"The illustration, which will run on the November 17 issue of The New Yorker, shows Mamdani smiling broadly as he holds onto the hand rail on an M train headed to Queens. Around him, New Yorkers of all walks of life-including a young woman with a dog in her bag, a child with her mother, and an elderly gentleman in a fedora-jostle to board and deboard the car. The whole picture is made in expressive, sketch-like lines and depicted in toasty hues of brown and rust orange. It has a hand-drawn, humanistic quality that none of Rodriguez's illustrations of Trump possess."
""With the Trump stuff, I wanted to create imagery that was so visually basic and a bit dumb-for it to not have any gesture, or line, or anything soft," he says. The images are meant to be a bit like traffic signs: all symbols and conceptual shapes, intended to get the viewer to pay attention, but not to attract real visual interest. "I actually want you to be repelled by it," he says."
Edel Rodriguez gained fame for satirical, ultra-simple pop-art images of Donald Trump created since 2016. For a New Yorker cover commemorating Zohran Mamdani's New York City mayoral victory, Rodriguez abandoned that signature look. The cover depicts Mamdani smiling on an M train to Queens, surrounded by diverse New Yorkers boarding and deboarding, rendered in expressive, sketch-like lines and warm brown and rust-orange hues. Rodriguez's Trump imagery intentionally used stark, symbol-like visuals resembling traffic signs, designed to repel and warn. Rodriguez, born in authoritarian Cuba, produced over 125 satirical illustrations and 25 magazine covers of Trump as a cautionary response.
Read at Fast Company
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