Earlier this year I spent a lot of time finishing up a retrospective book:

I started pitching the idea 7 years ago, and really it took that long to make it work.
I've also been posting on this blog a similar length of time, and I think this is a good time to wrap it up.

The book process took many turns and I'm incredibly grateful to have had the support of an encouraging group of people without whom it would have faltered.
Jeanette Abbink at Rational Beauty did a stellar job of supporting the project, and ultimately, designing the book to the nth detail. I first met her in the early noughts when she was the Art Director of Dwell. She's one of those people who can't help but give 100% and I'm blessed to have had the benefits of her generous might!

 The bulk of the written content comes from a conversation between me and Justine Frischmann. I first met her in 1994 when she was the singer in Elastica, situated right at the epicenter of Britpop London. 20 years on she also lives in Northern California and I got back in touch a while ago. She very graciously and gracefully brought out my story.
Finally, Fred Deakin: former head honcho of design group Airside and pop group Lemon Jelly wrote a blush worthy foreword.

I'm really excited at the end product and I hope folks dig it.

The book is published by the fine folk of AMMO in Los Angeles, and hits shelves early November 2015. You can check it out at the Drawn In Stereo site HERE.

Win 2 BOND prints!

Visit Facebook to enter before September 12th 2015.

Chicken Film Poster

Poster for Joe Stephenson's first feature- Chicken. Painted on scrap wood from the junk yard (I had to go back for a second piece!)  My first Acrylic paintings in 15 years.

CCA Lecture

A lot of chat at The California College of Art, San Francisco CCA GILLETE TALK

Sketchbook pages

Recent doodles.

Rainbow Bar & Grill

A location watercolour of the legendary Rainbow Bar & Grill on the Sunset Strip in Los Angeles.

Zen Brush Portraits

These were a couple form 30 portraits I did for Esquire U.S.  in Brush and ink.
Beyonce and  ODD FUTURE.


I've been looking through old work for my book and stumbled across this Iggy Pop piece.
I originally did this portrait for GQ, a quick throwaway illustration, vignetted on a white background. Revisiting it, I could see that it had some power, but not RAW POWER! so I remixed him.


The evolution of Snoop Dogg's fashion for The Fader.


Here is my Music Blisters print for Print Club London.
I chose Chuck Berry,

£40 in an edition of 40 handpulled.

Further Graphitti

More experiments painting on various grids in watercolour.

Sunnyside Opera poster

A poster for the Opera program (!) at my daughter's school. I set myself a deadline of a morning to do these school posters, they turn out quite unexpectedly.

Portrait of Roger Law

I painted this portrait to loosen up. Roger Law is a very inspiring creative force, most known for Spitting Image, but I also know him as the creator of the covers of Jimi Hendrix's Axis Bold as Love
and the Who Sell Out. He was a very forceful illustrator in the '60s and now makes heroic ceramics, a good example of a creative long haul.

Mark Nesbo for the New Yorker

Mark Nesbo, Norwegian writer of ultra violent crime fiction.
I wanted to do the decapitated portrait but the left piece ran in the magazine.

Sunnyside Screenprint

A quick screenprint for an Art Show at my daughter's school.
Thanks to Conor at Forthrite Print Shop in Oakland for turning them around so well on short notice.

Herr Bond.

These are German versions of some of the post Ian Fleming James Bond books.
I've done 4 so far. They come out later this year.

American Hustle LP cover

After I did the American Hustle review illustration for the New Yorker, I was contacted by the delightful film makers to do the cover of a vinyl LP cover of the soundtrack.

Thomas Picketty for the New Yorker

A portrait of the Parisian economist. The left piece, is the initial concept based on Mai '68 graphics (he has his ideological and familial roots in the movement). Picketty  developed the U shaped graph that shows how the ultra rich's slice of the pie declined and then rose back with avengence in the last century, so I tried to tie these together.
The final piece was more straight up.

Levi's Commuter development

These were developed for Levi's commuter- their line based around cycle courier wear.
They went unused.

Drawing and Computing

I used to be often asked about computers and making art. Now, it's so commonplace, it's as quaint as asking about the cars effect on the horse.
I still love making pictures that can be hung on a wall, in a frame. Something that becomes part of a home.
The digital world has made it so much more exciting to have that still moment with a piece of unscrollable, physical art. It stills connects with our cave man psyche. I find it  much more restful to make too.
I drew this to capture the modern state of rock music. A burnt out shadow of its glory years, still twitching under of the streamable avalanche of everything playing at once (for free).

ROCK ON. Pencil on Paper 2013.

