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 .

Overall Creative blends city and nature, creating calm at Joe & The Juice on 6th Avenue. For the Joe & The Juice location at 1185 6th Avenue, our in-house Overall Creative team combined strategic design, brand insight, and hands-on execution to create a mural that could momentarily slow the pulse of Midtown Manhattan. The goal was to explore abstract forms, gestures, and shapes that reflect the tension and balance between city and nature, industry and green space, all while staying true to Joe & The Juice’s vibrant, design-forward identity. Joe & The Juice, a global lifestyle brand, is known for its fresh juices, sandwiches, and energetic cafes that combine healthy offerings with a strong visual identity. Founded in Copenhagen in 2002, the brand has expanded internationally while maintaining its focus on wellness, playfulness, and community, an ethos that guided our design approach. The mural creates a visual exhale, a moment of calm in Midtown, where Central Park emerges as the heartbeat of the composition. Color, Texture, and Atmosphere Overall Production carefully mixed a palette that highlights the iconic Joe & The Juice pink while maintaining harmony across the wall. To elevate the flat color fields, Overall Creative introduced a subtle textured background, reminiscent of stone or industrial concrete. This adds depth and tactility, reinforcing the interplay between organic forms and the city’s raw architecture. “We wanted the colors to feel lively while maintaining a smooth, cohesive, and visually engaging harmony,” says Shannon Peel, Creative Director. Trust the Process The mural was designed by Shannon Peel , our Creative Director, whose inspiration from a recent MoMA visit helped shape the design. Shannon translated that inspiration into a composition that balances abstraction, energy, and calm. The first sketch presented an almost aerial perspective, suggesting buildings, trees, ponds, and abstracted city and nature forms. A large oval tied these elements together, guiding complex visual ideas into a cohesive composition. Bold shapes drew the eye and created movement, anchored by a grounded, stone-like background. “The aerial perspective present a abstracted representations of city and nature,”  Shannon adds. By Round 3, fruit-inspired, organic shapes were introduced to align with Joe & The Juice’s identity. An enlarged apple shape reinforced the playful motif, while the circular running track subtly formed a “J,” connecting the mural to the brand. “The fruit shapes and the hidden ‘J’ are playful discoveries that connect brand and place in a way that feels natural rather than forced,”  says Shannon. Iconography & Hidden Meaning Throughout the mural, abstracted nods reference Central Park and its surrounding neighborhoods, rewarding closer looking while remaining cohesive: Fruits & Organic Shapes: Broccoli, apple, citrus slices, blueberry, and pear American Museum of Natural History: A symbol of learning and curiosity Strawberry Fields: The John Lennon memorial, representing hope and peace Circular Running Track: Movement, wellness, and daily ritual Columbus Circle: A meeting point for many New Yorkers Bike & Walking Paths: Arteries extending through the city Playgrounds & Fields: Spaces of play, rest, and community The Reservoir: A haven for wildlife Central Park Bandshell: Reference to the park’s musical history Harlem: A culturally artistic epicenter Overall Creative intentionally embedded these elements to create a mural that rewards discovery while maintaining brand cohesion. The goal mirrors the feeling of Central Park, a sanctuary from Midtown chaos, offering Joe & The Juice customers a space to pause, refresh, and reconnect. “We hope anyone walking in feels a moment of calm, walking in to refresh, refuel and reset.” The Result "Turned out so beautiful and exactly what we wanted in the very open brief, thank you for a great collaboration! We will definitely reach out next time we need a mural for a store in the US." - Joe and the Juice This testimonial highlights how Overall Creative ’s in-house design process, from concept to final execution, delivers a mural that reflects a client’s brand while transforming a commercial space into an experience.

