News / Illustration

Edward Monaghan and Goodyear have imagined the future of transport in a new ad campaign

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Edward Monaghan, Goodyear

What do you reckon the world will look like in 2138? Will it be horrifyingly smouldering piles of cockroach-strewn ash where the Białowieża Forest once was, or a post-irreversible-climate-damage scenario in which the entirety of earth has been subsumed by sludge from the deep and we all get submarines to our fully automated office jobs and live on little more than handfuls of krill?

Illustrator Edward Monaghan has a slightly different understanding of the life of the world to come and that might be why he was chosen by tyre manufacturer Goodyear to help them celebrate their forward-thinking 120th birthday. The rubber-merchants responsible for filling airspace across the globe with their fleet of blimps carried out both qualitative and quantitative research to gather the predictions of both children and adults.

Using both qualitative and quantitative methods, Goodyear asked a series of fully grown adults, and wide-eyed and innocent children to envisage the future of transport. Edward was then tasked with translating those ideas and speculations into something visual, drawing both of the visions he was presented with before amalgamating them into one gloriously OTT vision.

Children approached the task with a touch of the fantastical, deciding that inter-planetary travel, the existence of unicorns, and cities floating high above the ground were of utmost importance. The jaded, seen-too-much-already adults kept their fantasies rooted in reality. Rather than being able to hop to Pluto for a weekend, they focused more on ensuring Earth’s current travel-related infrastructural issues are sorted out. Oh, and they also wanted to see more Isambard Kingdom Brunel-style bridges. The heart wants what it wants, after all.

Goodyear’s marketing director Andy Marfleet told It’s Nice That, “We knew from the very beginning that this project was going to take us to unknown places, so it was important that we worked with an artist who was capable of bringing our extraordinary findings on the vision of the future of transport to life. Having seen his previous work, we knew that Edward’s bright, visionary style would lend itself perfectly.”

Of the work, Edward says, “I was initiated into the project with the naive, optimistic considerations of the young, alongside the worldly, pragmatic nostalgia or those with a greater abundance of years collected. What you see before you is a personal mental vortex, absorbing their matter and blasting out spontaneous order from their collective chaotic potential.”

The result is as comically chaotic as you’d imagine. And possibly proof that things might work out OK for our beleaguered little planet.