‘Work in progress’ from a New York Times commission last year.
Read MoreTaking cue from one of my fellow 2011 Norwich BA Illustration graduates, I began working on one this year’s D&AD Student Award briefs. I started it yesterday, everything was going well until just a few hours ago I read the rules…
The rules state, only full or part-time students a recognised FE or HE course may enter – with an exception of ‘new creatives’. These ‘new creatives’ must be under 26 or have finish their course within two years prior to deadline. Fair enough, but I read it again, carefully this time, and ‘new creatives’ can only submit work for the ‘make your mark brief’ – not the student awards…
So this is my embarrassing admission and unfinished entry that would have been submitted if I was on some post-graduate course… maybe.
Why can’t the rules be more like the V&A Student Awards? A word of warning (to myself) – in future read the fucking rules! – and in case your wondering, it’s the fat kid off Super 8.
Read MoreThis is a really interesting article by Melanie McDonagh for The Independent (20/01/12). I don’t wholly agree with some of the points raised about contemporary illustrator’s inability to draw… however a very good piece about the dearth of illustration in modern adult fiction.
This lull of illustration in modern fiction was one of the reasons why I illustrated Niall Griffiths’ novel Stump at university.
Link: Where have all the book illustrators gone?
Link: Stump Illustrations
Read MoreAdded a new page to the website, will be fully linked-up soonish. I made these monoprinted illustrations in my final year at Norwich. They’re based on the novel ‘Stump’ by Niall Griffiths.
See here: crav.co.uk/stump.html
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I’m pleased to show my editorial illustration in the Op-Ed section of the Sunday edition of The New York Times. The article written by Sarah Shourd, talks about America’s overuse of solitary confinement and her personal account of 14 months of solitary in an Iranian prison. Read the article.
I recently had a birthday – my mum often gets me old curios from boxes of junk and carboot sales. Nothing too expensive or rare – just cheap or even free things like ephemera. One thing she gave me, was a copy of ‘Animal Life of the World’, a hefty 1934 book filled with photo illustrations (See above) of pretty much everything – from kittens to dinosaurs. On the section about whales, they used photos of dead beached whales to illustrate the text…
One other thing she gave me was a bundle of old American pencils. Nearly all of them produced by the Eberhard Faber Pencil Co. and now discontinued. Pencils include; Nu-Tone 500, Monitor, Van Dyke 717, Mongol, Micromatic, Commerce 395 No2, Tinsel-Tint 3801 No2 and several Blackwing 602. After some research, I found out the Blackwing 602 is actually considered to be the best pencil ever made! In fact they’re collectors items, with a considerable number of devotees and currently cost £15 – £25 per pencil! I had to try one out…
I sharpened up a brand new Blackwing 602 and it’s actually is very good – very smooth, probably due to the Blackwing’s graphite blend, which included the addition of wax.
I’d say the pencil is somewhere between 2B and 4B, hard to tell- it behaves like a ‘hard’ pencil at times but flows very smoothly and can produce nice dark lines. The only indicator to its grade is printed on the side of the pencil; a slogan, “HALF THE PRESSURE, TWICE THE SPEED”. Another thing that makes the Blackwing 602 stick out is it’s odd-looking rectangular rubber held in place by a wide ferrule. I’ll be honest, I’ve not used the rubber, I still use my WH Smith ‘tablet eraser’ bought in 1998 (still the best rubber I’ve used).
I don’t draw as much with pencils these days, but it is nice to own something that’s the best in its league – even if it is just a pencil. Thanks mum.
Read MoreI recently scanned some very old drawings. I made them when I was very young, probably around four years old. Apart from a couple of scribbles my mum has, these are the oldest drawings I have. They were drawn from pictures of WWII planes and vehicles in a book that my grandad gave me, I can only just remember it… I remember I was obsessed with war planes, dinosaurs, trains and my grandad’s war stories… Also the paper is very nice, no idea what it is, I’m sure there are watermarks on them somewhere…
Read MoreJust over two months ago… Creative Review featured me in their September issue, known as the ‘graduate special’. Me and four other 2011 graduates were each generously given three whole pages. I was (and still am) very fucking chuffed. After, well over a year of solid work; drawing, printing etc… it was great to be chosen by a magazine I’m personally very fond of. A thank you to Patrick Burgoyne and Mark Sinclair.
All my images in Creative Review are on my site: crav.co.uk
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I haven’t made a self portrait in ages, years even. I don’t have a photo on my sites anymore so here I am… I have a beard, glasses, messy hair… For this one, you may have to take a step back, squint and not really look at it… to get the full effect.
In order to shift a few more copies of my book Drawings for Summertime, I’m having a sale. Normally it’s £9.72 but now it’s just £3.99! Wow, I hear you cry…. why not pursue and buy?
Today Patrick Burgoyne, editor of Creative Review visited Norwich University College of the Arts to look at the school of design Degree Shows. In particular he blogged about our illustration show as, “one of the strongest student illustration shows I’ve seen”, not bad! I’ve always read the CR Blog for their Degree Show reviews so it’s really nice to see our work on the same platform as artists I admire.
I know Creative Review very well (I own loads) and I know the name Patrick, but I’m slightly embarrassed to say I didn’t recognise him when I saw him snapping away in the illustration degree show… So a note to students here, make sure you know people’s names and match them to faces!
