Displaying : illustration
About a year ago I was very close to announcing a project entitled ’100 Horses’ or ‘The One Hundred Horses Project’, the aim of which would be to draw 100 wildly unique horses. I thought this would be a cool project, a challenge in variation and in mastering the depiction of an animal I’ve traditionally struggled to accurately portray. Thankfully however, I did not announce it, as I only got to six before realising it was a silly idea and that there are way better ways to spend your time than drawing 100 stupid horses.
For the November issue of Wired Magazine (UK) I illustrated a number of panels for a comic strip article about the latest case of Donald Olson, an astrophysicist who ‘uses astronomical references in painting and literature as clues to academic puzzles.’
The investigation (published in Sky and Telescope Journal) covered in the article involves the precise origin date of Mary Shelley’s Frankenstein. Using a combination of lunar references from the diaries of those present (when Shelley woke from the dream that inspired the book, she noted that the moon was shining outside her window), GPS (Olson calculated that the slope of the hill behind Villa Diodati was 15 degrees) and planetarium computer programs to chart the position and phases of the moon, Olson was able to calculate exactly when the moon would have been visible from Shelley’s bedroom window and therefore when the inspirational dream took place: between 2 and 3am, June 16th, 1816.
Above are a few of my favourite panels. The top one is Lord Byron suggesting to Shelley and Co that they should all try and write a ghost story (a suggestion that was ultimately responsible for Frankenstein and Dracula), the second of Villa Diodati where they were staying and the third of Donald Olson, doing his thing.
Below is how the spread appeared in the magazine (excuse the arrows, I nicked it from Wired’s digital preview of the issue). There’s also a partially animated version for the Wired iPad app but I have no idea how that turned out as I’m not blessed with said pad.
I was extremely pleased to be invited by David Huyck to take part in his excellent Cloudy Collection series of prints. I’ve been following the project from the start and gunning for a spot in there all along. The set I contributed to is the 2012 Calendar of the Impending Apocalypse, for which I had to illustrate the end of the world as a three-colour screen print while also making it a functioning calendar for my month.
I went for a post-apocalyptic flood scenario and by sheer entertaining coincidence, Kali Ciesemier (who is amazing, check her out) illustrated September with what appears to be the flood that preceded it.
You can see the other months and buy the set here!
This is my contribution to the ‘Ghosts of Gone Birds’ exhibition. Over 120 artists, writers and musicians have contributed to this project, each choosing an extinct species of bird to represent and commemorate. My bird of choice is the Tahitian Sandpiper, which became extinct in the 19th century.
I should have posted this some time ago, but the file was trapped on a PC that went a bit funny and I still haven’t found time to fix and re-gain access to. But then I remembered every file I’ve ever sent is still happily sat in my Gmail account. I have mixed feelings about this one as I decided to submit an original piece and my lineart doesn’t usually go far enough in my opinion. So I feel it’s a bit rough around the edges, but I was extremely pleased to have been able to lend my hand to such a great project with an honourable conservationist cause.
The exhibition is currently on display at the Rochelle School, Arnold Circus, Shoreditch, London, E2 7ES, until the 23rd of November.
I did this piece for Friends With Benefits, a print-making project put together by Erin Wallace. Seven artists, one of them being me, created a piece based around the theme of ‘Piles’ (I chose to interpret that as the ‘items on top of one another’ kind of piles and not the other one).
Here’s what it’s all about, from the press release:
It is a game of self-discovery for 14-19 year olds which integrates strategy, puzzles and philosophical questions into a world which explores a range of commonly (or less commonly) held views about death, belief and science.
The game takes the player on a metaphysical journey, recording their interactions in the world to reveal their attitudes towards mortality. These views are presented alongside their friends and some of the most important thinkers of our time, such as Gandhi, Descartes and Einstein.
Set across three worlds – Mind, Body and Spirit – the player must use a unique shadow ‘n’ light mechanic to solve physics-based puzzles, answer questions and battle the world’s Guardians. The ultimate prizes are the Death Objects, ranging from a memorial diamond to a human heart, which deepen a player’s contextual knowledge of death and help them progress through the game.
I created nearly all the artwork you see in the game (with the exception of the graphic design and death cards elements). It was a lot of work, but it was the best kind of work and it’s so exciting to see it all brought together and to be able to play it now. Working with the Preloaded crew is one of the best experiences of my career so far, so much work went into making this and they’ve done an amazing job in my opinion. Here’s some screenshots and bits.
The character creator in which you can attempt to make yourself from bits that I drew. You’ll more likely just make some crazy looking mess of a guy.
Examples of some of my level elements.
These are some of the ‘famous thinkers’ I illustrated. Top row: Sigmund Freud, Amelia Earhart, William Wordsworth and Ayn Rand. Bottom row: Empress Dowager Cixi, George Orwell, Rosa Parks and Nostradamus.
A selection of the objects you collect in the game from defeating the guardians. Each one is linked to a particular thinker or philosophy.
In-game artwork for the guardians themselves, in chilled mode and battle mode. These were easily the most fun bits to do. Below is an example of how they look in the game.