The Arts world is full of creative and broad-minded people; but few of them are as cosmopolitan and well-versed in the visual arts as the award winning illustrator, entrepreneur, creative director, College professor, and now children’s book author Mohamed Danawi.
Fluent in four languages, and having lived and worked all over the world, Mohamed Danawi is a true citizen of the world, of cosmopolitan vision and global aspirations. A vision that is reflected in his art, and in his global Agency, Illozoo.
Since establishing his studio in 1994, Danawi’s illustrations have been featured internationally in children’s books, advertising features, and major publications such as the reputed American Illustration and Communication Arts annuals, the New York Society of Illustrators, Applied Arts magazine, Archive's 200 Best Illustrators Worldwide, CMYK magazine, Get Inspired Germany, Juxtapoz, and DPI magazine Taiwan, among many others.
This vast expertise in illustration also allowed him to act as Jury in international illustration competitions, such as the Teatrio International Children's Book competition in Venice, and at the Society of Illustration of Los Angeles.
In addition, Danawi has been professor of illustration at the Savannah College of Art and Design for over two decades, chairing the illustration department from 1997-2002. In 2013 his entrepreneurial spirit led him to found Illozoo, a global visual communication agency with agents and offices all over the world, featuring some of the best talent in the illustration business.
This year, Danawi is reaching yet another milestone, with the publication of his first Children’s Book, “The Blue Scarf”, a story about identity, emigration, and acceptance.
Taking a rare break from his hectic schedule of activities, Mohamed Danawi sits with A Curious Culturalist to answer our questions, talk to us about the future of illustration, why the Golden Age of Illustration is right now, and what does it takes to be a successful visual artist.
Join us to learn more about Mohamed Danawi.
Dance of Death
A Curious Culturalist – Mohamed, you were born in Ghana, but you were raised in Lebanon with a French education, and then you studied in France, Canada, and in the United States. How do you think all these different cultural experiences have shaped your art and your artistic vision?
Mohamed Danawi - I think the fact that I lived in many places and was immersed in several cultures and languages, made me feel uneasy if I stayed in one place for too long. I’m often thirsty to travel and to explore new countries as well as visiting the familiar places that warm my heart. I don’t feel connected 100% to just one place. I’m a nomad.
ACC - So, would you say your artistic vision is also sort of 'nomadic' or 'multicultural'?
MD - I would say that it is worldly and humanistic. Not specifically representative of one culture or one theme.
ACC- As a young student, you enrolled at the Lebanese Academy of Fine Arts, where you received strong foundations in architecture, decorative art, classical art, etc. How do you think such rigorous training influenced your art?
MD - It didn’t influence my art as far as visual language or technique; it rather influenced my work ethics, tenacity, and dedication to perfection. It also shaped my fundamental knowledge in visual philosophy, drawing, and structural design.
ACC – All of these very important foundations. How do you think such training helps visual artists?
MD - I’m not sure that system works today. Everything was created by hand, no computers and just design tools. It definitely teaches you to be patient. But today, most of these tools are replaced by hardware and software.
Speech Therapy
ACC - Do you think that visual artists who rely on software are as well-rounded as those artists trained in the traditional tools?
MD - Yes, these are just tools; whether it's a traditional or digital tool, it does not make a difference. The digital platform today mimics 100% the look of traditional. What counts are the ideas and what the artists are communicating, colors, compositions, and craftsmanship.
ACC – Can you describe your path towards illustration?
MD - I Studied Film at the University of Montreal, then transferred to Design Art at Concordia University. I learned about illustration during my senior year, then applied for my Master’s Degree in Illustration.
ACC – I heard that MAD magazine had a special role in your choosing illustration as a career…
MD – Ha ha! MAD magazine was part of my childhood. I used to look forward for its monthly appearance at the bookstores back home in Tripoli, Lebanon. I would read it cover to cover and study all the drawings and cartoons, then create my own versions of the comics strips.
ACC - You graduated in Design and Applied Arts, obtained a Masters in Illustration, and then you obtained a postgraduate degree in 3D Computer Animation. With so many options to choose from, Why did you settle for Illustration as a career?
MD - I found illustration to be the perfect medium for me because I am most comfortable turning my ideas into drawings. Whatever I learned from design and animation was vital in shaping my illustrations and aesthetics.
Trouble In Cairo
ACC - Who would you name as your favorite illustrators or main influences in illustration?
MD - Tom Eckersley for his designs and compositions, Eduardo Muñoz Bachs for his humor and absurdity, and Matisse for his elegance with shapes and lines.
ACC – Now, your illustrations have covered several markets, from advertising and editorial to children's books, text books, and posters. What would you say are the difference between all these different markets?
MD - Each market has its own formats, topics, and problems to solve visually. Advertising tends to be heavily art directed. Editorial work allows for self-interpretation and freedom. Children’s books rely on the visual narratives and character designs.
ACC - Do you think that illustrators should target their work towards a specific market?
MD - Not really, but perhaps they could separate these markets in their portfolios and galleries. Most illustrators do that anyway.
Love Triangle
ACC - As a Professor, you've taught an impressive array of courses: Introduction to Illustration, Children's Book Illustration, Digital Illustration, Poster Design, Advertising, Business Practices, and more, which shows your depth of expertise in the field. Is there a connecting point between all these different categories?
MD - Yes, seeking perfection through visual problem solving, whether it’s narrative story-telling or conceptual interpretation. All require a deep understanding and knowledge of the technical skills, drawing, design, composition, color, creative thinking, and both intellectual and visual research.
