Today we’d like to introduce you to Danatoons.
Hi Danatoons, so excited to have you with us today. What can you tell us about your story?
Born and raised in upstate New York—somewhere between Albany’s grit and Saratoga’s charm—I grew up sketching everything in sight. My biggest influence was my Jewish grandmother, my biggest cheerleader, who always told me, “One day you’ll have art in a gallery in New York City.” Years after she passed, I illustrated a book that found its way into the bookstore at the National Jewish Museum in NYC—a promise quietly, proudly fulfilled.
Back in Albany, I founded a gallery and art studio and launched Smallbany, a webcomic celebrating (and sometimes roasting) the quirks of my hometown. One of those comics—a playful jab at a local grocery store chain—unexpectedly went viral. It sparked a public controversy over their unethical practices and ultimately led to a full corporate rebrand. Overnight, I found myself a local celebrity, proof of how powerful a single comic panel can be.
In 2017, I flew to San Diego for what I thought would be a one-off mural project. Instead, I fell in love with the creative energy (and the sunshine) and decided to stay to pursue an art and design career. To keep things afloat early on, I drew caricatures at parties and events—hundreds of faces later, I’d built a reputation and a steady flow of work.
Since then, I’ve painted multiple murals throughout San Diego and have been featured on several local news stations, including coverage of my augmented reality mural at the new Donut Bar. Today, I’m a lead designer for an app startup, blending illustration, branding, and tech—while still painting murals on the side.
And through it all, I remain wide open to the next wall, the next story, and the next opportunity to make something unforgettable.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
Being an artist was never supposed to be easy—and honestly, I’m glad it wasn’t. The early years were full of sharp corners: clients who vanished the moment an invoice arrived, projects that paid in “exposure,” and promises that dissolved faster than paint in turpentine. I learned quickly that talent alone doesn’t protect you from being ripped off; you need a spine, a contract, and sometimes a thicker skin than you’d like to grow.
But every hurdle left me with something valuable—a lesson, a scar, a new instinct I could carry into the next challenge. Over time, those lessons became armor. They made me sharper, smarter, and infinitely more adaptable.
And despite the bumps, being a commercial artist brought me into rooms—and sometimes parking lots, alleys, rooftops, and donut shops—with some of the most fascinating people I’ve ever met. Each project introduced me to someone new, someone with a story, someone who might pass my name along to the next opportunity. That’s why I put everything I have into every piece. High-quality work has a way of walking ahead of you, shaking hands before you even arrive.
Still, skill and reputation aren’t the whole engine. What truly keeps me moving is ambition—this restless pull toward the next idea, the next mural, the next blank space waiting to be transformed. Add a bit of charisma and an openness to whatever wild chance comes my way, and that’s the fuel that’s carried me through every twist of the journey so far.
My path hasn’t been smooth, but it’s mine—and I’m still running at it full speed.
Appreciate you sharing that. What else should we know about what you do?
We’d love to learn more about your work.
I go by DanaToon for two reasons. First, my real name is Dana Scott Owens and I’ve always been a cartoonist at heart—so the nickname fits perfectly. Second, Queen Latifah’s real name is also Dana Owens, and I figured the world doesn’t need two famous artists with the same name. So I carved out my own lane.
Because I’m naturally a cartoonist, humor and whimsy are baked into almost everything I create. Even when I’m working on more serious commercial pieces, that playful sensibility tends to sneak in.
On my very first day of illustration school, one of my professors said something that stuck with me: “The difference between a fine artist and a commercial artist is that a fine artist makes work and then sells it, while a commercial artist sells the work and then makes it.” That philosophy shaped my entire career. I learned to adapt, to work in many styles, and to create pieces that fit the client’s needs while still bringing my own personality to the table.
What do you do, what do you specialize in, what are you known for?
I specialize in illustration, but my creative interests have taken me in several directions—painting, motion graphics, 2D animation, and even some early exploration into 3D animation. No matter the medium, illustration is the foundation of everything I do, and that’s what most people know me for.
What are you most proud of?
There are countless individual projects I could list, but honestly, what I’m most proud of is simply being able to make a living using the talent I was blessed with. Getting paid to create—to bring ideas to life—still feels like the greatest privilege in the world. Every time I complete a project, I feel that same sense of gratitude.
What sets you apart from others?
My versatility sets me apart. I’m equally comfortable with traditional painting and digital tools, and I can shift styles depending on what the project calls for. Combined with over 20 years of experience, I bring a deep understanding of both the creative and commercial sides of art. That blend of adaptability, skill, and longevity gives clients confidence that their vision is in good hands.
We all have a different way of looking at and defining success. How do you define success?
For me, success has never been about money—it’s about satisfaction. First and foremost, it’s measured by how happy the client is with the final result. If they feel seen, understood, and excited about what I’ve created for them, that’s a win.
But there’s a second layer to it: my own internal bar. I have to feel satisfied with the work before I can hand it off. If something doesn’t feel right, I’ll keep refining it until it meets the standard I set for myself. Success, to me, is when both sides—client and artist—can look at the finished piece and feel genuinely proud of it.
Pricing:
- all work
- should
- be discussed
- with client
- about projects
Contact Info:
- Website: https://www.danatoon.com/
- Instagram: https://www.instagram.com/danatoons/
- Facebook: https://www.facebook.com/dana.s.owens
- LinkedIn: https://www.linkedin.com/in/danatoonstudios/
- Youtube: https://www.youtube.com/@danatoons
- Other: https://fauxrealdesigngroup.com/
