Neymar illustration for Fader

I really enjoy this approach to making portraits.

Sunnyside Opera poster

A poster for the Opera program (!) at my daughter's school. I set myself a deadline of a morning to do these school posters, they turn out quite unexpectedly.


Portrait of Roger Law

I painted this portrait to loosen up. Roger Law is a very inspiring creative force, most known for Spitting Image, but I also know him as the creator of the covers of Jimi Hendrix's Axis Bold as Love
and the Who Sell Out. He was a very forceful illustrator in the '60s and now makes heroic ceramics, a good example of a creative long haul.

Mark Nesbo for the New Yorker

Mark Nesbo, Norwegian writer of ultra violent crime fiction.
I wanted to do the decapitated portrait but the left piece ran in the magazine.

Sunnyside Screenprint

A quick screenprint for an Art Show at my daughter's school.
Thanks to Conor at Forthrite Print Shop in Oakland for turning them around so well on short notice.


Herr Bond.

These are German versions of some of the post Ian Fleming James Bond books.
I've done 4 so far. They come out later this year.

American Hustle LP cover

After I did the American Hustle review illustration for the New Yorker, I was contacted by the delightful film makers to do the cover of a vinyl LP cover of the soundtrack.

Thomas Picketty for the New Yorker

A portrait of the Parisian economist. The left piece, is the initial concept based on Mai '68 graphics (he has his ideological and familial roots in the movement). Picketty  developed the U shaped graph that shows how the ultra rich's slice of the pie declined and then rose back with avengence in the last century, so I tried to tie these together.
The final piece was more straight up.



Levi's Commuter development

These were developed for Levi's commuter- their line based around cycle courier wear.
They went unused.


Drawing and Computing

I used to be often asked about computers and making art. Now, it's so commonplace, it's as quaint as asking about the cars effect on the horse.
I still love making pictures that can be hung on a wall, in a frame. Something that becomes part of a home.
The digital world has made it so much more exciting to have that still moment with a piece of unscrollable, physical art. It stills connects with our cave man psyche. I find it  much more restful to make too.
I drew this to capture the modern state of rock music. A burnt out shadow of its glory years, still twitching under of the streamable avalanche of everything playing at once (for free).

ROCK ON. Pencil on Paper 2013.

Then I scanned it, and did this... ah Photoshop.
When I went to art college in the late '80s, airbrush was the uncoolest thing- its '70s prime long gone.
I recently read Overspray, "Riding high with Kings of California Airbrush". Turns out those '70s kings were all full of cocaine to stay up to meet the deadlines, some serious casualties. The handmade takes its toll.

ROCK ON. Pixels on Screen 2013.


Shakespeare & Company

Apparel designs for the legendary Parisian bookshop,  a place deep in Beat- lore.
The book stack is the chosen design.


Wallpaper* contributors


Painted on graph paper. Here's the raw painting of Valentino.



Theophilus London for The New Yorker


David Gilbert for The New Yorker.


Author David Gilbert for a review of his novel "& Sons"

Harper's magazine


Illustration to accompany an article discussing Hollywood's often distorted portrayal of marriage.
It cited Stanley Donan's "Two for the Road" featuring Albert Finney and Audrey Hepburn as an example of an attempt at realism. Albert Finney is such a one dimensional arse, that it's a hard watch these days.

Kes Print for Print Club London/ Film 4

I'm delighted to have created a screenprint for Print Club London's exhibition coinciding with Film 4 and Somerset House’s Summer Screen. I did Kes -a long favourite of mine. It is available to buy as a hand pulled print for £40 . Details here.




Below is an interview about the making of the print and a bonus clip of the fantastic football scene I referenced:

Law and Order SVU for The New Yorker.

A full page to accompany an article about the pulp appeal of TV show
Law & Order.
I started the art before the copy was finished. Initially the direction was how female fans find watching the violence cathartic, stylistically it was to be collaged and cinematic- a nod towards Polish design.

Take 1.

The copy was starting to come through so this was scrapped and I was asked instead to focus on the female lead Olivia Benson, whom female fans identify as an Avenging Angel.

Take 2.

