We don’t just play the field, we paint it. There are moments when a city stops behaving like a place and starts behaving like energy. Summer always brings an enhanced version of that, but when the highly anticipated FIFA World Cup arrives next month, it moves differently. It accelerates. Flights arrive packed, sidewalks buzz late into the night, and entire neighborhoods pulse with a contagious sense of excitement. In cities like Los Angeles, New York, Seattle, Atlanta, and San Francisco, the energy of the World Cup doesn’t stay confined to stadiums or match schedules; it takes over everything. It moves through Venice in the golden hours of late afternoon, pulses along Melrose where retail meets culture, fills the streets of Soho by day, and electrifies Williamsburg long into the night. This isn’t just about watching the game; it is about stepping into it. The World Cup becomes a citywide experience, where every neighborhood, every street, and every moment invites you to be part of something bigger. For brands, that movement creates both a unique opportunity and overwhelming pressure. Fashion, CPG, tech, finance, retail, travel, and alcohol all compete for attention in the same environments, often during the same hours. Visibility is everywhere, but it disappears just as quickly. What stands out isn’t what’s seen once, it’s what shows up again, naturally, as people move. Not just creatively, but in how they perform. They hold attention longer, show up repeatedly, and extend naturally into the content people create around them. At Overall Murals, the work starts with understanding that a wall is not just a location; it is part of a larger path to making an impression. A single wall can introduce a brand, but its impact is limited. When that presence continues across multiple placements, it begins to build frequency, recognition, and momentum in the real world. Across our wide footprint, LA’s Venice and Melrose, Seattle’s Pike Place, Atlanta’s Downtown, to New York’s LES and Bushwick, San Francisco’s Union Square, and many more, we’ve seen how that continuity builds and engages. A brand might begin with a high-visibility wall along Melrose, where foot traffic and retail density create immediate exposure, then extend into Venice, where the pace slows, and people engage differently with their surroundings. In New York, that presence might shift onto bustling Canal Street, where daytime movement peaks, and then onto Wythe Avenue, where the environment invites a different kind of attention at night. Each wall meets a different moment, but together they create something cohesive. That consistency across environments increases the likelihood that a brand is not just seen, but remembered. It allows brands to plan for presence, not just placement. A fashion brand might use one perfectly placed wall to establish a bold summer seasonal statement, while another introduces a collaboration that feels specific to a neighborhood. A food or beverage brand can anchor itself in high-energy social corridors, then extend into surrounding areas where those moments continue more organically. A tech brand may drive hyper-productivity into experience-driven messaging in places where people are actively moving about. In each case, the goal isn’t just visibility. It’s sustained presence across the moments where people are already moving, gathering, and engaging. It’s where craft meets media performance, delivering both physical impact and extended reach. During the World Cup and summer season, when millions of people are documenting their experience, capturing where they are, what they’re seeing, and how the city feels, the work begins to move beyond the street. Within that system, certain walls can be rigged and illuminated to do more. Our award-winning Special FX team introduces elements that change how people engage with the work, not by overwhelming it, but by giving it another layer to reveal over time, and creating further engagement and discussion beyond the wall. A brand might use materials that respond to light, so the wall shifts from day to night, or incorporate finishes that catch the eye anamorphically depending on where someone is standing. These elements don’t just add spectacle; they increase engagement, repeat views, and time spent with the work. What ties all of this together is where the work lives. During a moment of this scale, the most obvious placements quickly become crowded. The real opportunity often exists just beyond them, in the connectors between neighborhoods, along the streets that lead into gathering points, in the places where people pause rather than pass through. This is how the footprint expands, not as a fixed map, but as something that adapts to the moment to deliver stronger engagement in those moments. And that’s where the impression deepens. In a season where everything is competing for attention and where movement replaces routine, that kind of presence is what allows hand painted walls to go beyond. Not just as media, and not just as craft, but as something that connects both, creating impressions that build, travel, and last, driving both cultural relevance and real-world impact for brands. If you’re interested in what’s behind the walls and what they can do for your brand, explore more at overallmurals.com/services or reach me at scott@overallmurals.com.

