These are Visual Artworks as productions by way of being rigorously created in a collective series l

These are Visual Artworks as productions by way of being rigorously created in a collective series l
All artwork on this blog is Copyright 2023 Turtel Onli , and other dates. All Rights Protected & not to be remixed, rebooted or used commercially without a signed agreement with Prof. Onli. The smaller images on the right are links to reels or related websites.

Saturday, March 6, 2021


 These are a few published samples from my freelance Illustrator practice.

Rhythmism has been tested, proven and applied in commercial graphic design and illustration since 1973. In major markets. In the USA. In Europe. 

That means millions of folks have seen and experienced my work.  Yet I often am asked, about my not being known or followed.  Funny have these same folks may have read a book or played an album that featured my designs or illustrations. Same with the newspaper of advertisement.  Seen.  Experienced.  But not recalled.



Since the Modern era in the visual arts commercial applications were deemed "low-art".  Thus reserving a area of visual art as "Fine Art" or "high art".  This power play to sequester profits and control over not just the art as commodity but also the art maker as controlled servant has ruled the narrative since that propaganda took root. 

But what were Rembrandt or Michelangelo but commercial visual artists with a great client history?



When I arrived as a freshman to the prestigious School of the Art Institute of Chicago my foundation instructors were openly offended that I already had commercial clients, a clear strong artistic vision along with an artists guild which I had founded.  

So those creeps declared me unfit foe any type of scholarship.

They were jealous that me, a 20 year old Black male had secured a level of practice that their limited esoteric practices did not.  Envy was not a good teacher.  So I dropped out after that year. Took a year to earn even more money. Returned, but interviewed my future instructors before deciding to take their classes.  Ultimately I found the Art Education Department a better place for me.  It was more about earning money and professional practices.  I paid tuition mostly by being a major market freelance illustrator and graphic designer. 

At the time that school was rated to number one art school in the USA and that suited my perception of me and my practices. #1!

 Living the dream!



My clients at that time included Johnson Publishing Company, WGN Television. Playboy Magazine, The Singer Society For Visual Education, The Latin American Family Institute, Motown, Triad Radio, Osiris Distribution,  MODE Avant Garde, The Paris Metro, and Holt, Rinehart & Winston.  

These were not affirmative action set-aside gigs.  Nope! They were hard fought for and won high level, well paying assignments with some of the most important publishers of that time.  

This meant navigating an ocean of Art Directors, Editors, Graphic Designers, Production Managers and meeting all types of unrealistic deadlines. With no mentor or agent  

This was wild! I used to call it "Big Game Hunting"!



Sometimes clients would misspell my name. But I still made sure I brought the heat and got paid!

Freelancing back then was like being a gunslinger in the Old West.  Draw Fast! Draw well! Get paid! Then get outta town! I roamed around looking for those who needed my quick, sure shooting skills.

The world of illustration is different now that the impact of the digital revolution and profiteers have colluded to limit the role of true freelance illustration as a practice and profession in publishing or advertising.  But I still ply that skill for a few publishers I chose to work for.



Musicians perform live.  That is like visual art on exhibition.  However when musicians sell a recording or score a movie sound-track, it is still accepted as great music.  Too bad that logic and criterion does not rule the day in the Visual Arts.


 It all started for with this collectible, unique, raw Rhythmistic published treatment I did for the Delmark Record label in 1973. 

 If it hangs in a gallery, office, church or home its applauded as "Fine Art" or "High Art"....but when it arrives in print on a book cover or advertisement it is seen as "low art".  Ever notice how many celebrated Fine Artists cite comics or illustrations was a critical influence in their practices.  

Yet those highly gifted cartoonists or illustrators are never regarded as real or important artists?