Then I scanned it, and did this... ah Photoshop.
When I went to art college in the late '80s, airbrush was the uncoolest thing- its '70s prime long gone.
I recently read Overspray, "Riding high with Kings of California Airbrush". Turns out those '70s kings were all full of cocaine to stay up to meet the deadlines, some serious casualties. The handmade takes its toll.

ROCK ON. Pixels on Screen 2013.

Shakespeare & Company

Apparel designs for the legendary Parisian bookshop,  a place deep in Beat- lore.
The book stack is the chosen design.

Wallpaper* contributors

Painted on graph paper. Here's the raw painting of Valentino.

Theophilus London for The New Yorker

David Gilbert for The New Yorker.

Author David Gilbert for a review of his novel "& Sons"

Harper's magazine

Illustration to accompany an article discussing Hollywood's often distorted portrayal of marriage.
It cited Stanley Donan's "Two for the Road" featuring Albert Finney and Audrey Hepburn as an example of an attempt at realism. Albert Finney is such a one dimensional arse, that it's a hard watch these days.

Kes Print for Print Club London/ Film 4

I'm delighted to have created a screenprint for Print Club London's exhibition coinciding with Film 4 and Somerset House’s Summer Screen. I did Kes -a long favourite of mine. It is available to buy as a hand pulled print for £40 . Details here.

Below is an interview about the making of the print and a bonus clip of the fantastic football scene I referenced:

Law and Order SVU for The New Yorker.

A full page to accompany an article about the pulp appeal of TV show
Law & Order.
I started the art before the copy was finished. Initially the direction was how female fans find watching the violence cathartic, stylistically it was to be collaged and cinematic- a nod towards Polish design.

Take 1.

The copy was starting to come through so this was scrapped and I was asked instead to focus on the female lead Olivia Benson, whom female fans identify as an Avenging Angel.

Take 2.

By now, the story was in, and the art direction changed to a more conventional painting. I really liked the first 2, and making them flexed a graphic muscle which is evident in the final's bloody skyline. I really enjoyed the journey. The tags I made on the left read SVU, Avenger, Victim, Gats and MG.

Take 3.  Finished Art.

To be in England in the Britpop time.

20 years ago this month saw my first piece of printed work in Select magazine.
Select was to become the parish news of Britpop, and this article was allegedly the first to trumpet that scene. Stuart Maconie's piece defined the attitude if not quite the players. I collaged it together not long after I'd left college, I couldn't paint fer toffee.

By March '93 I'd  worked with Saint Etienne, and occasionally joined them to see gigs.  I saw Pulp  Islington Powerhaus, Dec 23rd 1992. The stage was entirely covered in wrapping paper, which, during their first song, Jarvis's fingers poked through to lob tangerines in to the audience. Instant convert.

After the article came out I started doing a monthly piece called Pop Tarts that lampooned the scene. It ran for 50 issues and my enthusiasm really mirrored the rise and fall of Britpop. Jarvis was the subject of the first piece. In the early days, Select was home top a load of great writers, basically half of 6 music: Andrew Collins, Mr Maconie, Steve Lamaq, Miranda Sawyer...also Graham Linehan. In those pre-computer days I'd get on the tube and take the artwork in to the office, It felt like a scene.

Late '97 much had changed at Select and I dreaded working for them, I'd had enough so I bowed out at 50.

Portraits for wallpaper*

These were drawn in Chinese brush and my daughters felt pens.

Aaron Swartz for the New Yorker.

A full page portrait of the late web activist for the New Yorker. Painted in watercolour and gouache on graph paper, it seemed an appropriate technique for such a digitally inclined person, and also conveys  disintegration and loss. The first is the original painting and the second the tweeked printed version.

Their Houses poster.

A poster for Cam Archer's film Their Houses, shot on video complete with static,  dreamy day-glo, tracking wobbliness.

Selected Ambient Words: Life with the Aphex Twin 1992-1995

Richard as I remember him with his Synthi. 
I first met the Aphex Twin on  Surbiton High street, early summer '92. I had just graduated from Kingston along with the classmate sitting on the pavement next to him, a graphic designer we  called "Nobby".
Nobby's ambition was to be a robot. Stakker Humanoid was his 7am wake up call.
He designed the iconic Aphex logo (hand drawn in marker), which Richard bought the rights to for £500, by turns honourable and savvy.

By summers end I was living below him on Southgate Road, then a no mans between Dalston and Islington. Nobby myself and two college mates took the downstairs, whilst Richard lived upstairs with his delightful girlfriend Sam, a pretty Cornish flower child. 
Across the road was a crack den.