There’s far more than “slinging paint”. Overall Special FX (formerly Paint Lab) services collaborate with clients by contributing innovative ideas and a palpable “let’s try it!” enthusiasm to help them create incredible content in conjunction with our already eye-catching murals. A glow-in-the-dark wallscape? A lenticular wall ? Trompe l'oeil ? Whatever you can imagine, the Overall Special FX takes your ideas even further to create a singular, stunning, hand painted campaign. It becomes a work of art that evolves into a local event – both during installation and once completed – and increases agency and client ROI. Editor’s Note: Paint Lab has been rebranded as Special FX. The video below references our former name, Paint Lab, but the services and expertise remain the same — now under Special FX. Our Special FX team has put together a list of their five “most creative” projects, what they consider the “coolest” projects, and the best examples of how the Paint Lab works with our clients to create astonishing works of art for client brands – work that often wins awards. Here’s the Special FX fab five , each one highlighting just some Special FX capabilities: Glow-in-the-Dark Our wall for EA Games Star Wars Jedi Survivor in LA and NYC features fluorescent and translucent paints that glow under UV and black light, transforming from day to night. These colors draw people to the wall to watch the painting change and glow. What’s the point of having a light saber it it’s not lighted? Exactly. Lenticular Wall Ben & Jerry’s, America’s favorite ice cream purveyor, wanted to serve up unique content for Ben & Jerry’s Pint Slices, its newest product. OM Paint Lab helped Ben & Jerry’s agency, Mekanism, conceive and create a lenticular mural, the first ever in outdoor advertising. It’s like great ice cream, sweet and impossibly cool . Anamorphic Trompe l’oeil (“deceive the eye”) is the painting of an object or subject with such verisimilitude the viewer stops and questions the reality of the image. Can it be done on a scale as grand as a hand painted wall? The OM Paint Lab created an anamorphic wall with International Watch Company (IWC), and there was a 25-foot, 3D watch – the IWC Big Pilot - in Williamsburg . The Big Pilot mural is just one example of how OM Paint Lab helps agencies discover and complete the last mile for their brands, one they might not have imagined. 3D Build-Outs Overall Special FX loves 3D build-outs. When Klarna wanted to charm dog lovers for the 2019 holidays, the Paint Lab envisioned and painted t hree interactive walls in Williamsburg with more than 900 dog toys . All Overall Paint Lab pieces are interactive, but the company’s 3D murals feature three-dimensional, tactile elements (“chewable,” in this case). The Paint Lab Team designs these murals for specific settings and surroundings, and every 3D build-out is an immersive experience for visitors. Scent Machine The Fanta orange soda wallscape in Atlanta features a scent machine beside an exquisite hand-painted mural. Alongside the mural’s bold blues, sunny oranges and bright whites (and a bottle of orange soda that looks like the real thing), the OM Paint Lab installed a scent machine for passers-by – by simply pushing a button people can experience the sweet, citrusy aroma of Fanta orange soda. It’s an unforgettable brand experience and an outdoor media landmark. In a world overstuffed with ephemeral digital campaigns, why not give your clients outdoor media with a big analog heart? OM painted more than 350 walls in 2022 , many of them designed with enthusiastic, i nspired input from the Overall Special FX . Think you’ve got a great idea? Contact the Overall Special FX and see how far you can take it.

Four Walls, One Neighborhood, and a Thousand Small Moments If you spend enough time on Wythe Avenue , you start to notice its rhythms. Not the obvious ones, Brooklyn has plenty of noise, but the subtler currents that move people from café to hotel, studio to restaurant, park to rooftop. As a photographer, I’m usually hunting for light, angles or color. On Wythe, they’re easy to find. What surprises me more is the intention here. This part of Williamsburg isn’t just changing, it’s editing itself constantly, like a neighborhood that knows it’s being watched. Long before the boutiques and Michelin-star kitchens arrived, Wythe was a patchwork of industrial buildings and makeshift studios. You can still see traces of that era if you look for them: an old loading dock, fading brick typography, a doorway that’s been repainted a dozen times but somehow still looks original. Artists built lives here long before the rest of the world caught on. That foundation hasn’t vanished, it’s just wearing a newer coat of paint. Today, Wythe is what happens when creative history meets constant curiosity . You hear multiple languages on the same block. You see out-of-towners dragging suitcases alongside people who’ve lived here since before Google Maps labeled everything. Cameras come out quickly. People walk slower than they mean to. The street has become its own kind of visual runway , especially for those of us who spend our days documenting hand painted work and the way people interact with it. I’ve photographed our hand paints here for years, and the thing that always strikes me is how actively Wythe participates in the work. These walls don’t sit quietly in the