Clients
It has been a joy to Illustrate school resources for HANA Ltd and LIFT Education-For The Ministry of Education New Zealand Curriculum, Te Reo Maori and State. By using mixed media styles, I let legend and social history make its own sound; echoing the intensity of the landscape, that sits far out in the southwestern pacific.
My work features in over thirty school journals and full-colour books, as well as posters, playing cards, stickers and animations.
Books & Booklets
I produce work for LIFT education and Hana Ltd on a regular basis. The commission is either a 6 or 7 page spread, a full color book, or prepared layers for animation. I am used to working in a few different teams made up of a graphic designer, head designer and commissioner.
Ellie May Logan – Multimedia Artist & Illustrator
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Ellie May Logan is a multimedia artist whose work explores the intersection of storytelling, emotion, and visual experimentation. Known for her rich, layered compositions and evocative line work, Ellie draws inspiration from memory, nature, and the subtle power of the everyday.
Her practice spans digital and traditional media—ranging from illustration and animation to textile-based and immersive projects. Whether she’s illustrating for publications, creating bespoke artwork, or collaborating on multi-sensory installations, Ellie approaches each piece with curiosity, craft, and an instinct for visual rhythm.
Based in Hawaii, Ellie’s work invites audiences to slow down, feel deeply, and find beauty in complexity. She is passionate about pushing the boundaries of visual narrative while remaining grounded in handmade sensibilities.
Awards & Book Fair
Lianza Book Prize. Copyright Awards and the Frankfurt Book Fair.
Research Speciality
I've experience in1800s to modern day clothing from England and New Zealand-Aotearoa, as well as weaponry and buildings and cooking equipment and accessories. I take pride in the details and enjoy the pursuit of the correct; hats, beards, hair styles, fishing gear, footwear, and boots. The traditional Maori taonga are very beautiful to draw, due to the use of greenstone, bone, feather and flax which have a connection to the land and the ancestors. Kakahu(cloaks) are a favourite to research as are Heru (Hair combs)
Exhibitions
Group and Solo Shows in London, Taiwan, Croatia, New Zealand and Japan
New Zealand Bush
New Zealand - Aotearoa - The Land of the Long White Cloud, is home to native birds and flora & fauna endemic to Oceania. Most of my work details local flax, flowers and berries as well as flightless birds, tiny ferns and mammoth trees.
Birds that are beautiful to paint are the Kakapo, the kiwi, Kea, Weka, Kokako. Trees that were often cut down in the 1800s feature in much of my work including the Rimu, Kauri and Totara.
Diorama Disco
I use elements that are familiar, ie from the home. This way, education feels accessible, friendly and do-able. I use clay, paper, tinfoil, recycled containers, old boxes, spaghetti and even chocolate!
School Resources
Teachers and Student resources. Playing cards, Posters, cards, books, animated stories
He Korero Tatai
Stories about family, land and food gathering
Press
Articles in Magazines and Books about my process as an artist
How We Work Together
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Once we've made friendly contact, (new or established), You the client/commissioner emails me your brief. This is complete with fee offered, roughs and deadline date, and all information needed for the artwork such as visual reference. There is often a story attached. Reading usually sparks me to visualize a unique style I think will showcase the emotion of the narrative.
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I send a style guide sheet back to you. For example; if the piece is moody, I'll opt for inky/painterly and textural work. You will select your preferences. I am used to combining styles, in fact, I prefer coming up with something entirely unique for each project.
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I work up the roughs by the arranged date in the brief.
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I adjust the roughs once you've spoken with your team, even it that's your cat. I have an assistant who is a cat. He watches me all day, but annoying if I'm propping up a paper set.
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I proceed with the finals (once the roughs have been signed off).
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I send Finals and make any adjustments needed. (These changes would be minor as the roughs take care of any ambiguity half way through the project.)
