<?xml version="1.0" encoding="utf-8"?> <rss version="2.0"> <channel> <title>Design Remote Jobs | Find Remote Graphic Designer Job Positions</title> <link>https://www.designremotejobs.com</link> <description>Find remote graphic design jobs worldwide. Browse hundreds of remote positions for graphic designers, UI/UX designers, and creative professionals. Work from anywhere.</description> <lastBuildDate>Tue, 06 Jan 2026 21:10:48 GMT</lastBuildDate> <docs>https://validator.w3.org/feed/docs/rss2.html</docs> <generator>https://github.com/jpmonette/feed</generator> <language>en</language> <image> <title>Design Remote Jobs | Find Remote Graphic Designer Job Positions</title> <url>https://www.designremotejobs.com/images/logo-512.png</url> <link>https://www.designremotejobs.com</link> </image> <copyright>All rights reserved 2024, DesignRemoteJobs.com</copyright> <category>Bitcoin News</category> <item> <title><![CDATA[Inside Fela Kuti's Wild Creative World: How Marijuana and Revolution Shaped Iconic Album Art]]></title> <link>https://www.designremotejobs.com/article/inside-fela-kutis-wild-creative-world-how-marijuana-and-revolution-shaped-iconic-album-art</link> <guid>inside-fela-kutis-wild-creative-world-how-marijuana-and-revolution-shaped-iconic-album-art</guid> <pubDate>Tue, 06 Jan 2026 19:00:25 GMT</pubDate> <description>< ## A Fateful Meeting at 18 Ghariokwu had first crossed Kalakuta’s threshold three years earlier as an 18-year-old engineering student, accompanied by Kuti’s journalist friend Babatunde Harrison, who’d spotted Ghariokwu’s portrait of Bruce Lee hanging in a Lagos bar and deemed him skilled enough to illustrate the musician’s album sleeves. As he awaited his audience with the Black President, then mid-siesta, Ghariokwu absorbed his surroundings. Kuti had been gifted Kalakuta by his mother, revered pan-African activist Funmilayo Ransome-Kuti, restyling it as a fiefdom-cum-commune for his followers, complete with recording studio and swimming pool. “Kalakuta was already notorious, because of Fela’s lifestyle; young people from all over the neighbourhood had eloped to live there. There were skimpily dressed women everywhere.” When Kuti finally awoke, Ghariokwu handed over the portrait of him that Harrison had requested. “Fela was groggy, his eyes were bloodshot, he was dressed only in his briefs, which hung down so his whole pubic hair was exposed. I was intimidated. He looked at the portrait and said, ‘Wow. *Goddammit*.’ He wrote me a cheque for 120 naira, four times what I’d charge for a portrait. But my spirit told me, ‘Don’t take the money.’ I told him it was a gift from the bottom of my heart, and he smiled, writing me a gate pass to visit Kalakuta whenever I wanted. It was the ticket to my destiny.”  ## From Engineering Student to Revolutionary Artist They met again a fortnight later, after Kalakuta had been raided by police for the first time and Kuti was hospitalised with a head-wound. “The room was crowded,” remembers Ghariokwu. If their previous meeting had acquainted him with the star, he now saw the steel beneath the playboy glamour. “With a police guard at the door, Fela spoke loudly about how the authorities had found it too easy to gain entry to Kalakuta. ‘I will electrify the fence, so next time they’ll get a shock and think, “This man is crazy!” And I’m going to write a song to lampoon the police.’ Then he saw me and called for me. ‘The artist!’” Kuti commissioned Ghariokwu to paint the sleeve for his next release, **Alagbon Close**, which railed against the regime’s dehumanisation of Nigeria’s people. “Alagbon Close was where Fela became a revolutionary against the system,” says Ghariokwu. “I didn’t simply illustrate the lyrics – my painting was more metaphysical. I depicted Fela breaking out of jail, in a celebratory stance, chains broken, the victory sign painted on the wall of Kalakuta because he’d triumphed over the evil police. When Fela saw it, again he said: ‘Wow. *Goddammit*.’ But I cashed the cheque this time.” Kuti took the artist under his wing. “I was already a pan-Africanist,” Ghariokwu says. “But Fela taught me so much. He gave me books about African history, George GM James’s *Stolen Legacy*, Yosef ben-Jochannon’s *Africa: Mother of Western Civilisation*, the *Autobiography of Malcolm X*. His other graphic designers didn’t care about what he was preaching. I did, and that put me in a very advantageous position.” ## ‘You Can’t Drink Fanta. You Have to Smoke Marijuana’ Kuti also wanted to open Ghariokwu’s mind to the powers of marijuana, but the teetotal artist was reluctant. “Some of the 80 or so people living in Kalakuta were employed simply to roll spliffs,” he remembers. “But I always refused. I took Fanta instead.” However, when Ghariokwu was assigned his second album cover, 1975’s **No Bread**, Kuti said: “How can my artist be drinking Fanta? You have to smoke *igbó*, to make your head correct.” Ghariokwu adds: “He was such a hero to me, a demi-god, I said, ‘OK’.”  