background. They become part of the daily exchange, a visual handshake passed from morning joggers to after-dinner wanderers. A new hand painted wall appears and immediately becomes folded into someone’s Saturday plans, someone’s Instagram story, someone’s “I think I saw this somewhere” memory. If any street could qualify as high attention, Wythe makes a strong case. And the locations here aren’t just placements. They’re embedded in the street’s choreography. Overall Murals’ B-80 hand painted wall on Wythe Avenue for The Ordinary, located between Banker St. & N. 15th St. B-80 , up near Banker Street and N 15th , is the northern entry point. It’s where the block transitions from industrial calm into the energy most people associate with Williamsburg . Hotel guests, cyclists, early risers with coffee, late-night stragglers, everyone funnels past this wall. On most days when I’m shooting there, I see people heading straight toward Caffè Panna for an affogato or gelato, and they inevitably slow down at the wall before crossing the street. It’s always funny watching someone glance up mid-lick or mid-sip and suddenly forget their dessert because the hand paint caught their attention . The wall reveals itself right as their day is beginning. Overall Murals’ B-83 on Wythe Avenue & N. 13th St. for AMEX Platinum. A few blocks down, B-82/83 spans across two large surfaces, almost cinematic in scale. This stretch is constantly in motion. Dog walkers, brunch seekers, photographers scouting backdrops, production crews prepping for a shoot. If Wythe has a heartbeat, it’s somewhere around here. I remember filming the AMEX piece when a guy stopped next to me and just stared at the emerging card illustration. He said something like, “ Man, I’ve never seen someone paint metal before. That’s insane.” Then he pulled out his phone, took a few photos of the process, and kept walking like he’d just witnessed a magic trick. That’s the thing about this wall, it doesn’t blend in. It anchors the block, even halfway through the painting. Further south, near N 9th and N 10th, B-84 sits in a zone where people naturally slow down. Maybe it’s the curve of the street, maybe it’s the restaurants, or maybe it’s that the entrance to The Hoxton Hotel is directly across from the wall. Every time I’m shooting here, I watch guests step out the front doors, still adjusting their bags or sunglasses, and the first thing they see is whatever we’re painting. It becomes their introduction to the neighborhood before their day even starts. People pause here longer, they read, they circle back for a photo. The wall rewards hand paints with small details, textures or colors that only make sense from a few steps away. Overall Murals’ B-82 & B-83 on Wythe Avenue & N. 14th St. for AMEX Platinum.  What ties these four walls together isn’t height or width or even visibility. It’s that Wythe Avenue itself does half the storytelling. The neighborhood’s creative atmosphere wraps around anything painted here. And because this corridor is so heavily photographed by professional photographers, amateurs, influencers and people who didn’t mean to take a picture but did anyway, hand painted work lives longer here than the weeks it physically occupies the wall. Hand paint resonates on Wythe in a way that’s hard to replicate anywhere else. Maybe it’s that the neighborhood still remembers the artists who shaped it. Maybe it’s because in a world of algorithmic feeds and frictionless digital impressions, AI in the spotlight , something crafted by hand feels refreshing. Or maybe it’s simply that paint on brick will always look right under Brooklyn light. I’ve watched hand painted walls on Wythe become temporary landmarks but we’re here to stay. The memories may fade eventually but then they resurface in someone’s moodboard, in a video recap, in a conversation about a trip to Williamsburg. On Saturdays, you’ll often see me photographing our hand paints while another is being created down the block. It’s like the neighborhood is always mid-sentence. There’s also a shift happening in how brands use hand painted walls. Special FX pieces that rain and reveal something unexpected. Color choices that echo seasonal shifts. Installations that extend slightly beyond the painted surface. The overall paint process feels more like invitations than promotions. When these ideas work, it’s because they’re in dialogue with the environment, not competing against it. In a time when most advertising disappears with the swipe of a thumb, Wythe Avenue remains unapologetically physical . Tangible. A place where hand painted walls stand in real weather, real sunlight, real curiosity. As much as I enjoy shooting finished work, my favorite moments are still the transitions, the first outlines appearing at dawn, the ladders leaning just so, the pedestrians who slow down to guess what the wall will eventually become. Overall Murals’ B-84 hand painted wall on Wythe Avenue for Glenfiddich, located between N. 9th St. & N. 10th St. Wythe is a street that rewards presence. And for anyone paying attention to how neighborhoods interact with art and advertising, it’s a good reminder that the canvas isn’t just the wall. It’s everything and everyone around it. And if you’re interested in the work behind these walls, there’s more to explore. Learn more at overallmurals.com/work or reach me at michael@overallmurals.com .