My work and fellow BA Hons Illustration students work can be seen on the Creative Review website: creativereview.co.uk/cr-blog/2011/june/norwich
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Wow, my website is two years old and in a month, so will this blog! Thanks to the 30,000 odd visitors and blog subscribers who took a few moments out their life to ponder over my pictures, that’s really very nice of you.
Any art student, illustration or otherwise, thinking of setting up a website; do it! It costs very little but will come in so handy at times and can lead to work and opportunities you never otherwise would’ve got. If you’re a poor student looking for a good but affordable web-hosting company I recommend Dream Hosting, who host this site.
I’m coming to the end of my university degree, and if you want to have a nosy at my work, I have a fairly comprehensive archive on this blog of most things I did in the last two and a bit years. Also for more visit my website or my Facebook page.
Thanks for popping by,
Matthew.
Read MoreThis drawing is based on a newspaper clipping from my ever-increasing collection of old Lincolnshire newspapers. The gig will be on 25th February 2011 in the Student Union bar at Norwich University College of the Arts. All profits we make (except bar) will go towards the year 3 BA (Hons) Illustration Degree Show. So come along, get dressed up and support us!
Read MoreI’m working on small sculptures for BBC Plays including Beverly from Abigail’s Party, Davis from Scum and Yosser Hughes (above) from The Black Stuff (aka Boys from the Black Stuff).
Read MoreSince I didn’t really have the time or inclination to do a ‘colour’ version of the model the first time round, I decided to do an experiment. The original version was uniformly grey (see below) but since I’m working on colour models atm this little model is my first victim. I have a small collection of old lead toys that are very battered, parts missing, paint flaking, scratched etc. I put all this in the piece above.
Read More“Shakin like a shittin dog, one of em is – jactitation, the compulsive twitchin, like altho the holes he’s scratchin in his yellowed arms are more to do with the bile salts accumulating in his skin that his failin liver’s released, turnin him that horrible jaundiced shade. Pigments of bile. Early stages of cirrhosis. Not long to go, poor fucker. Get out of it while yer can, lad. But I know yeh won’t.”
“We admitted that we were powerless over our addictions, that our lives had become unmanageable. And that we would willingly surrender up any last shred of self-autonomy we felt we may have possessed to a judgmental and sanctimonious gobshite in a small smoky yellow room in St Helens and the vast and frightening organisation behind him. And we admitted not only that we were completely worthless but also that if we should ever revenge on this cession then we would become even less; not just shit, but parasites on that shit. The parasites on the shit of the parasites on that shit. But here’s ar white flag, all the fuckin same. Look at us, we’re waving it. With just one fuckin arm.”
“He came down into me garden again this morning, the fox, thee ahl fox with the one eye. Round about dawn, I mean the sky was still more light than day like, still a moon up there there was, an he came down off the mountain an through the hedge an into me garden, sniffed around the rabbit hutch for a bit then ate the cold bits of chip and fish batter I’d left out for him last night. Wolfed them as if he was starving, as if he hadn’t eaten in weeks, then cocked his leg an pissed on me cabbages an fucked off back through the hedge an back up again on to the mountain.”
” -Oh fuck. So strong, that fox stink. Can almost friggin taste it, like. Must’ve caused this only a few minutes ago, to leave his niff still lingerin like this. Squirting his musk everywhere, lettin everythin know that this was created by him, signing this mess an murder with his squirted scent. You left the fuckin hutch door unlocked, didn’t yeh?… I close an lock the hutch door pointlessly then go over to me cabbage run. Two humps; one is Charlie’s head, without face or ears. Thee other is Charlies body, all four feet an tail intact but the body just an empty, deflated furry bag as if all thee insides have been slurped out. Not much spilled blood at all. A bad smell. A stillness.”
“Packed, town is. All the people on their lunch breaks like, an students shoppin or driftin or doin wharrever the fuck it is that students generally do. When they’re not standin at cashpoint machines talkin far too loudly about film, that is. Or brayin like fuckin donkeys in the pubs. A Big Issue seller outside W.H. Smith’s is shoutin out the name of his mag an a couple of doors down, in the doorway of a derelict shop that used to be another bakery, sits the rugby-shirted hulk of Ikey Pritchard. Even from over the road I can kind of sense his presence, the solidarity of him, the volume of air he displaces.”
“Rebecca. Appearing late one night when the arguments were arriving, crisp-fried brains crunching into paranoia and despite the wrung-outness of her face, her face dark with her father’s Somalian blood and the dullness of her eyes and the heavy run make-up, he looked up at that face and just thought yes. And then there was just him and her bag of rocks and a bottle of vodka in some high flat somewhere and they began to think of themselves in the plural and she had many clients regular and trusted and he had a kind of pure acceptance and so there was money and so there was drink and the crate of cocaine from whichever country continued to feed the city’s needs and everything seemed always there so ready to hand, drugs and drink and sex and companionship it was all easy it was all sound but these were the good times and of course they couldn’t last.”
“Deeper, further into this country, lakes the same slaty shade as the clouds above and the mountains granite-spurred ans serrated on the flanks as if gnawed by some massive maw and the valleys between them sucking the eye through the deep troughs to where other swellings equal destabilise greyly the horizon, ripple and peak and spike and sawtooth the grey horizon and beyond that always the same light repeated, repeated to the abrupt escarpment of the sea at which this labouring car and the two inside it are aimed.”
Read MoreEnded up not going for a traditionally printed typeface. Since 50% of the book takes place in a crummy car; I used a near match of the UK number plate font for the text.
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