Johnalynn Holland
Creative Entrepreneur

Illustration
Portraits
50K Feet and No Insurance
Press
About
Pattern Design

Contact

Shop
Blog
Substack

 

Please note that all artwork displayed on this website is copyright ©johnalynn holland. All rights reserved. The images and artworks here are the intellectual property of the owner and are protected under copyright law. They may not be reproduced, copied, transmitted, or manipulated without the express written permission of the copyright holder.

Select Clients:  
ACLU
AU ANTIRACISM CENTER
THE ATLANTIC
JASON REYNOLDS’ BRAIN YOGA
BYRON HURT
CASSONDRA JAMES
GAY MAGAZINE
GIRLTREK
THE GUARDIAN
HMH BOOKS & THE NEW YORK TIMES
LITTLE, BROWN, & COMPANY
MADHURI PAVAMANI
M.I.T.
MINNEAPOLIS INSTITUTE OF ARTNATE SMITH
NEW REPUBLIC
NEW YORK REVIEW OF BOOKS
PEACOCK NETWORK
REBEL GIRLS
REPUBLIC RECORDS
SCIENCE MAGAZINE
UCLA
THE UNDEFEATED
THE UNIVERSITY OF LOUISVILLE ALUMNI MAGAZINE
WASHINGTON POST MAGAZINE
WASHINGTON POST

Psalm 62 Album Cover

Client: Foggyraw | Republic Records
Role:  Illustrator
Year: 2023

Challenge: The client wanted a Biblical style “Last Supper” motif featuring  Greek angels and modern depictions of clothes and people. This was to merge with the aesthetic and palette of his viral “Psalm 62” visuals.  His Psalm 62 album sampled two iconic artists, Alicia Keys and Musiq Soulchild. The image needed to pay homage to Keys’ “You don’t know my Name” and Soulchild’s “TeachMe”. Although, Foggieraw has a dedicated fan base, this release was expanding his existing fan base into older Neosoul fanbases of both Keys and Soulchild.   

Solution: The Pslam 62 visuals set in a diner as a nod to Keys’s “You Don’t Know My Name.” I recreated the diner backdrop and added iconic visual cues of Keys in the kitchen wearing a cream hairnet and the fish special with the hot chocolate on the table.  The table was the perfect to way to implement the “Last Supper” motif.The people on the left represented characters from his visuals and people on the right were significant to his personal life. I posed them modern day disciples placing Foggieraw centered between them as if torn between his artistic discipline and his personal obligations.

Back        Forward