Highlights from the Best of the Bay’s Super Bowl LX With Super Bowl LX now in the books, San Francisco is still buzzing from one of the most exciting games in recent memory — and advertisers on Overall Murals’ premium, centrally located wallscapes were some of the stars of the show. As a key member of Overall’s West Coast team based in the City by the Bay, I’ve seen San Francisco’s hills come alive with the sound of Bad Bunny’s music (and his thunderous fans) this past week. Everywhere has been overflowing with Patriots caps, Seahawks jerseys, and, of course, the hometown 49ers’ red and gold. Calendars here were jam-packed with special events (shout out to Budweiser’s Clydesdales), celebs (including Ciara, Mark Wahlberg, Jay-Z, and Eli Manning), press, and social media influencers. One of my personal favorite events was the Super Bowl Fan Experience at the Moscone Conference Center, just up the street from S-03 , our SoMa sign space . This real team player was close enough to the Super Bowl stages that it should have been charged a ticket. From NFL athlete sightings like Christian McCaffrey, to Pro Bowl games and massive crowds, Moscone was the heart of the experience for fans, and thousands came out in droves to get the chance to experience the Super Bowl “theme park” filled with games, and merchandise. Meanwhile, plenty of memorabilia and athletes put attendees in a spending mood. One of our top talent walls is S-14 at the Marker Union Square Hotel . With lights as bright as Levi’s Stadium, our stunner was in the heart of the hotel action. The streets were packed with football fans, and it was impossible to miss our giant Pepsi Super Bowl ad when walking around Union Square . Our wall was right around the corner from the huge Union Square NFL store pop-up that had lines out the door. Plus, our newest addition S-15 was the perfect backdrop for everyone taking the iconic cable cars. Then we have the tailgate haven, S-06/07 . Perfectly positioned across from Trader Joe’s along a main traffic route two blocks off Fisherman’s Wharf and the official NFL Merch Store, our North Beach wallscape duo saw tons of tourists and locals alike stocking up on their chips, beers, and other essentials for the Big Game. Meanwhile, everyone in their Lyfts and Waymos got an eyeful of S-06 as they headed to Post Malone’s concert at Fort Mason on Friday. The former military post turned farmers market and art center, just past the trendy and spendy Marina and Cow Hollow neighborhoods that played hosty to Posty also sees many attendees come past three other superstar Overall walls. From the spunky right-hand read of S-11 ’s street-level presence, to the impressive illuminated spectacular of S-02 and all the way to S-01 ’s impactful presence right by the bus stop, where tech/fashion and nightlife come together. Bad Bunny obviously stole the halftime show on Sunday ( most-watched halftime show viewership ever! ), and our biggest street level was less than a mile away from the Game Day watch party at the Bill Graham Civic Auditorium. Before he did, though, Shaboozey AND Benson Boone played shows there on Thursday for the pre-Super Bowl lineup. While the Seahawks earned their rings and title of Super Bowl Champions, an additional winner, in my mind, is the NFL’s I Am A Champion commercial. It doesn’t have the star power of George Clooney (although I love Grubhub’s new "eat the fees" spot). But the message is, in some ways, a pure encapsulation of this whole week. I heard a lot of podcasters/people on the street when I was walking around this week saying, “I can’t believe this is San Francisco. It’s not like everyone said it would be,” or “I wasn’t expecting this place to be beautiful.” I’m glad we got to showcase our city and share a different narrative with the world. We put together a Super Bowl that celebrates the community and commonality of the people who came together for the Game, and who also got to see so much more of our Bay Area energy and culture . And if you’re interested in the work behind these walls and the real estate context around them, there’s more to explore. Learn more at overallmurals.com/work or reach me at ashley@overallmurals.com .