DMOTE, aka Shannon Peel, has spent four decades leaving his mark on nearly every continent. Rooted in the streets of Sydney but long outgrown any single city or category, he now channels that experience into his role as Creative Director at Overall Murals. As we celebrate the hand painted Public Art we've had the pleasure of bringing to life, city by city, what better way to honor the work than to reflect on it with a voice that truly understands art? Shannon has lived it, from trains to brick walls, across the world. Growing up in Sydney in the mid-80s, at the exact moment graffiti arrived as part of the BBoy wave sweeping outward from New York. Already into drawing and mischief, graffiti was the natural next step. For twenty years, he built his name in Sydney, Australia's walls, developing a style and a standard that the culture, not any institution, would recognize. By the time he moved to New York, he'd earned that reputation, and the freedom that came with starting over as a relative unknown pushed his work further than staying comfortable ever could have. That history is exactly what Shannon brings to Overall Murals. He knows the difference between a wall that belongs somewhere and one that's just filled. Public Art at its best stops people in their tracks, not because it's loud, but because it's true to the place it lives in. We sat down with Shannon to talk about where Public Art comes from, what it's worth, and why it matters more now than ever. DMOTE, aka Shannon Peel, has spent four decades leaving his mark on nearly every continent. WHAT'S THE MOST POWERFUL PIECE OF PUBLIC ART YOU'VE EVER STOOD IN FRONT OF, AND WHAT DID IT DO TO YOU? There was a hand painted mural of peace doves in a graphic style that really stood out to me as a kid growing up in Sydney. It was in the center of the city and had been there as long as I could remember. TATS CRU and Fx crew Graffiti production walls along the 6 line in 2000 were amazing. Self-funded, groundbreaking contributions to the community. On my first trip to NYC, we walked the whole length, taking pictures of those walls in the Bronx. Some hand painted murals in Philly really stood out to me as well, Dr J mural in particular. Each of those murals stands alone. Not suffocated by other murals. Murals that have intention, a message, and are considerate of the community and environment they live in. Public art “Muralism” was always something to me that was best stumbled across, like you turned a corner and saw something amazing you weren't expecting. I had this experience walking through Harlem in the early 2000’s, discovering the Picasso-inspired murals of De La Vega. That to me is the power of Public Art. WHAT’S CHANGED THE MOST ABOUT PUBLIC ART IN THE LAST 10–15 YEARS? When this modern wave of “Muralism” kicked off in the early 90’s in Germany, it was very difficult to create a large-scale mural. Access to lifts was almost non-existent. Work was done on a scaffolding. Paint wasn't as developed as it is now, and the technology of gridding and projections wasn't as accessible, so a lot of planning and labor went into each undertaking. Now, with the process readily available on the internet, painting demonstrations and techniques are readily accessible, and anyone can step up and try it with these tools. WHEN DID YOU START NOTICING BRANDS PAYING ATTENTION TO THIS SPACE? DID THAT FEEL LIKE AN OPPORTUNITY, OR LIKE SOMETHING WAS BEING TAKEN? For me, it was in the early 90’s. Although people had been making money doing commercial signage and smaller murals since the 80’s. I have a rule for companies, I do “Graffiti” for which goes, “If I walk past this job, will I feel good about it?” Companies that support the arts or culture, I've always felt better about working with. WHERE DO YOU THINK PUBLIC ART IS HEADED? ARE WE IN A GOOD MOMENT FOR IT, OR ARE WE LOSING SOMETHING? With the movement toward all things artificial, the human element is needed. As a society, I think it's important not to lose touch with texture, emotion, and culture. AFTER FORTY YEARS OF STUDYING WALLS, CITIES, AND CULTURE, WHAT DO YOU LOOK FOR WHEN YOU ASSESS A SITE FOR PUBLIC ART? Personally, I look beyond the wall and see the environment. I sort of photograph it in my head and imagine how the colors will look next to, say, a textured, weathered wall, or, on the other hand, how it might not work next to a bright vinyl billboard. Other factors like street signs, narrow pavement, permanent shadows, and overhanging bushes will detract from the visibility and documentation of the