A whole new level. The rise of populist thinking. Left to right: Nigel Farage, Boris Johnson, Donald Trump, Geert Wilders (hair only) and Marie Le Pen. Made in ink, pencil, charcoal, pen, gel pen and graphite.
Double-page illustration for The Grocer. Many big thanks to Stuart Milligan.
Illustration of my friend Pad. Pad the boatbuilder. Drawn in ink, blown in ink, a bit of charcoal, red pencil and red gel pen.
Two illustrations for The Economist for an article inside called ‘Yes, I’d lie to you‘. “Dishonesty in politics is nothing new; but the manner in which some politicians now lie, and the havoc they may wreak by doing so, are worrying.”
This is drawn (and painted) in ink, pencil and charcoal and depicts one of my students in Jakarta (where I pretended to be an English teacher for a few years in the early 90s).
It’s all about the lines, I’ve realised. No too much shading. When you first get into drawing, you think it’s all about the shading. But actually, if you get them right, lines work much quicker on the eye.
This illustration of a woman here is drawn and painted in cobalt blue ink, and the map in vermillion red pencil, and red gel pen. I based her (loosely) on a photo I took in Chicago, although I’ve exaggerated her quite a bit. I like the way her hair came out.
Drawing of Michelle’s prosthetic hand in pencil, red pencil, white pencil and red brush pen. I’m not sure exactly how Michelle came to own this prosthetic hand. She still has two real hands as far as I know.
Montage for The Economist. Big thanks to Graham James.
Montage for The Economist. Many big thanks to Graham James.