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Southwest, Great Britain.

Experimental artist seeking the aesthetic edge.

January 2012 / № 268


Photography / Print / Paper / Color test.

Lucky shots? Maybe. Entirely accidental. What interested me here is the months of paper tests.

In my mind, there is a need to test every available piece of equipment or resource to its fullest and crank what you can out of it.

This is standard inkjet printing on quality papers.

Nikon, Zenith, Mac, Hewllet-Packard.


December 2011 / № 234


Type.Face / Illustration / Colour print

Portrait & mixed Type. A project that is a personal challenge and one that will be ongoing as a small series.

I am interested in pulling away from the digital aesthetic with these prints and using analog as the main tool and last source to bring the image to life.

Mixed Message images…


October 2011 / № 228


Kodiak / Sketch / Inkwash + Digital

Recently digging in the crates for frame layouts. This one is detailed on my site in the image slider, not as a print.

The original idea was to work with metallic inks as a possibility. This seemed the way forward a few years back. Now, it is hardly cost effective on a small scale, and way too mechanised in the final finish. The only offer it would give to the image is an ultra modern / retro aesthetic.

Humans are complex by nature, prone to making simple tasks complicated, but it is the simple things that stay consistent by their very nature. So this is solely an environmental piece. Reason: Well, we live in a throw away, destructive society. I try to recycle everything possible, and am always in favour of experimenting with anything art related, but it has to come full circle. To show qualities in the image I used charcoal, recycled inks, printer ink & 100% environmentally friendly colour processed recycled paper.


October 2011 / № 225


Phase 1 :

Character / caricature sketch for a personal project that will include some moving images, background, graffiti + music. 2D is neat to see in a slow moving scene. A fine art portrait is not the required finish, so please note, that this is in good humour.

A4 standard cartridge paper using a Derwent 4b + Faber-Castell ink pen. Copied up to A3 then cut. Saturation in shaded areas, minimum detail.

As with the RZA pic, it is kept as black and white until all character pieces are finished.

To be continued.


October 2011 / № 219



Type.Face / Illustration / Colour print

Portrait & mixed Type is the outline for this project, in a layout that worked well as a composition of colour / content.

A project that is a personal challenge and one that will be ongoing as a small series.

Without giving away to much detail of the specific background to the series, it is to have a bolder message as the overall theme.

The above image was a case study that started in digital and progressed to be more analog in practice with the result being a very good healthy balance of the two combined.


October 2011 / № 217


Analog + Digital Graffiti / Type / Texture

The texture that I was keen to execute as a digital visual, was a simulated rough surface that has been sprayed with aerosol. With this in mind, I always seek to put together designs that have multiple uses across the board.

Starting off with a complex looking but basic layout as a pen background, the type and layer fade is all the project needed.

First phase was a template with the letters cut out of card. Initially wanting to do a painted type print, the paint was an incorrect mix and it looked wack.

Second was a mock up on cartridge paper to check the composition. The cut letters were then scanned, including the texture, and the handwriting. The final draft was put together in layers, with colour content added for the aerosol look and minor special effects. It would have been cool to use canned paint for the entire piece, nevertheless an enjoyable project and one to push forward.


October 2011 / № 208


‘Lacerate Media’ / Texture / Art

As a reflection of last months site journal post, the 3 images here are the test pieces.

They are mixed method pieces, with the final image being the preferred quality of finish.

As design is a test of ability, the main grind is in finding the easiest and most effective way to do something that is usually a complicated process. My concern for when the storefront is live is that there are only new works available and not something that has been generally ripped off or repeated by other artists previously. The third Razors edge is the first store instalment, using my own stock image and elements. Printing is currently external, although seeking to upscale asap and progress with prints for solo shows. Editorial is of great interest, so pushing to learn more in this area also.


October 2011 / № 204


‘Don’t need NO Devil dust’ / Ian Brown / Mixed method / Experimental Portfolio

In my opinion one of the greatest Great British singer-songwriters of all time.

Ok, so many may disagree. Whatever. This guy has proved himself to be one of the most influential artists in recent years. From a true working class family, to the lead vocalist of  The Stone Roses, he has a celebrated history of perfect lyrics and bold collaborations ( personal artistic favs : UNKLE  / ADIDAS / BAPE ) which has seen him rise to the top of the ranks. This does not come easy. A solid solo career setting himself aside from the usual suspects in terms of visual art & video appeal, content instruments, tight, challenging lyrics and awesome depth of character has earned him the aforementioned status.

Having seen him perform, I would say he offers a wise expression as opposed to glitter ball stage gimmicks. This gives him an awesome presence. And of course he is renowned for saying that he needs ‘no devil dust’ for his confidence. Mr Brown, a true performer, I salute you.


October 2011 / № 193


The Invasionism pack is neat. And possibly collectable. So… let’s make them count.

The one thing about the Southwest, come hell or high water is the tourism. They come for the historical value and the art. And what more do visitors need more than signs? …more signs… I got a real kick watching some visitors in the city see the already existing signage… then promptly get out a smart phone and internet search the words on the stickers.

Traffic boost!

here are proud KDU members down this way, myself included. The Art Sector itself is always a good source of design gossip / story telling. The who’s who and who’s doing what or who. So awareness was on the agenda. The education system is what it is. When I studied here in the southwest (Devon & Cornwall), most courses were switched mid-way into something rather more defined by digital medium as opposed to personal creative development. Many students found that the level of teaching was slow and unstructured and poor. This in turn offered a poor attendance by many, who realised that the course detail was far from what they signed up for. I know a few that work in dept stores and no longer sketch, let alone feel that a future in art or design is something to consider. Anyhow, it is refreshing to see that nowadays the various mediums and media are embraced and the frayed edges have now been stitched and ironed out. A thriving community of art and design focused individuals have a grand voice and the best selections of art on display at all times of the year. Hence it now being the Art Sector.


