Publications

ACRYLIC

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“Acrylic Secrets” bla bla was commissioned in 2006 (for a one-off payment, no royalties) by an outfit called Quarto who produce books then flog them to a publisher. Mine was, to my horror, sold to Reader’s Digest USA who pulled out many of my choice of pictures at the last moment and replaced them with some truly awful ones. Meanwhile, several fine artists who contributed for free were never acknowledged — ripped off, in other words, and pissed off too, quite rightly. So I’ve never been happy with it, but still, there is some sound stuff in there, including a marvellous step-by-step series by the magnificent Nick Andrew (.co.uk). Still in print after all this time, it’s been translated into many languages, and reprinted by Search Press as the ‘Compendium’. .On sale in lots of places including the National Gallery. Please buy it second-hand via Abebooks if you want a copy, not from Amazon. And if approached by Quarto to produce a book for them, just say — no.

Gouache

Coming soon! Draft cover. Gouache is a fairly tricky, but most rewarding medium. Ideal for travelling – I’ve bumbled round India for months with the whole caboodle in a carrier bag.

The Land Magazine

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I worked on The Land magazine as a writer and co-editor for sixteen issues, almost ten years, and have only just retired after the latest one (24) to make more time for painting. It’s “an occasional magazine about land and people”, which covers almost everything, really. Definitely lefty. I shall miss the writing (I did the wacky bits) and finding the illustrations; the covers show some fine work by wood-engravers and paper-cutters, for instance Nicky McClure (centre, above).

Logos & Stuff

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Papercuts (black paper and a scalpel are all you need) make for nice sharp designs. The LandWorkers’ logo turns up on all sorts of people’s chests, and even a Californian trendy t-shirt site where it was being sold as “Vintage Protest”. Despite the URL …. daft. Two for the Iceland Forestry Service, and a drawing for Tom Barron’s Lakeland Charcoal bags. The round gothic window is also a logo; here the black and white have been reversed to lighten the design. A rubber stamp — a favourite medium, I can produce them to order. Plus two book covers, one based on a papercut of a yurt crown, another for Chelsea Green USA’s edition of a very sensible book. The SABI logo has here been made into a small enamelled metal badge.