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: September 2013: I'm busy developing another picture book, something in a similar vein to The Octopuppy which has just been published in hardback by Scholastic/Omnibus Books. There are also ideas floating around for a sequel to The Octopuppy. All this follows on from The Gift, my first children's book which was published last Christmas and received great reviews. The Gift is due out in paperback in October this year. I've just finished the wraparound cover for You Are The Hero, a book documenting the history of Fighting Fantasy. Right now I'm working on a cover for Axel Rudi Pell's next album release, Into the Storm.
Something that combines elements from recent posts... Shadows Over Innsmouth... pen & ink portraiture... Doctor Who. Here's Steve Jones, editor of Shadows Over Innsmouth (as well as one or two other books), in a portrait I did of him to accompany a magazine interview in 1995, I think. Rolled-up jacket sleeves just out of view. Steve wanted to be shown with a few of his Favourite Things, so, clockwise from the left, there's a Dalek (Power or Evil of the Daleks vintage, I'd say); the spaceship from the Hammer version of Quatermass and the Pit (Five Million Years to Earth) with Julian Glover and his stethoscope; King Kong (the 1933, naturally -- but why did I choose to draw such an uninspiring view of him?); Steve Zodiac from Fireball XL5; and Daffy Duck.
In case you've not had enough Whovian goings-on this week what with the 50th anniversary, here's a drawing I did back in the mid-'90s featuring all the telly Doctors up to that time. I did it on illustration board using pens to do the facial stippling (lots of wee dots), with the background airbrushed, in an attempt to replicate the '70s Target book covers of Chris Achilleos (who was in turn emulating the style of the great Frank Bellamy). I never became adept with the airbrush, and quickly embraced the digital equivalent as soon as I was able to ditch the real thing. The stars were flicked on with a toothbrush. I haven't yet switched to a digital one of those. I've taken photos and made scans from a fuzzy colour photocopy, the only record I have of the original, which measured approx. 18 x 13 in.
Patrick, bless 'im
Glittering lightbulb Pertwee
Following a number of requests to feature some of the old artwork I did for Games Workshop many moons ago, here are four images from the archives. These were among the seemingly endless piles of drawings of goblins and space marines and whatnot that I did for the company in the late '80s and early '90s. This first one features an Ork robot and I've no idea if it ever saw print in a GW product. Possibly not. Below that, some Orkish bikers - I think this appeared in White Dwarf at least.
Here's a picture, below, that I did for a game that at the time was called Confrontation. What became of all that I've no idea.
And finally, for now, a picture labelled 'Ork Teeth Trading'. I can't remember what this was done for (apart from for the money). All of these were done with pencil, pen & ink on cartridge paper.
There's been a lot of interest recently from collectors of these vintage Warhammer originals of mine. Quite a few 'classic' Games Workshop originals still lurk in the art drawers; feel free to email me if you're interested in owning an original bit of GW history.
Ancient Images #3
Another drawing from long ago, this was something I did for my own amusement when I was about fifteen or sixteen. It's based on a still from the lost 1927 Lon Chaney / Todd Browning film, London After Midnight. I did a few pictures based on images from the film; seemingly I was quite enamoured with it for a time. This was done on cartridge paper with hatching and stippling using Rapidograph pens, my tool of choice during those early years. For all its fussy textural detail it's pretty large (16 x 11 in). The convex distortion and lack of clarity are due to this being a snapshot of the original, which is sealed behind glass in its frame - blowed if I'm getting it out. A Horrible Hallowe'en to everyone!
Here's a pencil sketch I did as part of working on the original cover for Shadows Over Innsmouth. It's one of the town's residents exhibiting the cod-eyed 'Innsmouth look'. If you're eagle-eyed rather than cod-eyed, and if you know what he looks like, you might recognise comic creator Bryan Talbot who posed for me for this drawing. Actually he posed for a different picture I was doing, but I re-used the photos as reference when doing this. Just to clarify, Mr Talbot is in reality entirely free of obvious fish physiognomy.
Prompted by the release of a new edition from Titan Books, here's a squint at one of the illustrations for Shadows Over Innsmouth. This was the first done by Dave Carson, Jim Pitts, and me, working together in 1993, each on a seperate section of the image. As I vaguely remember it, a drunken conversation between the three of us lead to us deciding that this sort of thing would be a good idea. It was decided that we should base something around Cthulhu, and that I would start the ball rolling by doing the central figure. This portly attempt was the result.
I worked on a pretty large sheet of board about 18 x 13 in, so that the others would have plenty of space, and handed over to Mr Pitts, who filled in the left side around the figure. DC then completed the area to the right. Below is his letter, sporting its original antique patina (tea), which heralded the carriage of the finished piece to that year's Fantasycon for display. I think it was then that editor Stephen Jones suggested we do more in similar fashion, to illustrate his planned Innsmouth collection. We did two more equally large pictures, the other two artists taking centre stage, as it were, in each case (Dagon from Mr P, and the infamous Mother Hydra from DC); plus a wraparound cover, a smaller frontispiece, borders, and various chapter headers.