By now, the story was in, and the art direction changed to a more conventional painting. I really liked the first 2, and making them flexed a graphic muscle which is evident in the final's bloody skyline. I really enjoyed the journey. The tags I made on the left read SVU, Avenger, Victim, Gats and MG.

Take 3.  Finished Art.


To be in England in the Britpop time.




20 years ago this month saw my first piece of printed work in Select magazine.
Select was to become the parish news of Britpop, and this article was allegedly the first to trumpet that scene. Stuart Maconie's piece defined the attitude if not quite the players. I collaged it together not long after I'd left college, I couldn't paint fer toffee.

By March '93 I'd already worked with Saint Etienne, and occasionally joined their club to see various gigs.  Most memorable was experiencing Pulp for the first time, yes, I do remember- Islington Powerhaus, Dec 23rd 1992. The stage was entirely covered in wrapping paper, which, during their first song, Jarvis's long fingers poked through to lob tangerines in to the audience. Evidently a great wit and intelligence coming to play. Instant convert.

After the article came out I started doing a monthly piece called Pop Tarts that lampooned the scene. It ran for 50 issues and my enthusiasm really mirrored the rise and fall of Britpop. Jarvis was the subject of the first piece. In the early days, Select was home top a load of great writers, basically half of 6 music: Andrew Collins, Mr Maconie, Steve Lamaq, Miranda Sawyer...also Graham Linehan though whatever became of him...? In those pre-computer days I'd get on the tube and take the artwork in to the office, completely nervewracking but it  also meant that one became involved much more than just adding an attachment and pressing send. It felt like a scene.


Late '97 much had changed at Select and I dreaded working for them, I'd had enough so I bowed out at 50. It was ace fun for a while though, my formative years.




Portraits for wallpaper*


These were drawn in Chinese brush and my daughters felt pens.

Aaron Swartz for the New Yorker.

A full page portrait of the late web activist for the New Yorker. Painted in watercolour and gouache on graph paper, it seemed an appropriate technique for such a digitally inclined person, and also conveys  disintegration and loss. The first is the original painting and the second the tweeked printed version.

Their Houses poster.


A poster for Cam Archer's film Their Houses, shot on video complete with static,  dreamy day-glo, tracking wobbliness.

Selected Ambient Words: Life with the Aphex Twin 1992-1995

Richard as I remember him with his Synthi. 
I first met the Aphex Twin on  Surbiton High street, early summer '92. I had just graduated from Kingston along with the classmate sitting on the pavement next to him, a graphic designer we  called "Nobby".
Nobby's ambition was to be a robot. Stakker Humanoid was his 7am wake up call.
He designed the iconic Aphex logo (hand drawn in marker), which Richard bought the rights to for £500, by turns honourable and savvy.

By summers end I was living below him on Southgate Road, then a no mans between Dalston and Islington. Nobby myself and two college mates took the downstairs, whilst Richard lived upstairs with his delightful girlfriend Sam, a pretty Cornish flower child. 
Across the road was a crack den.

Roofus the Cat


2012 ended as did 2011- with me painting a beloved pet. This was a commission to commemorate forever Mr. Roofus T Cat. Turns out that I enjoy painting animals I don't know why I avoided them for so long.

Painting Process


































A gif I made showing some of my painting stages.

Miles blackout.



I recently went to a memorial for Dugald Stermer. Brad Holland gave a eulogy in which he said that he and Dugald felt there were two kinds of artists- Light to Dark and Dark to Light, I've always been a Light to dark, I thought it would be interesting to flip things for a portrait of Miles Davis, seemed appropriate.

Josephine Rose Gillette.


We have a new delightful arrival!

The Melvins for the New Yorker

I love doing these music spots for The New Yorker. The deadlines are always tight- briefed on a Friday with a Monday deadline. The last couple I've drawn really late on a Friday night in my sketchbook, it's very different method to the painted work I do.

The Heart Of Darkness experience


Unused visuals for Joseph Conrad's Heart Of Darkness.

James Bond for Playboy


Playboy and James Bond!

New James Bond cover.

