Jason Seiler’s recent portrait of The Black Keys for Rolling Stone will be included in Communication Arts magazine’s upcoming Illustration Annual 53. (more)

Jason Seiler’s oil portrait of Cory Chisel of Cabin Ghost will be auctioned as part of a fundraising event for Drawing Dreams Foundation in March. (more)

Jason Seiler’s bleak cover for the January 2012 issue of Washington Monthly visualizes the ramifications of a GOP victory this coming November. (more)

Jason Seiler turned this New York Observer cover around in just a day and a half.  With almost no reference for U.S. District Court Judge Jed Rakoff, and only himself to model as the harassed attorney, Jason still managed to knock it out of the park. (more)

Jason Seiler was thrilled to paint one of his favorite bands, The Black Keys, for Rolling Stone’s review column. (more)

Jason Seiler was caught up in the news cycle with this illustration for Foreign Policy Magazine. “I started this job, two days before Gaddafi was killed; I thought it would be humorous to show the two Frenchmen, Sarkozy and Levy, chilling out and so on with their wine and baguettes…” (more)

Jason Seiler’s cover for The Weekly Standard, created in just two days, is a bit different look from his usual realistically painted flesh tones, “The psychedelic aspect of image was fun to do- I'm happy with how it turned out,” says Jason. (more)

A portfolio of Jason Seiler’s most memorable work has been selected to appear in "Simply the Best," an international juried exhibition produced by Digital Arts California. Jason was one of only three artists granted a Gold Stellar Art Award. (more)

Jason Seiler’s latest cover for the New York Observer targets city Police Commissioner Ray Kelly trying to put on a "good" face while corruption continues within the NYPD. “I thought of the idea of him as an angel, plus a couple demon-cops in hell, and there you have it,” says Jason after his latest 2-day paint-a-thon. “It was great fun to work on.” (more)

Jason Seiler's latest cover for Adweek magazine is a portrait of Steve Jobs. “I felt it was important to capture his warmth and passion for life, but to be honest, I felt a fair amount of pressure, to say the least,” says Jason. (more)