TIMELINE
Some career highlights
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 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
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2003 (to 2015)
- Principal artist on 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 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.
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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 happening 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 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.