After revisiting the Thunderball cover for German publisher Cross Cult, I decided to take the opportunity to redo On Her Majesty's Secret Service. I was happy with the Penguin cover, but over time she seemed a little too demure to be the one to take his heart all the way to the altar. This version has more allure. Update.... Turns out Tracy was a blonde with blue eyes!




FAQ

Look to your right, a little lower, yes there, see. I've updated this section and there is a video of me participating in a talkathon in NYC in 2007.

James Bond Slight Return 2.

I've been working on German translations of my James Bond covers for the publisher Cross Cult.
Revisiting them allowed me to redo the Thunderball cover which printed disappointingly for Penguin (there were no time for print proofs).
Green is the hardest colour to reproduce and work with, Turner avoided it like the plague!  Discussing it with my wife, she felt sexy and green was an oxymoron, it being  go to colour for alien and ill. I remembered Tretchikoffs' "Green Lady" and how it was the biggest selling mass made print of all time, so clearly green and appealing is possible.
I'm really happy with the redux. Hopefully an English version will be added to the PRINTS soon.



Also in the Bond-i-verse, I've written a short piece for Life & Style magazine about my favourite Bond girl, Jane Seymour:

As a kid in 1980s Britain, James Bond films were always shown on TV the last Sunday of the school holidays, a final glamorous treat before returning to the uniformed drudge. Live and Let Die was the first of the Bond films that really hooked me, that fantastic McCartney title song and the exotic New Orleans and Jamaican locations, all Voodoo and grooviness. I knew Roger Moore from The Saint and The Persuders and he fit the campiness of the film perfectly - good with the gadgets and the girls.

 Ah yes, the girls. In Live and let Die his main squeeze is Solitaire, played by Jane Seymour. To my teenage mind, Jane Seymour  was the perfect looking woman. A flawless English Rose with flowing long hair and everything else following along very nicely thank you. In the film, her character has psychic powers in the service of villain Mr Big, which will evaporate if she loses her "innocence". We had so much in common me and Solitaire, both British, the whole virgin thing and the magic powers, well, two out of three ain't bad.

  Solitaire is all vulnerability and feminine longing, a caged bird to be freed by our hero. He tricks her in to his bed with a loaded pack of Tarot cards all depicting "The Lovers". He'd have to buy boxes and boxes of Tarot to pull off that trick, quite an act of foreplay Mr Bond.

 Jane's prime role in the film is to look fantastic in a series of amazing costumes. She does wear disappointingly more clothes than most Bond girls (her bejeweled peacock psychic robe boasts an attached tarot card table!), but then she is playing an ingenue. An ingenue who gets caught a lot. Her final voodoo sacrificial scenes are terrific in flowing white robes. What a waste for mankind it would have been for her to meet her end in a coffin full of snakes.





New Yorker Love Story


A tender hearted moment in the New Yorker to accompany a Lena Dunham piece about her first love. 
I do love me some Leonard Cohen, everybody knows.

Studio Music playlist

I was recently asked by illustrator Rose Blake (daughter of all time hero Peter Blake), to put together a playlist for the wonderful studiomusic.fm

My Morning Jacket Outta My System Video



Here are some still shots from the animation I made for the My Morning Jacket song Outta my System. The video was a collaboration with the live action director James Frost. We started out using an animation house with the idea that I'd do key frames and they'd take it from there, but fairly early on it was clear that we weren't all on the same page. They were making it in 3D- goodbye hand drawn art, hello nono.
So, with about 75% of it designed, we realized that I was going to have produce all the artwork, and direct the animation. For about 24 hours the patient was comatose and it looked like we'd have to pull the plug, so a scramble for an animator to make it happen. Through ace CCA tutor and oil painting genius Robert Hunt I found a super talented student- Grant Kolton. We made it together in my studio and had a riot in spite of the insane workalanche. I equate one minutes worth of animation to drinking a bath load of water with a tea spoon.
Recently I received this from Jim James the singer:
"The video man!!! it's awesome. So fun and funny and beautiful. 1000 kudos and props and congrats to you. The details are amazing and I love the nod to 2001 too!"

And this from Zach
"God that is a great video."
Hoorah! I must say Zach Galifiniakis is a tremendously gifted drawing.
Watch  HERE! or on U Tube.