September 2011 / № 191


Oh Jenny…

Pixel and texture are the main aspects of the image. Rather than use purely digital artwork, I have been quietly trying new methods of creating texture. My focus is on the decay of beauty, as in, the fall of the ego as we are stretched apart in all directions by our ever increasing surroundings of illusion. Seeing things for what they really are by means of moving out of focus with these surroundings and to seek internally, let that guiding light shine forth.

I am seeking to make a transition in art. Forming a breakdown of parts and leaving blank space or thought in its place intrigues me. The balance for me would be to show growth / decay within the ‘inbetween’ phase of an image where they would both merge before the finished article becomes neither one or the other. Question also what you are looking at and by what medium or media? Question everything.

By following other artists it gets easier in time to interpret messages that they put forth. This in turn holds a certain resonance, something that on some level one can relate to.

We continue to learn at the drawing of each breath. I remain thankful to my peers. KDU for Life!


September 2011 / № 181


Transition / Exploration of large bird species.

Well, this was going to be a type exploration when it started. Possibly a quote or a phrase that would echo the image. I really like the idea of taking portions away from an image and leaving this emptiness as blank space, offering thought in its place. With this in mind, it is an image reflective of a piecing together and of growth and full flight, also a double edge meaning of the dismantling and the disintegration and letting go of parts that may hold the bird back from it’s flight.

Photographic image + The background is a plain coloured rice. Using very few colours is something that is enjoyable to push into art, it keeps the exploration contained to a degree, yet opens the image up to a larger interpretation.

The smaller image within is just that. Contained within the eye of the Eagle, as we truly are.


July 2011 / № 168




I wanted to work with Markus Baier for a while… not just for a pointless collaboration, but on an illustration awareness piece. He is young, versatile and always looking for a directional challenge, so it was fun to throw up this 50 / 50 analog vs digital piece. Communication was on point. Both working fast to achieve the desired outcome, Markus & I sketched, scanned, penned, inked and built up the Egyptian in a bid to explore this mode of thought.

The main objective is to use a potentially ‘analog’ statement of something that existed long before digital. An example of human will, of mystery. Something that would make a person ponder large scale questions. ‘Egyptian’ is simple, it resonates with stone, with measurement, with mind. Fighting back against devolution and the use of artificial intelligence that has been slowly capturing the human spirit and constructing a new world inside of our own… When did we cease to question and rely on this falsehood ?

The intention was to create a piece that reflected the use of analog & digital, from the perspective that ‘digital’ can only free a thing as symbolic or creative with the use of human interaction and/or intervention. Our collaboration injected a certain spark into the image that can only be found by manipulating certain characteristics of the digital field. The first, middle and last steps are all with the human mind. Design, process, execution. Analog & Digital can co-exist. But do we need them to? Without the emotion that we used to shape and let the image breathe and live, it is merely a faceless collection of insignificant shapes. If by our choice the initial sketch is taken away, it would still remain an emotionless abstraction, neither one thing or the other. It does not feel, it does not know. The machine is bound by its own limitations. As a basic sketch, it was already alive and all further elements could easily have been completed by hand.

The systematic digital world needs us. It needs us to live and breathe life into it and for it. We have been placed under the illusion that we also need it in return. We do not. Take back what is yours. We live and breathe regardless.


June 2011 / № 156


Bounty / Pirates & Buccaneers Exhibition / Plymouth Docks.

A Mutiny will never take place among loyal crew. Essentially this is a statement of fact. We pledge allegiance and gather our arms to fight the good fight, and stand strong against the opposition.

The chance to board the famous ‘Bounty’ was a real eye opener. The history of the original ship started as a small collier cargo ship by the name of Bethia, built at Blaydes Shipyard in Hull, 1784. The sturdy construction of such ships made them perfect for extensive ocean expeditions and explorations, aswell as being fine cargo haulers. The ship was purchased three years later by the Royal Navy to accompany a further number of vessels toward Tahiti in an attempt to secure regular trade routes onward to the West Indies in the hope of extending the plantation of breadfruit trees as currency, and a food source for low waged and unpaid individuals. The ship was now renamed Bounty. The name conjures thoughts of abundance, and ‘Bounty’ was now intended to act as a secure lifeline for many many people.

Further accounts have been portrayed in movies and books, with many that sailed upon the Bounty to be hero or villain. In fact the only two men ever to command the ship were William Bligh, who is also noted in the Rum Rebellion of 1808 and Fletcher Christian, who scholars believe may have faked his own death and inspired much of Coleridge’s famous poetry works.

The relevance here is that tribute is paid to the Union of men from the original ships build to the above 1962 rebuilt and widely used replica, with as near perfect detail as possible. Even when stood on the deck at the Captains wheel, there were Woodworkers repairing various timber damage.

WE recognise The Draftsmen, The Wood Turners, The Ship Wrights, The Sail Makers. This is the original driving force behind the craft. The unseen and unsung heroes of craftsmanship. These are the people that made further worldwide discovery possible. This was the voyage. Machines were never needed & Batteries not included.


June 2011 / № 151


Well, please feel free to visit the ‘
Armoury‘ often. A ‘non’ blog and a manageable way to show humble snips of sketch work, initial outlines and anything that I feel may offer a means of communicating images in process, before they are finished. Sometimes the screen or expanding images do not do artwork justice. This is a realtime exercise and relevant, albeit in the first stages. Mentioned in an older post way back, this will be heading toward a studio page, where obvious working tools and drawing board images will be on display. This is in the hope of projecting my surroundings to you, and possibly the only way to add more depth and personality via the digital world of the internet, to you, the art observer.


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Book Cover Design

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