end product. WHAT DOES YOUR GRAFFITI BACKGROUND GIVE YOU WHEN APPROACHING A COMMISSIONED PIECE THAT SOMEONE WITHOUT THAT HISTORY WOULDN'T HAVE? The ability to work large is definitely a skill we have as Graffiti writers. Street credibility also comes in handy. When painting in the public domain, you have to give up ownership of the piece once you walk away. Being respected within the culture goes a long way toward protecting the work's integrity over time. WHAT DOES GOOD COMMISSIONED PUBLIC ART ACTUALLY DO FOR A PLACE WHEN IT'S DONE RIGHT? The Boston Greenway project we are involved in is a great example of how Public Art should work in society. Museum-level artwork executed by the highest level artisans that complements the space and its surroundings. In this case, an open grassy area for people to come, sit, relax, and enjoy something special outside the Museum environment. There's a reason Overall Murals brought Shannon Peel into the fold as Creative Director, and it's not just the four decades, the cities, or the walls. It’s that he still thinks about the person turning a corner, someone who isn’t expecting to be stopped in their tracks. That instinct, to create something that earns its place in a neighborhood rather than just occupying it, is the standard every Overall Murals project is held to. It’s also rooted in the company’s foundation: the founder, Dmitry Pankov, is a graffiti artist with deep personal ties to that world, through his own practice. Co-founder Angel Saemai has built a community and relationships in the arts that helped shape the company (it’s even how she and Mitch met). Many of the overall mural painters come from that same background, bringing an authenticity and lived connection to the work that can’t be manufactured. Hand painted Public Art is slow, physical, deliberate work. It doesn't scale the way a printed vinyl wrap does. It can't be templated or rushed. But that's exactly the point. In a world moving fast toward artificial everything, the paintings that last are the ones made by human hands, with genuine intention behind every mark. That's what we make. That's what we stand for. If you're building something worth looking at, we'd like to talk. You can reach us at info@overallmurals.com.

Where collaboration and craft meet the human touch What do painting a mural and a New Yorker’s favorite pastime have in common? People watching. I had no idea mural advertising was a thing before moving to New York. Now I see how well they can benefit a community. Murals carry a different kind of energy. The work unfolds in real time — each brushstroke, each layer of paint, each hand contributing to the whole. People stop to watch, take photos, and talk with the crew. Long before the mural is finished, the street is already engaged. For brands trying to earn real-world attention, that kind of organic curiosity is rare. Maybe you’ve heard about this shift to “attention” as the new media currency. Brands want your eyes, ears, and all your senses to stay top of mind. Our craft brings familiarity and nuance to people who pass by. Painting is a medium everyone knows about, but what we’re painting and why are what strike the curiosity chord each and every time we paint a mural. After years of helping produce mural campaigns, one pattern has become clear: when brands collaborate with artists, the message carries more weight . Artists bring their voice, their audience, and their credibility, helping the brand become part of the community's conversation rather than interrupting it. For the opening of Uniqlo’s new Williamsburg store , Japanese artist Hiroshi Masuda created this mural illustration announcing the launch. When I approached Uniqlo about painting a wall in Williamsburg, I initially saw it as a great placement for a global brand. But being a Brooklyn resident, I realized it was something more intentional. Uniqlo, known for its LifeWear philosophy—creating simple, accessible clothing for everyday life—was stepping into a neighborhood shaped by decades of independent artists and creative culture. Williamsburg isn’t just a backdrop; it’s a place where art and identity have been built over time. Seeing that intersection up close shifted how I think about what these collaborations can actually do. Williamsburg has long been a place where art, fashion, and street culture intersect, making it a natural setting for a collaboration like this. While Hiroshi was on-site painting, we sat down with him to talk about his work and what it meant to bring his art to a wall in New