There has been a surge of experimental campaigns in the out-of-home advertising world, but do hand painted murals have the upper hand when it comes to pushing the envelope?  From hidden messages and rain-activated mural art to large 3D installations of crumbs from a classic American breakfast treat, 2024 has become a year of out-of-home (OOH) innovation that has put our Special FX  team at Overall Murals to work.  One of my favorite things about mural advertising is the ability to paint anamorphic   (distorted perspective) art on the side of buildings. This unique technique stops passersby in their tracks as they try to interpret whether what they’re seeing is actually popping   off the wall. We did just that and more with Netflix’s campaign for Unfrosted   (written and directed by Jerry Seinfeld )  where we hand painted a giant anamorphic Pop-Tart with 3D build-outs on two of our wallscapes in New York and Los Angeles. Our paint team rendered the Pop-Tart art directly on the “skirt” of the wall, so it looked 3D, and added physical pieces of crumbs and jam to hang from the hand painted Pop-Tart to create a sensory overload! The physical pieces were created by our friends at Midnight Oil .  While other outdoor advertising mediums, such as vinyl billboards or bus-stop ads, can incorporate build-outs  to boost their visibility, painted murals offer an added dimension. The handcrafted process of mural creation, visible to many as they pass by, coupled with the artistry of rendering the mural in anamorphic form on the wallscape, creates a unique and authentic impact. Our artists employ traditional brush and paint techniques to precisely execute this illusion. Good luck attempting such intricacy with vinyl sticker advertisements.  Another exciting venture we had this year was experimenting with rain-activated paint. Wet weather is usually our greatest adversary to the process when it comes to our oil-based mural ads, but for Ore-Ida’s campaign on our wallscape in Seattle , a rainstorm was just what we needed!  Ore-Ida’s team approached us with the high-stakes task of a never-before-done “rain-activated” mural , that displayed one message when it was dry and a different color and message when it was wet from rain (let’s see you try to pull that off with wild postings). Utilizing multiple days of testing different techniques and products on the market, our production team came up with the solution to make this unlikely mission achievable.  From the small test wall in our Brooklyn-based shop to our 40-foot vertical wallscape in Pike Place, Seattle, we did our best rain ritual before the magic happened as buckets of rain (shout out to you Bob Dylan fans) trickled down our inevitably award-winning (fingers crossed) mural! How many vinyl billboards have you seen pull off something like this? We can answer for you… zero. Now let’s move on to our highly requested Special FX  service, glow-in-the-dark murals . When it comes to illuminated wall units, our hand painted mural spaces have the advantage of all things “glow.” Whether for fluorescent or translucent illuminated paint, our black-light illumination can’t be replicated with such success in any other format. In fact, fluorescent and other black light artworks for advertising are only possible with our expertise. Psst, even those traditional billboards you may have seen glowing with blacklight used paint to achieve the effect!    Recently, we had the pleasure of working on a chilling street-level mural in Melrose, Los Angeles for a Lionsgate horror film called Imaginary . The goal of the mural was to have one artwork appear during the day, and an eerie hidden message would appear only at night. Using translucent paint and black lights installed above the mural, our paint crew made eerie wizardry a reality. On par with the frightening film, our mural effectively spooked people out as the sun fell and the creepy painted messages unseen during the day were revealed.  As we reflect on our innovative ventures, it's clear that hand painted murals continue to redefine the boundaries of out-of-home advertising, offering a canvas for creativity that transcends the limitations of more common mediums. So, when you're mulling over your next groundbreaking out-of-home campaign, entrust us with those visionary ideas that seem to defy possibility.

a brief history & recap of summer 2025's anniversary block party Brought to you by Overall Entertainment From a tiny apartment on Stagg St. to taking over the whole damn block… it’s been 15 years of paint , grit , and memories . We started Overall Murals in 2010 with nothing but our hands, buckets of paint, and what felt like impossible dreams. What began in a walk-in-closet-sized room has grown into the Overall Powerhouse , our new HQ in East Williamsburg, literally a block from where it all started. Along the way, we built an incredible team, expanded to a West Coast base in Venice, CA , and kept hand painting walls across the country . But truthfully, the story begins even earlier. In 2007, at a dim Bushwick bar (Don Pedro’s iykyk), two strangers, myself (Angel) and my partner Dmitry, first crossed paths over live music and cheap drinks. That mix of art, sound, and raw NYC energy has always fueled us. We were immigrants, transplants, artists, board-riders, night-owls, shaped by the creative chaos of Brooklyn and determined to build something with our hands and hearts . In a world that’s racing toward pixels, automation, and screens, we’ve always believed in keeping the human part alive: real craftsmanship, real sweat, real community. Paint on hands, ideas bouncing in real time, building things together . So at the end of this summer, we threw our first Overall Block Party to celebrate 15 years, and somehow it became a reminder of why we started in the first place. Check out the video recap below : It felt like what community used to feel like, and what it still can be . Kids silk-screening tees next to skaters landing tricks. Photographers exchanging stories and learning from each other mid-set. Musicians feeding off the crowd as a live mural rose behind them. Strangers saving spots in line like old friends. Spontaneous moments turning into shared memories. Creativity bouncing from person to person until something bigger than any one of us was happening, the kind of inspiration no algorithm can replicate . We put our phones down. We showed up. We made art and noise and friendship in the street. And the neighborhood showed up right back to laugh, dance, paint, play, and connect in real time. To everyone who has been part of this journey, from the tiny Stagg St. apartment through every wall we’ve painted to this new block we now call home, thank you. To the friends, collaborators, artists, clients, crew, neighbors, and old faces we haven’t seen in years: you made this real . Fifteen years in, it feels full circle but nowhere near finished. Brooklyn made us. This community keeps us running. And we’re still just getting started .

