1994-1997

- Studio Artist at Character Magic Ltd (see About)

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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 greeting 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

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2003 (to 2015)

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

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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 artwork 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.

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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.

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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.

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2019

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

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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.

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2021

COVID-19 continued and there wasn't enough illustration work to live on. I fell back on my other skill sets and considered new avenues.

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2022

The business began to revive at the end of 2021 and has continued to grow positively. There were some interesting opportunities which were a joy to work on:

- Copy artist work on 'Ways to Share Joy' by Renée Watson. Client: Bloomsbury, New York. For the first time in my entire career, I retained the copyright on my illustrations. 

- Disney's 'Firebuds' CPP. Merely a colouring book to accompany the TV series, but the characters were satisfying to draw.

 

Winnie The Pooh was still an occasional feature. I was pleased that he hadn't gone for good! It was good to be back.

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2023

The year kicked off well with a high-profile Classic Winnie The Pooh book, 'Winnie The Pooh Meets The King'. The book will be published in April to celebrate the coronation of King Charles III in May. Client: Farshore Books

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There is more copy-artist work coming up...