For the past 20 years, Jeff Boyes has been honing a style that mixes old-school printmaking with bold, colorful pop culture art. Inspired by lino-cut and screen printing, his work is known for its detailed linework, punchy colors and classic print techniques with a modern twist.

He’s exhibited his artwork at spots like Gallery 1988 in LA and Spoke Art in San Francisco while his design work has landed with brands such as UFC, Reebok, Sony, MLB, EA Sports, Freehub Magazine, Sombrio, Skuzzles/MGM, and El Kartel.

Whether it’s a tribute to Lost, a nod to Breaking Bad, or a playful take on Modern Family, Jeff’s art has a way of bringing fan-favorite characters to life with energy, style, and a deep respect for the original material. His ability to capture the essence of pop culture moments hasn’t gone unnoticed—one major highlight came in 2013, when he was invited by the Oscars to design a special-edition Lincoln poster in collaboration with Gallery 1988. That same eye for cinematic detail has led to partnerships with Sony, where he’s created striking artwork for special edition Blu-ray releases of films like Léon: The Professional, Drive, Gattica, and The Equalizer, giving each title a fresh, collectible-worthy look.

CHECK OUT JEFF'S ART AND BUY A PRINT: https://www.visualtechnicians.com/

What was it like collaborating with The Academy of Motion Picture Arts and Sciences for the Oscars, and how did that opportunity come about?

Gallery 1988 in Los Angeles hooked me up with that one. I was lucky enough to get Lincoln as they were hoping for a some type portrait, and I had done a few successful likenesses in the past. The most stressful part is the likenesses (Daniel Day Lewis) in this case need to be approved, so once you are done, you wait a few days for the thumbs up for the actors themselves.

How do these collaborations with major clients like UFC, Reebok, EA Sports, and The Academy differ from your personal work?

UFC, Reebok and the Academy were all after a certain style, while my work for EA (which was ages ago!) was to produce many different styles.

Does it ever stress you out to reinterpret a famous film?

Oh yeah, especially the cult type films. Every detail counts.

How do you choose which elements or moments to highlight when reimagining scenes from cult films or TV shows?

I try to pick something that aesthetically, whether it's pop culture or not, would work on a wall or as an art piece. I find doing mostly pop culture oriented work, it has to have that fine line of reference but also general appeal.

How does that differ when the subject matter is nature or architecture?

I think technically I approach them differently more than anything. Anything natural is done on the tablet, more free flowing. Architecture is much more mathematical, using precise lines with the pen tool. 

How have traditional techniques like lino-cut and screen printing influenced your current illustration style and creative process?

I would say lino cutting teaches you to process an image in solid shapes. Adding line-work into it was like cross-hatching in drawing. When I was a kid I was also quite obsessed with VCJ and the board graphics he did for Powell Peralta. That line-work still resonates with me today when I approach an illustration.

What themes or mediums are you currently excited to explore in your upcoming work?

I'd like to get back to hand cutting rubylith for a screenprint, which was a nice bridge from lino-cuts to screenprints. Both involve precise hand cutting techniques, but are inherently a little flawed because they are created by hand.