Kuti would get his chefs to heat marijuana until it yielded its oil, bottling and storing it in his bedroom. “It was *very* potent. He put a drop on the end of a spoon, for me to lick. Within 30 minutes, I felt very hungry and I had this floating feeling. I went to the bathroom, and I could see my alimentary canal like the plumbing of a house, my urine travelling through pipes inside my body. I told Fela and his friends, and they all laughed at me.” Later that day, Kuti realised that Ghariokwu needed to go home. “He drove us in his Range Rover, and when we got to my parents’ place, kids in the street were shouting, ‘Fela! Fela!’ As I got out of the car, he hissed, ‘When you get inside, *don’t* talk to your parents, *don’t* answer any questions – just say “goodnight” and go to sleep. But when you sleep, meditate about the artwork.’ I awoke at noon the next day. Ideas were just flooding my brain. I forced in as many as possible.” The sleeve for **No Bread** presented a dizzying overload of images and metaphors: men fighting over food and money, women presenting their breasts, rats in sunglasses, empty petrol pumps, a balloon reading “Mr Inflation is in town”. “When Fela saw it, he jumped for joy, shouting, ‘You see?’ like I should always have been smoking marijuana. But I can’t handle intoxicants. So I analysed the inspiration I got from that high and used it as my style of composition from then on.” ## A Visual Identity as Unique as the Music Ghariokwu remained teetotal, but his work continued to evolve over the next several years. On acidly satirical sleeves such as **Ikoyi Blindness** (lampooning a lawyer from the affluent Ikoyi neighbourhood), **Yellow Fever** (naked African women apply skin bleacher), **Upside Down** (colonial developers invade as children starve), Ghariokwu created a visual identity as unique as Pedro Bell’s work for Funkadelic. “Fela treated me like one of his children, always receiving my work with ‘Wow. *Goddammit.*’ And, if he was particularly impressed, ‘MOTHERFUCKER.’ I was his youngest adviser, his comrade-in-arms. With two other friends, I formed the political youth wing of Kalakuta, Young African Pioneers. Fela could no longer use public transport, so we told him what was happening in the city, and that inspired his songs.”  ## The Unraveling of a Friendship Ghariokwu was at home when a neighbour told him Kalakuta was on fire. He raced to the compound. “The raid was already in full swing. The police had grabbed Fela’s mum. I didn’t see her fall from the window.” Suspecting Kuti was hiding in a nearby warehouse, soldiers apprehended the owner. “They chopped his finger off with a machete, and he confessed immediately. Soon, they dragged Fela out into the street, naked and bleeding. They slashed his bodyguard’s stomach open with bayonets, so his intestines came out. Fela saw me and whispered, ‘Get my lawyer.’” Kuti went on to **sue the government for $1.6m**, and rebuilt Kalakuta and his nightclub the Shrine, which the soldiers had also razed, a block away. But Funmilayo never recovered from being thrown from the second-floor window. “Losing his mother was very traumatic for Fela,” says Ghariokwu. “On *Coffin for Head of State*, he sings, ‘They kill my mama, they kill my mama.’ He was crying from his soul. He felt so guilty: ‘If not for my troubles, she’d still be alive.’ He was never the same after that.”  Ghariokwu and Kuti disagreed over how to proceed in the aftermath of the raid. “We had to be diplomatic, we needed to sit down and negotiate,” says Ghariokwu. “Fela was having none of that, and my loyalty was questioned.” When he painted a young African in denim and platform shoes falling from an aeroplane for the sleeve of **Johnny Just Drop**, which satirised diaspora Africans believing they’re superior to their countrymen, Kuti nixed the cover (“I don’t want it to seem like I’m attacking the youth”) and told Ghariokwu to draw a bourgeois older man in a parachute instead. It was the first time Kuti had told him what to paint. Against his boss’s wishes, Ghariokwu had the label manufacture an expensive gatefold sleeve with Kuti’s preferred image on the front, and the rejected image on the back. “He was so angry,” he laughs. “‘You’ve hit me below the belt!’ I ran. The next day he cooled down.” But then Kuti rejected Ghariokwu’s next sleeve, for **Sorrow, Tears and Blood**. “Fela broke my heart,” says the artist, who had always enjoyed “100% freedom” in his work for Kuti. Ghariokwu walked away from Kalakuta, going on to complete more than 2,000 album sleeves for other musicians, and pursue a career in fine art. A decade after their falling out, he reconciled with Kuti, working on several more sleeves before the Black President succumbed to Aids in 1997. “Ours was a divine collaboration,” he says now, taking pride in how Kuti’s music – and his album artwork – helped spread African culture across the rest of the world. “A journalist once asked me if I was bored of always being tied to Fela, of living in his shadow,” he smiles. “But Fela is in the lineage of WEB Du Bois, Malcolm X, Martin Luther King Jr, a fighter for the mental liberation of the African people. Fela cast a long shadow, and as a pan-Africanist, that’s a good place to live.”]