Shannon Peel joins as Creative Director; Jeff Jan named Fractional Chief Brand & Impact Officer Brooklyn, N.Y. — December 2, 2025 — Overall Murals, the largest independently owned and operated hand painted outdoor advertising company in the U.S., today announced the appointments of Shannon Peel as Creative Director and Jeff Jan as Fractional Chief Brand & Impact Officer. These new leadership roles mark a strategic step forward as the company expands its vision for creativity, growth, and community impact.  Recognized for its award-winning campaigns for innovation and creative craftsmanship, Overall Murals continues to advance paint technology, artistry, and storytelling within the out-of-home (OOH) medium. With a proven formula for turning bold ideas into real-world impact, the company brings art and advertising together through work defined by intention and craft.  Shannon Peel is an accomplished artist and creative leader whose career bridges fine art, street culture, fashion, and brand design. A Sydney native now based in New York City, he has exhibited his fine art internationally and was a longtime Artist Network Program artist with RVCA, where he also served as Art Director. Known for his expressive use of color and dynamic compositions, Peel brings more than three decades of creative experience that fuse artistry and design. At Overall Murals, he will lead creative design, artist collaborations, brand content, post-production, and the evolution of Overall Creative and Special FX teams—advancing storytelling grounded in craftsmanship and the artistry of the hand painted medium. “Overall Murals has always brought art and advertising together in ways that challenge and inspire,” said Shannon Peel. “I’m excited to help deepen that creative tradition—elevating our design, content, collaborations, and design process, while building work that resonates both on and beyond the wall.”  As Overall Murals’ first-ever Fractional Chief Brand & Impact Officer, Jeff Jan brings extensive leadership experience across brand strategy, communications, media, and OOH advertising. In addition to leading his consulting practice, Janko, Jeff has held executive roles with Out of Home Advertising Association of America (OAAA) and billups, as well as senior positions at Wieden+Kennedy and Venables Bell & Partners. At Overall Murals, he will oversee brand strategy, marketing, and growth initiatives to strengthen positioning, expand partnerships, and amplify the company’s creative influence.  “There’s a real thirst for creativity that feels more intentional and tangible than ever,” said Jeff Jan. “Overall Murals connects brand purpose with artistry in its purest form—paint, people, and stories that make lasting impact. And no other platform delivers such a dose of dimension as the beauty of something hand painted.”  From groundbreaking rain-activated murals to large-scale brand collaborations that merge art, innovation, and storytelling, Overall Murals continues to expand what is possible for hand painted work in public spaces. The company has brought high-profile campaigns to life for brands such as Apple, Nike, Ray-Ban, Netflix, Spotify, adidas, Google, Amazon, and Coca-Cola.  “This moment is about momentum and meaning,” said Angel Saemai and Dmitry Pankov, Co-Founders of Overall Murals. “We’re thrilled to have Shannon and Jeff join our talented team. They bring the vision and drive to move us forward while staying true to the craftsmanship, painters, and purpose that built this company. What we shape together moving forward will honor where we began.”  About Overall Murals  Overall Murals is the largest independently owned and operated hand painted outdoor advertising company in the U.S. Founded in Brooklyn, it brings award-winning craftsmanship and creative precision to every wall it paints. Blending artistry, design, and full-scale production, Overall Murals creates high-impact murals that connect brands, artists, and communities. With more than 80 premium wall locations in 11 key markets, the company oversees every stage of the process—from concept and creative development to production, installation, and special effects—preserving the tradition of hand painted artistry through work defined by quality, collaboration, and enduring craft.  www.overallmurals.com   Media Contact:  Jeff Jan  Overall Murals  press@overallmurals.com

