I use analogue materials like watercolour, oil pastels, and collage which have a tactile quality. I also like to use a dip-pen and a pot of ink which gives a bold and expressive line.

When I’m out drawing on location, I don’t usually draw a composition in pencil first. I prefer to let the image take shape organically and think about each mark as I go, embracing whatever comes into my field of view.

Working on client-led briefs in the studio is a bit different. I normally start with pencil sketches first to visualise the idea. When it comes to the final artwork, there is a fair amount of flexibility in the process - tweaking, and creating new layers of hand drawn material as needed.

Represented by Central Illustration Agency.

Selected Clients:

Wimbledon, The New Yorker, English Heritage, The National Trust, The Guardian, Borough Market, Hodder & Stoughton, Financial Times, Berry Bros. & Rudd, Radio Times, Goodwood, Rotary International, Headline Books, SAGA, Ennismore, The Ned, Chelsea Physic Garden, Westfield, Marks & Spencer, Penguin Random House, St. Regis Hotels, Savills, Grand Hotel Kronenhof, The Telegraph, Hoare Lea, The SPAB, US Chess Federation, The Poetry Society, Virginia Living, EPI Baie de Pampelonne, Head of Zeus, Sipsmith, Zurich International School, Frances Lincoln, Maison Estelle, Harper Collins