York. Overall Films documented the process so the story could extend beyond the street and give people a closer look at the artist behind the work. Check out the full interview with Hiroshi here . Where the wall lives matters just as much as what goes on it. At Overall Murals, we intentionally curate our locations in neighborhoods where people already spend their time; where they walk, shop, work, and enjoy being. It allows brands to show up where attention happens naturally, in front of the right audiences. For Uniqlo, that meant a massive wall just two blocks from the new Williamsburg store–placing the message directly in the path of the community they wanted to reach. Through our hand painted process—translating artwork to scale, hand-mixing color, and painting live in public—we’ve helped brands tap into the neighborhood’s rhythm and culture. Over my last 2+ years with Overall Murals, I’ve seen artist collaborations become increasingly important to brands looking to build deeper connections with their audiences. That’s why being part of the Uniqlo artist collaboration stood out. I got to see the process up close and how it landed, not just with our team, who had followed Hiroshi’s work for years, but with people on the street engaging with it in real time. If you’re curious how that can extend, see our work with Don Julio and Willy Chavarria through Overall Special FX , or Queen Andrea and Lexus through Overall Creative . What makes these collaborations more than just advertising is that they shape culture and benefit everyone involved. Artists expand their reach at a scale rarely available to them. Brands connect with people through voices that already carry trust. And the community experiences the work as it happens. The most effective collaborations aren’t one-size-fits-all. Sometimes the right fit comes from an artist whose style naturally aligns with the brand. Other times, the biggest impact comes from unexpected pairings — when two very different worlds collide. Both approaches work for the same reason: they connect brands to real communities . Why does this happen? Because artists bring something brands can’t manufacture–emotion, perspective, and an audience that already trusts their voice. When brands invest in the artist’s story alongside their own, the collaboration becomes part of the brand’s identity rather than a short-lived campaign. The brands that stand out are the ones building long-term relationships with artists and communities — using those partnerships to shape their story and keep their audience invested. At Overall Murals, we build collaborations between artists and brands every day. How could we not believe in this, when artists are the very foundation of our business? If you're considering working with artists in the real world, let’s start the conversation. You can reach me at riley@overallmurals.com .

We work with the top creative agencies and brands to develop award-winning creative and provide in-house design opportunities. You can be sure to find us out there, rain, snow, the occasional hail storm, and definitely out on a sunny day getting everything set up for a range of projects. our work Below is a collection of our work from the last 15+ years. Services Industry Markets Special FX Awards Cafe Bustelo GAME FACE Up Los Angeles, Boston, New York CPG Oura Ring OURA RING 5 Up New York Technology Guinness THE WORLD'S CUP Up Atlanta Alcohol Don Julio MADE TO BE RAISED Up San Francisco Alcohol HBO MAX U.S. AGAINST THE WORLD Up Los Angeles Entertainment AESOP HAND BALM Up Los Angeles, New York Beauty NYX FAT MATTE Up Chicago Beauty SPOTIFY FITNESS WITH SPOTIFY Up Los Angeles Entertainment Calvin Klein EYEWEAR SPRING 2026 Up San Francisco, Chicago Apparel & Accessories SPOTIFY ONE NIGHT IN TOKYO Up New York Entertainment Doritos SIMPLY NKD™ Up New York, Los Angeles CPG UNIQLO HIROSHI MASUDA Up New York Apparel & Accessories Ancestry THE STORIES OF US Up New York, Chicago Technology Joe & the Juice MIDTOWN, NEW YORK Up New York Food & Beverage M.ph GET ON TOP Up Los Angeles Beauty Pepsi SUPER BOWL LX Up San Francisco CPG The High Line DEREK FORDJOUR Up New York Art & Culture Glenfiddich GIFT THE EXTRAORDINARY Up New York Alcohol The Ordinary THE PERIODIC FABLE™ Up Los Angeles, New York Beauty American Express BUSINESS PLATINUM Up New York Finance 1 2 3 ... 12 1 ... 1 2 3 4 5 6 7 8 9 10 11 12 ... 12