ACC – Illustration does require a certain intellectual approach, which is something not everyone is aware of. In that same line, you have been a jury in several important international illustration competitions, such as the Teatrio International Children's Book competition in Venice, and at the Society of Illustration of Los Angeles. As a professional illustrator, art director, and art judge, what do you look for in illustrations in these competitions?
MD - Ideas, originality, visual harmony, craftsmanship, design balance: a compelling, thought provoking and visually engaging image.
ACC – With such a broad expertise in Illustration as yours, one could have almost bet that sooner or later you’d end up having your own Illustration agency. But, what made you decide to create Illozoo?
MD - At first, it was the desire to create a network of artists that I admire, and to showcase, curate and organize an online gallery and promote it. It was never about the business. I would only invite artists that I felt their work was compelling, regardless of whether it was commercially viable.
I cared mostly about the aesthetic and power of the illustrations. The business part came later. Now it became essential and in full force with a network of transactions, communications, trouble shooting, creative direction, moral support, nurturing relationships, connecting, marketing, promoting, travelling, showcasing, collaborating, negotiating, pitching, etc. But the essence remains: a network of global artists with poignant ideas and visually stunning work.
ACC – This year marks a new milestone for you with the publication of your first authored children’s book, “The Blue Scarf”, published by Hachette Books. What inspired you to write this book?
MD - Thinking about the Syrian and Lebanese refugees and how they were uprooted and spread around the world and how my childhood experience and home-based culture remained with me even though I travelled all over and lived in many places. I think one’s personality and cultural identity is formed during the first 10 years of one’s life.
ACC - How was the creative process of this book?
MD - I wrote it first, then divided the text into numbered spreads, then designed and numbered a storyboard to indicate the sequencing of the illustrations and the composition of each spread with text layout. I wanted to make sure that the visual sequencing is seamless and compelling for the reader to be eager to turn each page. I wrote my notes on it, then gave it to Ruaida [Mannaa, illustrator]. We communicated throughout the whole creative process to make sure we are both happy with it.
ACC - You've illustrated other people's children's books, but now you have an illustrator interpreting the story you wrote. How was it working with Ruaida Mannaa?
MD - I reached out to Ruaida among many choices of artists at the agency because, in my opinion, she was the perfect artist for the story. I wanted her and no one else to illustrate it. Even before I wrote it, I called her to tell her Layla’s story. She loved it.
ACC - Her illustration style is somewhat similar to yours.
MD - Yes, there are some similarities, but that’s not why I chose her to illustrate the story.
ACC - Did you ever consider illustrating the book yourself?
MD – Me, illustrate the book? And who’s going to manage the 200 artists and 7 agents at Illozoo? Did I tell you I also teach?
ACC – Of course! In fact, you wear lots of different hats: professor, illustrator, art director, agency director, author - how do you manage?
MD - I’m organized. I prioritize. I make sure if I’m going to spend time on something, it better be worth it. I also designate duties and recognize the skills in each person around me, then empower them to take the responsibility off my shoulder.
Preachers
ACC – Going back to illustration, some say that, with the disappearance of printed mass media and the rise of digital tools, the golden age of illustration is over. And yet we see illustrators reinventing their art in new ways, crossing over platforms, creating animations, GIFs, digital galleries, etc. How do you foresee the future of illustration?
MD - We are living in the Golden Age of illustration now! More platforms, more ways to create it, more audience, more demand. Digital books, Online advertising, illustration as motion, video games, RPG’s, films, animation, apps, web content, on-line learning, visual explainers, info graphics, social media, etc. We are much more visually oriented than ever before, and what more than illustration -as a form of visual communication- satisfies the sight and mind. Illustration is powerful - it informs, it entertains, it challenges, it provokes, it sells, it engages, and it’s stronger than ever, on every level, conceptual, commercial, narrative, and it’s just plain beautiful!
ACC - What qualities does an illustrator need to have in order to succeed in the field?
MD - Strong visual communication skills, clarity of ideas, originality, a unified visual language, design skills, drawing skills, conceptual interpretation skills, technical skills, manuscript interpretation skills, business skills, promotional skills, networking skills, organization, innovation, dedication, tenacity, perseverance, and being in tune with the news, events, cultures, with an open mind and a wide imagination.
ACC - You've been a successful illustrator for over three decades now, in a competitive field that's known for quick changes and fleeting trends. How does an illustrator remain relevant and hired through the years?
MD - They need to make sure that first and foremost, their illustrations are satisfying them, then allow it to reflect the needs of the market that they are focusing on, it terms of subject matter, concepts, and overall demand. But be careful, don’t follow trends blindly. Follow your soul, be true to yourself, and the audience will follow you.
ACC – Wise words. Now, my final question for you, Mohamed - as Art Director and Agency Director, what do you look for in a portfolio when deciding whether to take an illustrator into Illozoo?
MD - Originality, a unified visual language, craftsmanship, and engaging work.
Thank you, Mohamed, for sharing your time and expertise with us, and for providing us with such a broad gaze at the art of Illustration. We wish you the best with “The Blue Scarf”, and every success with Illozoo.
To Learn More
To learn more about Mohamed Danawi and his work, please visit his official web site:
If you wish to learn more about Illozoo and check their wonderful roster of artists, visit their official
webpage, or follow on
Instagram,
Facebook, and
Twitter.
Although the official release of “The Blue Scarf” is programmed for October 2022, you can already order a copy of the book here:
All images courtesy of Mohamed Danawi
All images ©Mohamed Danawi
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