The food of my life just so happens to be, literally food. I love food so I end up doodling food whether I am being paid to or not. Here is a collection of things I sometimes think about food…
This project was essentially doodling all over the wall's of MedicAnimal's office's breakroom.
I began by trawling the internet for a whole load of quotes and memes, and set the threshold at laughs, morose/dark humour and encouragement that could in no way be misconstrued as pepping people up for more work.
When I got into the space for the first time, with only 2.5 days to go until the launch party, I stared at the big blank wall (at the top of this post), and felt immediately less confident about my abilities. This was actually my first mural I'd ever done. After a nervous walk to the nearby shop to purchase a squashed croissant for breakfast, I began. Once I got the projector out, all my research and preliminary drawings took over and the wall was conquered (after 2.6 days... I should never have wasted that first hour getting that below-par pastry).
Everyone absolutely loved the room, so much so that MedicAnimal asked me back a month later to doodle the call centre's Wall of Fame (for customer's pets sent in via social media to win pet food discounts & for photos of the contact centre's own furry sidekicks).
Essentially just snippets of the weird things that pop up in my brain from time to time.
I worked on this with a local writer who had written this story for his daughter, and had chose me to be his book illustrator to bring the story to life, ready for her birthday.
‘Anna and the Queen’ is a story about a little girl who foils the darstadly plot of two jewellery thieves who try to steal the Queen's crown whilst she is visiting Anna's school.
The book was printed and sold at the School's summer fair and raised money for new school facilities.
Lisa & Rob wanted to have a wackier, more colourful wedding than most, including a giant rainbow cake covered in The Muppets. I asked them if they'd like any doodles for their menu or order of service, and as yes-people, said yes. Previously I'd worked on a wedding with the longest invitation I'd ever seen (SEVEN PAGES), but now I can also say that I've worked on the most separate menus (FIVE) for a wedding too.
This was my brother's wedding, set in his mother-in-law's garden in the Italian Liguria region. It was a beautiful and slightly chaotic setting, with millions of Italian family members all helping and hindering in their own typically gregarious ways. The English family were just as chaotic but far less interesting when stressed.
The signs only went into production on the eve of the wedding day, hence me working in my swimming costume (mandatory Italian day wear). Spot the mosquito bites. That's just how committed I am to my work.
The table watercolours are definitely my favourite part of this project, coincidently they are the only part I got to pre-plan.
After the success of the breakout room doodles I was asked to come back to complete two huge walls in the contact centre, one for the customer's images they sent in of their pets: The Wall of Fame, and one for the contact centre's own furry or feathered companions: Our Pets.
Great project ending with more blunt chalk-pen-casualties, but worth it.
Andrew & Alex's wedding invitation designer dropped out three weeks before they were due at the printers, and a lovely mutual friend put us in touch.
The brief was to create illustrations in the style of Quentin Blake, so I dutifully borrowed heavily from The Great Blake himself. This was my first commissioned work as an illustrator, and so the guys were incredibly patient with me whilst I Youtube-d how to go about what we all had in mind. I learned how to remove the background from scanned drawings, and how to make my own watercolour brush preset in Photoshop, and it all came together from there.
Luckily Alex and Andrew really liked my illustrations for their (SEVEN PAGE) wedding invitation, so we agreed to continue to work together on the order of service, the menu and the place cards too. The most challenging part of the whole experience was undoubtably being asked to draw a hog roast, ie. a dead pig, in the style of one of the world's most beloved children's illustrators. Check it out, it's haunting.
All in all this was a brilliant illustration job for me to start out on; the extreme learning 'cliff' plus the tight deadlines meant that I worked incredibly hard, and the pay off is that I still enjoy looking back at this project, which for me is extremely rare.
I definitely love the idea of a grumpy Hulk being dropped off at school by his mum, wearing his best ripped shorts with his face scrubbed green, ready for the whole superhero school photo day.
Cityzens Giving is a charity aimed at supporting young leaders in cities around the world to tackle tough challenges affecting their communities, through the power of football. The project required many different films to be produced from the footage collected around the main promo, which was what my live action board depicted. I also created a few beat boards for some of the supplementary films.
The gif is of all the live action board's defs, and the video underneath is the final main promo.
The uSwitch Awards took place in The Postal Museum this February 2018, and my design borrowed heavily from The Underground Railroad book jacket, the iconic London tube map and retro gaming with added risograph feel.
The top image is the base design I created to inform the event branding throughout. This was used for the emails, leaflets, presentation, posters, and cue cards.
The objective of this brief was to create a brand for uSwitch's summer networking event that was both cosmopolitan and quite different to their usual company design guidelines, without comprising their brand identity in the process.
After some research, I decided in my roughs to capitalise on the recent texturised trend of risograph-like gradient effects with noise in my first image. I began by taking the location of the event, Queen of Hoxton, and finding images of the skyline from the rooftop bar where the networking event was to be held. I then took the two most recognisable blues and a light pink accent colour from uSwitch's colour palette as a base for the branding colours (later adding a dark grey and a bold pink accents using the colour scheme generator, Coolors). Then after experimenting with gradients, textures and abstractions of shapes I created the base image for the event's brand identity (shown at the top of this project). Starting with one image like this meant that I would be able to maintain continuity for this branding exercise throughout the design of the assets.
This colour scheme and brand identity were immediately signed off by the team and I got straight to work applying it to the three sets of emails sent out using Mailchimp, and the name stickers and signs used at the actual event. The team had specifically asked for playful name stickers that would generate conversation from the off, and I was excited to do something a bit more wacky than the bread and butter 'HELLO MY NAME IS' fodder. These worked a charm on the night, and we provided white Posca pens to make the writing stand out, and in the follow up report into the successfulness of the event, the sentiment from the guests was overwhelmingly positive.
Here are just a few of my pitch board drawings (I was away from my digital drawing tools when the job came in) together with a gif of the full storyboard (without annotations).
Space won the pitch, which meant it was a successful first job straight after my course Storyboarding for Film TV and Animation (at Central Saint Martins with Stephen Brown).
This campaign was focused on the passion of the fans in the Bundesliga (the German equivalent of the Premier League), and culminated in a late-Dec early-Jan drive to the public to send in why they were such devoted fans of their respective teams.
For this project I again worked with Alex Graham and the agency Space, but this time we had a meeting to go over the brief in their London offices (the time before I had been working remotely from the back of my caravan, in an Italian service station). Also this time the storyboards required were beat boards, to capture the major story points for the client and outline the direction for the film crew.