These are some covers I’ve done over the course of the last couple of years and for whatever reason haven’t put them on my site yet. This first one is for a young adult book called Mothership, which is about a school for pregnant teenagers in space. You can read about it here. Note: The colour was shifted to purple by the publisher at the last minute. You can see my original version here.
This one is for my Granddad’s book about Erik Bloodaxe. You can read about it and order a copy here. I was really excited and proud to get to work with him on this. He basically designed the cover for me (see his rough drawing below, alongside the final for comparison).
This is the cover for an educational science comic about Malaria, the way the parasite works and what scientists are trying to do about it. The comic itself is drawn by Edward Ross, creator of the film theory comic series Filmish and now Grow, a great autobio series about becoming a parent for the first time. The interiors were coloured by Tom Humberstone, editor of Solipsistic Pop and currently cartoonist for New Statesman.
A bunch of sketch pages (I wouldn’t call them sketchbook pages because my actual sketchbooks are endlessly boring) that were all a part of The Sketchbook Show. Click on them to make them needlessly massive. That last one is actually two pages smooshed together and it was drawn while watching Ridley Scott’s miserable Robin Hood film, so there are some embarrassing attempts at trying to draw Russell Crowe’s potatoey face in there. The second one down was drawn while I was watching War Horse. The little rabbit guy is Benedict Cumberbatch.
These were fun to do. It took me back to doing thesekind of things, which looking back on them, look way more exciting to me than anything I’ve done in a long time.
Also it reads right to left, manga style. Click the image to read all four pages.
This comic appears in Secret Prison 7, published by Retrofit Comics. It was conceived as a tribute to the alternative manga anthology Garo, featuring contemporary western alt-ish cartoonists working in the ‘traditional right-to-left/newsprint/pulp-manga format’. It’s satisfyingly large at 10 x 13″, 150 pages and is full of cool people. It’s one of my favourite comics of last year for sure, even if I wasn’t it. There are some other full comics from it online from Angie Wang, James Harvey and Katie Skelly, that are all distinctly better than mine. Below is the front cover and back cover of the anthology, by Ryan Cecil Smith and Angie Wang.
I have mixed feelings about my own comic. There are a few panels in there that I feel are some of the best little bits of a comic I’ve ever done, but there are also some awful drawings, particularly of the main character whose design slips all over the place and exposes some of my drawing weaknesses. Also I’m not convinced that the comic isn’t altogether a bit icky and embarrassing.
Two years earlier I was in Secret Prison 2 with this comic.
I feel a bit lame putting this on my site, buuuutttt if you have the right kind of phone-like item and you’re into that sort of thing you could follow me on Instagram as thatlukeperson. Or look at all my pictures online here. I post a lot of work in progress and sketchbook stuff that doesn’t get seen elsewhere. But not too much. I promise there are no photos of my meals (except this cool potato).
This is a small piece for The New York Times letters page. It accompanied a letter titled Invitation to a Dialogue: Rebuild the House, which you can read here. It puts forward the idea of reducing the average size of Congressional districts from 710,000 to 100,000. This would increase membership of the House of Representatives from 435 to about 3100, the benefit of this being that “these men and women would owe their seats more to the reputation they enjoyed within their community and less to the half-truths and misinformation put out by slick mass media campaigns paid for by the big-money interests.”
I noticed I never pointed out that all 12 pages of this comic are online now. So here it is. It’s a couple of years old now and it shows in places, but I’m still pretty pleased with some of the stuff in here, particularly all those trees and the creature itself (the design of which is based on/stolen from Tezuka’s weird dog police cars from Astro Boy.) It also features what I still believe to be the best panel I’ve ever drawn.
This illustration appears in The Manual Issue #3, accompanying an article by Duane King. I also did little portraits of all the contributing writers but I’m not posting them here because I don’t like them that much.
I’m choosing to display it in black and white here, because that’s how I prepared the artwork and I’m quite fond of the way it looks. In the actual book however, (which you can buy here) it’s printed in a nice blue. Which you can see below.