I recently came across a comment on one of our mural posts for the   James Jean x Johnnie Walker  collab that really stuck with me. It's a sentiment we hear often, surprise, nostalgia, and ultimately, appreciation for the craft of hand painting. "Oh wow!! People still paint signs?! I used to have that job until I was replaced by a printer! Lol! This is gorgeous, though. Nothing beats the real thing!" - jberthelotart In a visual landscape where digital and vinyl advertising are prevalent, hand painted murals stand out as a unique form of advertising . The artistry and authenticity of these murals offer a distinctive charm that resonates with audiences in a way that feels deeply personal and engaging. I should know; I work in the hand painted outdoor advertising industry. We must step back to its roots to understand why hand painting matters. The craft of sign painting stretches back to ancient civilizations. In ancient Egypt, signs and hieroglyphics were painted on the walls of tombs and temples to communicate messages and tell stories. Fast forward to the 19th century, and sign painting became vital to commerce and culture. Sign painters are the unsung heroes of advertising.They are responsible for creating billboards, storefront signs, and painted signs that adorned city buildings. You may have even noticed a ghost sign  or two while walking around New York City.  Artists and craftsmen painted those ghost murals you still see fading on brick walls today. They weren't just painters, they were highly skilled and resourceful tradespeople who worked at scale and often in dangerous, high-up conditions. Today, we carry on that legacy. Our paint crew at Overall Murals are modern-day walldogs —a term used to describe advertising painters who work like dogs, hanging off walls, hand painting massive designs with precision and grit. But today's walldogs bring something new to the table. Many of our artists have formal training . They've studied anatomy, typography, color theory, and design fundamentals in art school. Others come from graffiti and street art, where they've honed their skills on the streets and developed a deep understanding of the power of visibility . What unites them is not just fearlessness in the face of sketchy heights or tricky surfaces; it's a passion for the analog process. Despite being deeply plugged into technology and influenced by social media, our painters are drawn to the tactile, physical nature of painting by hand outdoors. In fact, that digital saturation makes them appreciate this slower, more intentional medium even more. They know they're not just making something beautiful—they're crafting moments that stop people in their tracks . That sparks conversations. That creates memories. There's just something undeniably human about this process. Passersby ask about our techniques, watch as blank walls come to life, and share stories of when hand painted signs were the norm. We're often referred to as human printers , and for a time, we were. Then, machines replaced many of us. But the walldog spirit never left. It just evolved. And in the digital age, where attention is the most valuable currency, that kind of impact is everything. Unlike a banner ad that disappears with a scroll, a hand painted mural holds physical and emotional space .  It's tangible, immersive, and personal. It carries a level of prestige that digital and print simply cannot match. There's a reason luxury brands and high-end campaigns turn to hand painted advertising. It's about more than just visibility; it's about making a statement . A hand painted ad isn't mass-produced. It's crafted. It stands apart from the noise of digital screens and glossy posters by offering something rare: an original, brushstroke-by-brushstroke creation that commands attention in a way that flat print or fleeting pixels never could. The richness of color, the texture of the wall, and the way natural light interacts with the paint make for a visual experience that's both vibrant and unforgettable.  Up close, you can see the detail in every stroke —the layering of color, the subtle hand movements, the marks that prove a human was here. You can feel the energy that went into it, the time, the care, the physicality of it all. Even the surface itself becomes part of the piece. The cracks, the contours, the imperfections of the wall all contribute to the final image. It's why people stop to take it in, photograph it, and talk about it. A mural doesn't just blend into the urban landscape. It enhances it, making a city feel alive with art rather than just another backdrop for digital noise. We love that our work   sparks these conversations . It's a reminder that what we do isn't just about advertising—it's about keeping the age-old craft of hand painted signs and murals alive, honoring the past while making a bold statement in the present. The nostalgia people feel when they see a hand painted mural isn't just about the past; it's abou t recognizing the artistry t hat still has a place in the modern world. So yeah, people still paint signs. And from what we see, the world still loves them.