Zynga < Back STAR WARS: HUNTERS™ Overview Service Outdoor Advertising, Special FX industry Gaming markets Los Angeles Wall(s) 1 Wall impressions 835,000+ https://vimeo.com/966845128 Zynga has launched its latest game, Star Wars : Hunters™, an epic 4v4 arena shooter. In celebration of the release, Zynga commissioned Overall Murals to hand paint a mural on the iconic Melrose wallscape in Los Angeles featuring larger-than-life characters from the game. But Zynga didn’t stop at just a beautiful mural—they wanted to make it unforgettable. Zynga used projection mapping to bring the mural to life at night. Projection mapping is a technology that turns objects into a display surface for video projection, allowing sections of the mural, such as the lightsabers, text, and spaceship, to light up and move within their environment. This combination of traditional art and cutting-edge technology made the mural stand out and received much attention on social media. The mural's unique and interactive nature, resulting from innovative thinking, helped it gain a remarkable number of impressions, showing the power of combining art with technology to engage audiences. The collaboration between Zynga and Overall Murals for the release of Star Wars : Hunters™ showcases the power of innovative marketing strategies. By blending hand-painted art with projection mapping, Zynga created a memorable and engaging experience that resonated with fans and generated significant buzz for the game. This campaign not only brought the world of Star Wars : Hunters™ to life on the streets of Los Angeles but also set a new standard for how traditional and digital art can combine to create impactful marketing experiences, inspiring the gaming industry to push the boundaries of creativity and technology. Star Wars © & ™ 2024 Lucasfilm Ltd. All rights reserved. Previous Next

Sony < Back BAD BOYS 4 Overview Service Outdoor Advertising, Special FX industry Entertainment markets Los Angeles Wall(s) 1 Wall impressions 500K+ The Bad Boys franchise, starring the formidable duo of Will Smith and Martin Lawrence, has been a commercial success since its inception in 1995. The first film introduced audiences to the Miami detectives Mike Lowrey and Marcus Burnett, setting the stage for the sequels Bad Boys II in 2003 and Bad Boys for Life in 2020. The franchise's winning formula of dynamic chemistry and action-packed adventures has made it a staple in action-comedy cinema, setting high expectations for the upcoming Bad Boys 4 . Recognizing the need to make a bold statement, Sony decided to elevate our traditional hand painted advertising murals. Instead, they requested we incorporate glow-in-the-dark elements to create a striking visual effect that would be captivating both day and night. The mural depicted Smith and Lawrence in their roles as Lowrey and Burnett, set against a black backdrop with large, vibrant, and colorful fluorescent letters, filled with scenes from the film, spelling out BAD BOYS. To achieve this effect, our walldogs worked tirelessly into the night, bringing the artwork to life and ensuring the bright colors would punch at night. They utilized orange, green, and pink fluorescent colors to highlight the backdrop. Some areas were further enhanced with specialty UV paints. In contrast, sections that did not receive neon and translucent paint treatments were intentionally left darker, starkly contrasting the glowing elements. The mural was painted on our LA-08 Unit, which is equipped with new lighting fixtures and is located on Venice's iconic Windward Ave. between Pacific Ave. and Speedway in Venice Beach . An area known for its quirky atmosphere, amidst street performers, great nightlife spots like Townhouse and Winston House, and attractions such as the Venice Electric Light Parade , makes this wallscape a perfect location for a glow-in-the-dark mural. Our team of skilled painters worked through the week and found themselves becoming main characters for beachgoers, tourists, and anyone looking to observe the painting's magic in real-time and add some awesome content to their social media feeds. The mural drew significant attention, transforming an already impressive art piece into a dazzling display. Passersby were especially in awe of the actors’ painted portraits and frequently stopped to take photos and share them online, effectively amplifying the campaign's reach. From the mural's creation to its final product, more than 500,000 individuals interacted with the artwork, using their phones to document and share their experiences. This encouraged them and their followers to head to their local theater to catch the latest Bad Boys film! See it in action on our Instagram . Previous Next