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Timeline
Some career highlights

1994-1997

- Studio Artist at Character Magic Ltd (see About)

1997

- First freelance job: Tonka ‘The Best Christmas Tree Ever’. Client: Brown, Wells, and Jacobs Ltd; Publisher: Scholastic.

- Became a contributor to Disney’s Princess Magazine. Client: Egmont Creative London; Disney’s Winnie The Pooh Magazine. Client: Ulkutay Design; Publisher: Egmont

- Various greetings card designs. Client: Camden Graphics

 

1998-2002

- Over this period I found myself increasingly full-time with Winnie The Pooh, with various books & regular contributions to periodicals. Clients included: Disney Publishing Worldwide; Egmont; Pearson Education; Paul Windle Design; Ulkutay Creative.

 

2002

- Received Disney award! International interest for work on Winnie The Pooh followed. Client base expanded rapidly.

- Disney Classics: some background pencils for books of The Little Mermaid 2; Cinderella 2; Jungle Book 2. Client: Disney Publishing Worldwide, Burbank

2003 (to 2015)

- Principal artist on Winnie The Pooh Magazine. Approximately 160 issues over almost 13 years. Client: Egmont Creative

2003-2009

- Colour artist on the Brother Bear Storybook. Client: Character Building Studio for Disney Publishing Worldwide.

 

- Principal artist on new Classic Pooh publications, emulating the style of E.H. Shepard. My favourite titles from this period: 'The Magical Pop-Up World of Winnie-The-Pooh'; 'Four Seasons with Winnie-The-Pooh'; 'My Pooh Playhouse'; 'Hooray for Winnie-The-Pooh'; 'Winnie-The-Pooh and The Trouble with Bees'. Client: Egmont Books Ltd

 

- Provided artworks for two Classic Pooh style guides. Client: Disney Consumer Products EMEA

 

Other clients during this period included: Pearson Education; Parragon Books Ltd; Paul Windle Design; Doodlebug Design.

2009 (to 2013)

- A collection of Young Readers Classic Pooh storybooks for America. My favourite titles from this period: 'Pooh's Clean Up' and 'Pooh's Snowy Day'. Client: Penguin Group (USA).

 

2010 

- Created an Artist Training for Classic Pooh (see Bio). Client: Disney Consumer Products EMEA

 

2012 (to 2015) 

- Returned to the world of Disney princesses, providing pencils for a range of books supporting Disney TV Animation’s ‘Sofia the First’. Client: Character Building Studio for Disney Publishing Worldwide.

 

2013

I took on the role of Copy Artist for Penguin Random House's popular children's title Ladybug Girl. It was a challenge - trying to draw exactly like someone else, but my varied experience and Disney training helped me produce art that fitted in.

2015

- Ladybug Girl 'I Love You Bingo'. Client: Penguin Random House (USA)

- Disney Classics. I pencilled books for Lion King, Bambi, Lady & The Tramp, Jungle Book, Monsters Inc, and of course Winnie The Pooh. Client: Character Building Studio for Disney Publishing Worldwide.

- Returned to Disney's 'Princess' Magazine as a story artist. Client: Egmont Creative.

 

2016

- Pencils for Disney TV Animation properties 'Elena of Avalor' and 'Whisker Haven'. Client: Disney Publishing Worldwide.

- Copy Artist work for Rosemary Wells' Max & Ruby. Client: Penguin Random House (USA)

- A Disney Classics Baby range. Client: Parragon Books Ltd

Sofia the First - 'The Mystic Isles'; Winnie The Pooh - 'Frankenpooh'; Lion King - 'A Dark and Scar-y Night'; Beauty & the Beast & Tangled - 'Disney's 1000 Words'. Client: Character Building Studio for Disney Publishing Worldwide.

 

2017

-June: 20 years as a freelance illustrator.

 

2018

- Vector art for 'The Nutcracker And The Four Realms'. Client: Disney Publishing Worldwide

- Colour art for 'Muppet Babies - Super Fabulous'. Client: Character Building Studio for Disney Publishing Worldwide.

- Colour art for 'Dinosaurs Roar' and 'Cheeky Monkey'. Client: Bookoli

- Colour art for Widget World. Client: TED Group.

- Colour art for four 48 page Winnie-The-Pooh books: 'Pooh's Kindness Game'; 'The Forgiving Friend'; 'What Good Friends Do';

'Who Cares? Pooh Cares!'. Client: Character Building Studio for Disney Publishing Worldwide.

2019

A very bad year, business-wise. Almost nothing happening with commissions, but opportunities for the acquisition of new skill-sets presented themselves.

2020

Most thankfully, business revived at the very point at which I was having to consider shutting it down for good. Then COVID 19 happened and it ground to a halt again. However, two highlights were:

- Copy artist work on 'Angelina Ballerina'. Client:  Simon & Schuster, New York.

- Background artist for 'Meet Mira'. Client: Character Building Studio for Disney Publishing Worldwide.

2021

COVID 19 continues and there isn't enough illustration work to live on. I'm currently falling back on my other skill sets and considering new avenues.