Meet Hayden Todd, our Senior Video Producer and the creative force behind capturing and crafting the stories that bring our hand painted advertising murals and the painting process to life. Whether managing videographers or actively working in the field, Hayden always thinks two steps ahead.  If you haven't met Hayden in person, you are missing out on his frequent use of sports analogies to explain his thought processes. Like a coach breaking down plays, he often asks, "How can we improve, and how can we elevate?" Hayden's approach goes beyond simply capturing beautiful footage; he delves into the "why" behind every mural to ensure our clients’ murals tell a story with purpose .  Read more about Hayden's journey and the philosophy that fuels his work: ANNA: How did you get into videography, and what drew you to filming murals specifically? HAYDEN:   I attended the University of Tennessee at Chattanooga for graphic design, which naturally included photography and videography. As I sourced photos and videos for my projects, I realized that if I couldn’t find what I was looking for online, I had to create them myself . I have always been interested in the actual production of content, and this led me to want to learn how cameras operate and understand how to present visuals effectively.  After college, I was able to pursue video when I worked for a friend who painted a lot of commercial signage for local restaurants and businesses in Nashville . We documented our work with my phone. This eventually led to me moving to New York , where I could roll my experience into a career at Overall Murals . ANNA: What’s unique about filming murals compared to other types of videography? HAYDEN:   Mural painting is a process that spans five to seven days, and there’s no immediate "boom, we got it" moment. It’s more about documenting the entire journey and capturing the project as a whole. It’s all about planning, being in the right place at the right time , and finding the perfect angle. Then, in editing, I condense everything into something that tells the full story in a short clip . That’s why there are so many cameras on set to capture the moment’s full impact. ANNA: How does documenting the mural process change the way people experience the artwork? HAYDEN:   It's like capturing posterity, documenting something that will live on forever, especially through video. There's a record of the mural's creation that extends beyond just the people who witness it in person. While some people may have seen the mural being painted in person, the video needs to appeal to people who have no idea what’s going on or aren’t even in the same city as the mural. The goal is to make it engaging for everyone , no matter where they’re watching from. It's about capturing both the documentary side; the raw footage of the mural being made and the production side, where the video is crafted specifically to tell the campaign story, all to create an experience that connects with people beyond just those who are in the right place at the right time . Then, with campaigns like the rain-activated mural we did for Ore-Ida , the experience shifts even more. Someone walking by might only see it change when it rains, but the video tells the full story to those at home, making it clear right away how it works and why it’s special. The campaign is extended through videography, showing the audience the bigger picture. ANNA: Walk us through your camera bag. what’s your go-to setup for capturing a mural in the best possible way? HAYDEN:   The full setup includes: Sony FX3 with 3 lenses - wide (16-35mm), medium (24-70mm), and zoom (70-200mm) Canon 5DSR with 2-3 lenses for timelapse and a sturdy tripod to eliminate shake 2 video tripods with a ball head for stable shots and smooth camera movement Ronin RS2 gimbal for smooth close shots at street-level walls Rhino R2 slider for dynamic movement to time-lapse shots ND filters on all cameras to manage lighting, ensuring optimal exposure, F-Stop, and shutter speed  Drone - Mavic Cine Camera wipes SD & Sony Tough Cards Backup batteries for the two camera systems Ultimately, it’s about knowing how to use these tools with purpose , not just about having them. The right gear doesn’t guarantee great results, it’s the educated shooter who understands lighting, timing, and technique that makes the difference.  The key is knowing when and how to use the tools to tell the best story . ANNA: What’s it like seeing a mural you filmed go viral or get a huge audience reaction? HAYDEN:   It’s cool to see when a project gets posted and gains traction, especially from artists or brands with big followings. After creating around 75 videos last year , most of them circulate internally within the agency or brand, so when one gets published and receives attention, it feels validating. It’s not just about the publicity; it’s about knowing that the creative risks taken as a videographer resonate with the audience. ANNA: What’s your favorite part of filming a mural from start to finish? HAYDEN:   The creative process during mural painting is unpredictable, much like my own editing choices. Each painter approaches their section of the mural with unique micro-decisions, often solving small puzzles with every stroke. Capturing this micro-level creativity is something I’m working to expand beyond the typical 30-second client video. While the process is familiar to those in the industry, I want to highlight these intricate, behind-the-scenes decisions that painters make , which might not make it into the final edit but are essential to the final piece. It’s not just about the finished product, it’s about recognizing and documenting the unique problem-solving that goes into every part of the mural . ANNA: How do you see mural videography evolving in the future, and what new techniques or technologies are you excited to explore? HAYDEN:   I see the future of our content moving towards longer-form, behind-the-scenes pieces. Content has evolved from quick, bite-sized videos to more in-depth, immersive stories. Think of how movies used to be just a two-hour experience. Now, with social media, trailers, and behind-the-scenes content, there's an entire narrative that goes beyond the final product . People become invested in the process, like learning about the director’s methods or the actors’ stories. For us, we're not just producing content for brands but telling our own creative story . I envision the painters becoming personalities in their own right, similar to how movie stars or creators are followed for their behind-the-scenes journeys. This shift is happening now with short content, and I think the next step is expanding it. Just like how people get curious about a film's production after watching it, viewers could dig deeper into how we make our murals and learn more about the painters themselves. It’s about creating a "lore" around our work , something people can follow beyond just the final ad. Hayden has a passion for storytelling and is committed to highlighting the artistry of every mural we hand paint. As video technology and techniques advance, his approach continues to develop how we experience and connect with murals. With his keen eye for detail and a dedication to revealing the ‘why’ behind the art, Hayden ensures that the stories behind our murals resonate long after they’ve been painted.