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For several years I lead a double life. During the day I worked for a Design/Illustration studio producing work in a wide variety of styles for many different clients. 
Whilst in my spare time I was exploring more creative preoccupations through self-directed projects, often just enjoying a bit of creative freedom away from the pressures of the commercial world and being told what to do all the time. 

Bringing together my love of drawing and geeking out on the computer, these quite often ended up as screen prints. Screen print is a process I’ve grown to love because of the restraints it imposes, I loved trying to create a sense of depth with just three or four layers. Often mistakes would be surprisingly pleasing. 

After a while of incubation this work began attracting commercial clients (as I hoped it would) and eventually I made the leap to doing it full time. 

My work naturally veers towards that blurry border point between science and nature. Recently I’ve become aware of how much I’m influenced by the countryside in which I live, and my tendency to fictionalise it through drawing.

My ambitions with my work are to keep making it better and continue to evolve as an artist. Presently my output mutated into a two pronged beast; I make these airbrushed sci-fi landscapes and then more hand drawn limited palette pieces – my aim is to carry on joining the dots in between these two styles somehow unifying them more.
So far I've worked with Adobe, Playstation, New Scientist, The Economist, GQ, Washington post, Telegraph Magazine, NoBrow, Foreign policy magazine, Easyjet, Fast Company, Tesco, Dubai 2020, Hoheluft Magazin, New Republic, Wired Bulletin Magazine, Nautilus, The Planner, Economia, and Samsung.

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Lola Rossi

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