scene. Skiers, snowboarders, and sledders mingle with bears, a Yeti, and life-like snowmen on the mountain.

    Visit the Bear Naked website now to see Andrew Rae's work.

    See more of Andrew Rae's illustrations here.


    Client: Bear Naked
    Agency: VML
    Group Creative Director: Robb Smigielski
    Creative Director: Becky Ervin
    Associate Creative Director: Andy McLeod
    Senior Copywriter: Jane Waske
    Art Directors: Ian Tirone, Caitlin Harsch
    Producer: Jason Calloway
    Illustrator: Andrew Rae
    Development Team: Stefan Miller, Caleb Kniffen, Chris Massey, Gaurav Parikh, Brandon Meyer, Jason Schlosser, David Starkweather

  • 3.17.11

    Andrew Rae Illustrates a D.I.Y. Cookbook for The New York Times

    The New York Times' food section, Dining & Wine, has put together a D.I.Y. cookbook of small kitchen projects for cooks of all calibers. Andrew Rae created the illustrations. Each project is simple and requires no special equipment or more room than most New York City apartment kitchens have. Projects include how to make cultured butter, kimchi, fresh cheese, and chocolate-hazelnut paste.

    Rae based his illustrations off an old instructional D.I.Y. manual. Instead of overly complicated drawings, Rae created pieces that reflected the simplicity of the projects. He used a simple hand-drawn technique and color scheme. Dining & Wine editor Pete Wells says of the project, "This is among the best things Dining has ever produced and by far the most attractive of all."

    The full D.I.Y. Cookbook is available on The New York Times site now.

    See more of Andrew Rae's illustrations here.

    Publication: The New York Times
    Article: "D.I.Y. Cookbook"
    Illustrations: Andrew Rae
  • 5.28.10

    Pick Me Up Graphic Arts Fair

    Artists and collectives took part in "Pick Me Up", a contemporary graphic art fair at Somerset House organized by Claire Catterall. Peepshow Collective showed a selection of prints, artwork, books and objects that were all available for purchase. They also ran a print workshop using pre-made woodblocks designed by the Peepshow team for creating one-off relief prints. Pictured above is Andrew Rae's "Ghost in the Machine" silkscreen.

    HelloVon exhibited a variety of commercial and personal work, including some never before seen pieces. "Lion 01" was featured in Fast Company's "Pick Me Up: 8 British Rising Stars of Graphic Design."

    Above: Two of HelloVon's works exhibited

    Pick Me Up attracted more tan 14,000 visitors. There are hopes that the event will return next year at Somerset House and become an annual fair. The appeal of Pick Me Up includes its welcoming vibe and the ability to socialize with the artists. Says Claire Catterall in Eye Magazine, "I've never been one for the more traditional, 'museumy' kind of exhibition." Check out other artists in the show here and stay tuned next year for more news on Pick Me Up.

    Pick Me Up at Somerset House
    Andrew Rae
    Peepshow Collective

    Pick Me Up: 8 British Rising Stars of Graphic Design in Fast Company

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