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>albumart</category> <category>felakuti</category> <category>graphicdesign</category> <category>afrobeat</category> <category>creativity</category> <enclosure url="https://i.guim.co.uk/img/media/41d1747a5703cc08b0b5cefefac0bc77afc8d038/654_0_4580_3664/master/4580.jpg?width=1200&height=630&quality=85&auto=format&fit=crop&precrop=40:21,offset-x50,offset-y0&overlay-align=bottom%2Cleft&overlay-width=100p&overlay-base64=L2ltZy9zdGF0aWMvb3ZlcmxheXMvdGctZGVmYXVsdC5wbmc&enable=upscale&s=16537bdc95578cfac465fd84aaa765ed" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Exclusive Sneak Peek: BrickLink Designer Program Series 7 Final Designs Revealed with LEGO Ninjago Twist]]></title> <link>https://www.designremotejobs.com/article/exclusive-sneak-peek-bricklink-designer-program-series-7-final-designs-revealed-with-lego-ninjago-twist</link> <guid>exclusive-sneak-peek-bricklink-designer-program-series-7-final-designs-revealed-with-lego-ninjago-twist</guid> <pubDate>Sat, 03 Jan 2026 19:00:23 GMT</pubDate> <description>< --- ### W.A.L.T. The Little Robot – Leewan  --- ### Sushi Restaurant (寿司屋) – Brickproject  --- ### Alchemist’s Shop – Shram  --- ### Antique Collection – terauma  When you make a purchase or, sometimes, carry out some other action as a direct result of clicking on a link at The Brick Fan, we will receive a small commission. The Brick Fan is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com. As an Amazon Associate, I earn from qualifying purchases. We partner with Rakuten Advertising, who may collect personal information when you interact with our site. The collection and use of this information is subject to the privacy policy located here: https://rakutenadvertising.com/legal-notices/services-privacy-policy/]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>bricklink</category> <category>lego</category> <category>ninjago</category> <category>designerprogram</category> <category>series7</category> <enclosure url="https://www.thebrickfan.com/wp-content/uploads/2025/03/BrickLink-Designer-Program-Series-7.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Inside Kendall Jenner's Retro Airstream: How Bold Lime Countertops Redefine Small-Space Design]]></title> <link>https://www.designremotejobs.com/article/inside-kendall-jenners-retro-airstream-how-bold-lime-countertops-redefine-small-space-design</link> <guid>inside-kendall-jenners-retro-airstream-how-bold-lime-countertops-redefine-small-space-design</guid> <pubDate>Wed, 31 Dec 2025 19:00:23 GMT</pubDate> <description>< *Mirroring the 1970s soul of Kendall Jenner’s Airstream, this design swaps lime green for a high-gloss orange countertop set against rich, dark wood cabinetry. The bold pop of citrus provides a playful, high-energy anchor that transforms the moody, wood-grained space into a fun retro statement.* Kendall’s Airstream shows that 'small' doesn’t have to mean 'safe.' By combining the warmth of dark wood with the bold playfulness of lime green stone, the design achieves a perfect harmony between nostalgic charm and modern whimsy. It’s a reminder that the best interiors aren’t just beautiful – they’re playful. In a world dominated by greige and beige, this redesign makes a compelling case for welcoming fun and personality back into functional spaces – a **color trend** I hope to see continue far beyond the holidays.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>interiordesign</category> <category>retrostyle</category> <category>smallspaces</category> <category>designtrends</category> <category>countertops</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/v2gTmfvSMQMPsaTFiexWeS-2560-80.