• Talisman of Death
  • Frankenstein's Legions - Hussar
  • Film visualization stuff
  • Bloodbones
  • Curse of the Mummy
  • Gnome
  • Return to Firetop Mountain
  • Cyborg
  • Mirabilis - Jack Ember
  • Wizard of Rondo
  • Film visualization stuff
  • Spellbreaker
  • The Tank
  • Removal Giant
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Hello, I'm a freelance illustrator based in the UK.
I was born in London, and started out in illustration with work for fantasy & horror small press magazines in the '80s, in particular the H.P. Lovecraft-devoted Dagon. My first professional commissions came from Games Workshop for their magazine White Dwarf, and this began a long relationship with the company, illustrating lots of Warhammer Fantasy Roleplay publications and the very first Warhammer 40,000 book, as well as many other GW books and boardgames. I've also done game-related material for other publishers, including covers and internal illustrations for twenty-two (I think) of the Fighting Fantasy series from Puffin Books/Wizard Books, and card art for Magic: The Gathering from Wizards of the Coast.

I've also produced artwork for various publishers around the world including Scholastic, Time-Warner, HarperCollins and Oxford University Press, illustrating popular authors such as Anne McCaffrey, Raymond E. Feist and Harry Turtledove, as well as some classics including Dr Jekyll & Mr Hyde and The Silver Sword. I was fortunate enough to receive the British Fantasy Award for Best Artist.

I illustrated the book accompanying the album release of Misterstourworm & the Kelpie's Gift, an orchestral work based on stories and characters from Scottish legend. My artwork was used as large-scale backdrops for live performances of the work by The Orchestra of Scottish Opera, with narration by Lord of the Rings actor Billy Boyd.

As an author, I've written some books about digital art including Digital Fantasy Painting Workshop and Digital Horror Art, and edited Fantasy Art Now published by Collins. In addition to work in publishing, I occasionally do concept and production art for computer games (following two years as an in-house artist at Eidos Interactive), and film and television productions which have included the BAFTA-nominated The Magician of Samarkand for the BBC, and most recently Gulliver's Travels for 20th Century Fox.

Currently: October 2015: My latest picture book The Crocodolly was published in hardback by Scholastic last month, and is available in Australia, New Zealand, and soon to be released throughout Asia in English, also with a translation into Chinese. The Crocodolly is something of a companion to my earlier picture book The Octopuppy which has been doing pretty well internationally -- more info at www.theoctopuppy.com  Right now I'm working on my next picture book; so most of my energies have been directed towards my books for children. But I've also just finished another album cover for Axel Rudi Pell, which is the fifth sleeve I've done for his records.  I've also been doing a little bit of work on the Game of Thrones computer game.


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    Ancient images No.1

    I thought I'd raid the archives and upload some early artwork of mine. So this is the first in a (probably very occasional) series of old things whipped out of my drawers and stuck in the scanner. How occasional remains to be seen, but there's a lot of stuff in them there drawers that hasn't been looked at in many a year. This might even be fun.

    Anyway, first up is a very early thing. Done by me when I was about fifteen. Around that time I did a lot of large scale artwork based on some of my favourite horror films, and this is drawn from a still from The Old Dark House. Here we see Karloff as the brutish manservant Morgan, and Eva Moore as Rebecca Femm, probably the least weird member of the Femm family. The superb Ernest Thesiger plays her brother Horace, and he (Thesiger) remains one of my horror heroes -- I've drawn him elsewhere. As for the artwork, it's ink on cartridge paper about A4 size, done mostly with Rapidograph pens, my preferred tool for many years. All the wee stippling marks: madness. For some reason I whacked some Letratone in there as a mechanical background texture. Poor show. I think I must've chosen to draw this scene because of the shadow of her finger; good isn't it?

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