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[How I Designed a Zine on Linux Using Affinity and WINE: A Designer's Unconventional Journey]]></title> <link>https://www.designremotejobs.com/article/how-i-designed-a-zine-on-linux-using-affinity-and-wine-a-designers-unconventional-journey</link> <guid>how-i-designed-a-zine-on-linux-using-affinity-and-wine-a-designers-unconventional-journey</guid> <pubDate>Tue, 30 Dec 2025 19:00:24 GMT</pubDate> <description><![CDATA[**I write a lot these days**, but my path into journalism, going way back to J-School, was through layout. For years, I was a graphic designer at a number of newspapers—some fairly small, some quite large. I was a card-carrying member of the Society for News Design. It was one of my biggest passions, and I fully expected to have a long career in newspaper design. But newspapers as a medium haven’t really panned out, so I eventually fell into writing. But I still adore laying out a big project, conceptualizing it, and trying to use it to visually add to the story that the words are trying to convey. It’s not quite a lost art, but I do think that print layout is something that has been a bit back-burnered by society at large. So when *404 Media* co-founder Jason Koebler, who spent years editing my writing for *Motherboard*, reached out about doing a zine, I was absolutely in. The goal of the zine—to shine a spotlight on the intersection of ICE and surveillance tech—was important. Plus, I like working with Jason, and it was an opportunity to get into print design again after quite a few years away. I just had two problems: One, I have decided that I no longer want to give Adobe money because of cost and **ethical concerns** about its business model. And two, I now use Linux pretty much exclusively (Bazzite DX, in case you’re wondering). But the good news is that the open-source community has done a lot of work, and despite my own tech shifts, professional-grade print design on Linux is now a viable option. ## Why Page Layout on Linux Is Fairly Uncommon The meme in the Linux community writes itself: “I would move over to Linux, but I need Photoshop and InDesign and [insert app here] too much.” In the past, this has been a real barrier for designers, especially those who rely on print layout, where open-source alternatives are very limited. (They’ve also been traditionally at the mercy of print shops that have no time for your weird non-standard app.) Admittedly, the native tools have been getting better. I’m not really a fan myself, but I know **GIMP** is getting closer in parity to Photoshop. **Inkscape** is a totally viable vector drawing app. Video is very doable on Linux thanks to the FOSS **Kendenlive** and the commercial **DaVinci Resolve**. **Blender** is basically a de facto standard for 3D at this point. The web-based **Penpot** is a capable Figma alternative. And **Krita**, while promoted as a digital painting app, has become my tool of choice for making frame-based animated GIFs, which I do a lot for Tedium. But for ink-stained print layout nerds, it has been tougher to make the shift (our apologies to **Scribus**). And Adobe locks down Creative Cloud pretty hard. However, the recent **Affinity** release, while drawing some skepticism from the open-source community as a potential enshittification issue, is starting to open up a fresh lane. For those not aware, the new version of Affinity essentially combines the three traditional design apps—vector editor, raster editor, and page layout—into a single tool. It’s pretty good at all three. (Plus, for business reasons related to its owner Canva, it’s currently free to use.) While it doesn’t have a dedicated Linux version, it more or less runs very well **using WINE**, the technology that has enabled a Linux renaissance via the **Steam Deck**. (Some passionate community members, like the WINE hacker **ElementalWarrior**, have worked hard to make this a fully-fleshed out experience that can even be installed more or less painlessly.) The desire for a native Linux version of a pro-level design app is such that the Canva subsidiary is thinking about doing it themselves. But I’m not the kind of person who likes to wait, so I decided to try to build as much of the zine as I could with Affinity for page layout. For the few things I couldn’t do, I would remote into a Mac. ## The RISO Factor Another consideration here is the fact that this zine is being built with **Risograph printing**, a multicolor printing approach distinct from the more traditional **CMYK**. The inky printing process, similar to screen printing, has a distinct, vibrant look, even if it avoids the traditional four-color approach (in our case, using layers of pink, black, and lime green). Throughout the process, I spent a lot of time setting layers to multiply to ensure the results looked good, and adding effects like halftone and erase to help balance out the color effects. This mostly worked OK, though I did have some glitches. At one point, a lime-green frog lost much of its detail when I tried to RISO-fy it, requiring me to double-check my color settings and ensure I was getting the right tone. And sometimes, PDF exports from Affinity added unsightly lines, which I had to go out of my way to remove. If I was designing for newspapers, I might have been forced to come up with a quick plan B for that layout. But fortunately, I had the luxury of not working on a daily deadline like I might have back in the day. I think that this layout approach is genuinely fascinating—and I know Jason in particular is a huge fan of it. Could I see other publications in the *404* mold taking notes from this and doing the same thing? Heck yes.  ## The Ups and Downs of Print Layout on Linux So, the headline you can take away from this is pretty simple: Laying stuff out in Affinity over Linux is extremely doable, and if you’re doing it occasionally, you will find a quite capable tool. Admittedly, if this was, like, my main gig, I might still feel the urge to go back to MacOS—especially near the end of the process. Here’s what I learned: **The good:** Workflow-wise, it was pretty smooth. Image cutouts—a tightly honed skill of mine that AI has been trying to obsolete for years—were very doable. Affinity also has some great effects tools that in many ways beat equivalents in other apps, such as its glitch tool and its live filter layers. It didn’t feel like I was getting a second-class experience when all was said and done. **The bad:** My muscle memory for InDesign shortcuts was completely ineffective for this, and there were occasional features of InDesign and Photoshop that I did not find direct equivalents for in Affinity. WINE’s file menus tend to look like old Windows, which might be a turn-off for UX purists, and required a bit of extra navigation to dig through folders. Also, one downside of WINE that I could not work past was that I couldn’t use my laptop’s Intel-based GPU for machine learning tasks, a known bug that I imagine slowed some things down on graphically intensive pages.  **The ugly:** I think one area Affinity will need to work on as it attempts to sell the idea that you can design in one interface are better strategies to help mash down content for export. At one point while I was trying to make a PDF, Affinity promised me that the file I would be exporting was going to be 17 exabytes in size, which my SSD was definitely not large enough for. That wasn’t true, but it does emphasize that the dream of doing everything in one interface gets complicated when you want to send things to the printer. Much of the work I did near the end of the process was rasterizing layers to ensure everything looked as intended. When I did have to use a Mac app for something (mainly accessing **Spectrolite**, a prepress app for RISO designs), I accessed an old Hackintosh using **NoMachine**, a tool for connecting to computers remotely. So even for the stuff I actually needed MacOS for, I didn’t need to leave the comforts of my janky laptop. ## Looking for a Big Tech Escape Hatch Was it 100% perfect? No. Affinity crashed every once in a while, but InDesign did that all the time back in the day. And admittedly, an office full of people using Affinity on Linux isn’t going to work as well as one guy in a coffee shop working with a team of editors over chat and email. But it’s my hope that experiences like mine convince other people to try it, and for companies to embrace it. Affinity isn’t open-source, and Canva is a giant company with plenty of critics, just like Adobe. But there are emerging projects like **PixiEditor** and **Graphite** that could eventually make print layout an extremely viable and even modern open-source endeavor. But we have to take victories where we can find them, and the one I see is that Affinity is a lot less locked down than Creative Cloud, which is why it’s viable on Linux. And in general, this feels like an opportunity to get away from the DRM-driven past of creative software. (Hey Canva, it’s never too late to make Affinity open-source.) Difficult reporting shouldn’t have to be tethered to the whims of Big Tech to exist. Especially when that tech—on Amazon’s cloud, using Adobe’s PDFs, through Google’s search, over Meta’s social network, with Apple’s phones, and on Microsoft’s operating system—too often causes uncomfortable tensions with the reporting. This is one step towards a better escape hatch.]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>linux</category> <category>affinity</category> <category>printdesign</category> <category>zine</category> <category>wine</category> <enclosure url="https://www.404media.co/content/images/size/w1200/2025/12/signal-2025-12-10-104505_003.jpeg" length="0" type="image/jpeg"/> </item> <item> <title><![CDATA[The Magic of Drew Struzan: How One Artist's Movie Posters Captured Our Childhood Dreams]]></title> <link>https://www.designremotejobs.com/article/the-magic-of-drew-struzan-how-one-artists-movie-posters-captured-our-childhood-dreams</link> <guid>the-magic-of-drew-struzan-how-one-artists-movie-posters-captured-our-childhood-dreams</guid> <pubDate>Sun, 28 Dec 2025 19:00:22 GMT</pubDate> <description>< ## More Than Just Advertisements Drew saw movie posters not just as adverts or announcements for the picture, but for part of the experience of the movie itself. They told you **how the movie felt**, not just what it was about and who was in it. As our writer Tom May wrote after Drew passed away in October, the great artist used **hierarchy and atmosphere** to great effect, so your eye knew exactly where to land. His “mountain of people” movie posters with faces stacked into a pyramid solved a problem that still defeats many designers: how to show a large cast without creating chaos, while his use of light communicated the promise of something extraordinary about to happen on the big screen. Following his death at the age of 78, artists all over the world paid their respects to a man whose brushwork inspired a **golden age in movie posters**. Here are some of their comments praising an artistic and, in some cases, personal hero.  ## Tributes from Fellow Artists **Tony DiTerlizzi**: “I cannot emphasise how unbelievably gifted the legendary artist, Drew Struzan, was. His iconic movie posters, capturing the likeness of our favourite actors, using textures and palettes that conveyed the mood of visionary directors, was phenomenal. And all designed in an exciting, joyous composition that is so incredibly hard to accomplish. “I tried to emulate his dynamic work for my gift to the Spiderwick film crew back in 2008 only to learn how complicated his art was and how alive, energetic and effortless he made it look. Godspeed, Drew. You’ve inspired so many.” **Karla Ortiz**: “[Drew's] incredible work has given me and countless others so much awe, joy and inspiration! I had posters of his work as a teen, I began using colour pencils because I thought he used them too. Always inspired by him. RIP Drew Struzan.” **Staz Johnson**: “When I was in high school my ambition was to be an illustrator of album covers, so my artistic heroes were Roger Dean, Derek Riggs, etc., but above all of them was Drew Struzan… R.I.P.” **Rob Duenas**: “When I think of 'Art', his is what I see in my mind. It’s no coincidence that one of the best illustrators of our time was named Drew. He drew alright; he left his mark on the world.”  **Tyler Jacobson**: “You defined an age and inspired a generation. Thank you for all the beauty, Drew. Godspeed.” **Pernille Ørum**: “He brought my childhood to life with his art, and his legacy will live on forever.” **Robbie Trevino**: “Drew, you were an absolute inspiration to myself and countless others as we grew up loving cinema and the covers, posters and packaging that went with them. I wouldn’t have even been interested in many movies initially (in child- and teenhood) if not for your stunning work depicting them. “I would stare at your work for countless hours as a kid and young adult. I remember doing studies of your posters in art school and still there was some sort of wizardry behind it I could never quite comprehend. You were a legend and your legacy will live on. Thank you for all the years of inspiration, rest easy.” **Kyle Lambert**: “Drew was a lovely person, an incredibly talented artist and an inspiration to artists and movie fans worldwide. I was fortunate enough to get to know Drew over the past couple of years, and I treasure those memories talking about how he created some of my favourite posters and showing him how I make my own. My heart goes out to his wife Dylan and the rest of his family. Rest in peace Drew, you are a legend.”  **Bill Sienkiewicz**: I don’t have words to express the magnitude of his abilities nor the depth of the loss we all feel as the result of his passing. My deepest condolences to Dylan and Christian, to their family, friends and his loved ones. **Devon Cady-lee**: What an amazing vision we’ve lost, illustrator and designer demi-god. We grew up seeing his work everywhere and I’m sure I’ll see his influences in art for rest of my life. **Dylan Cole**: Thank you so much for the endless inspiration that will endure forever. You were THE artist of my childhood and all my favourite films. Thank you for the joy and wonder. There will never be another like you. Rest in peace. **Robert Liefeld**: “When you saw one Drew Struzan illustration, you immediately wanted to see more. You had to consume all of them. He was a master. Rest in peace.” ## The Enduring Impact Many people will remember the feeling that it gave them the first time they saw a Drew Struzan poster. Whatever movie it was for, it had them hooked before they saw a trailer or knew anything about the plot. Creative Bloq and ImagineFX wish the very best for Drew’s family. *This article originally appeared in ImagineFX. Subscribe to ImagineFX to never miss an issue. Print and digital subscriptions are available.*]]></description> <author>contact@designremotejobs.com (DesignRemoteJobs.com)</author> <category>illustration</category> <category>movieposters</category> <category>designinspiration</category> <category>artlegacy</category> <category>cinemaart</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/gjAGpK7iUAJp85uANbP5iM-1000-80.jpg" length="0" type="image/jpg"/> </item> </channel> </rss>