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Ed Fairburn

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Woolwich, London

Buffalo II

Oxford

Edinburgh

Rome

Quebec City

London and Twelve Miles Round

Washington DC

London, Airstrip One

River Thames, Chertsey to Richmond

River Thames, Bampton to Eynsham

Minneapolis

Collier’s US Cities Series

Chelsea, London

Pisa

John Lennon’s Liverpool & Yoko Ono’s Tokyo: Mind Games (The Ultimate Collection)

Stoke-on-Trent

San Luis Obispo

Aberystwyth

Criccieth
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Do you have a ritual when you start a new piece? "I usually warm into a new drawing by working into less critical areas, or parts of the portrait which I know will be heavily toned at the end. It allows me to move my hand and get a feel for each particular map. A relaxed, focused state of mind is important - and while I've found that the work itself feeds into that frame of mind, I often need something to set the tone at the very start, like a spark plug starting an engine or tinder lighting a campfire. I've found listening to professional snooker matches puts me in an excellent headspace. I'm a huge fan of snooker; it's the only sport I enjoy watching. While I can't exactly watch it while working, I find the sound of the commentary to be calming, along with the cracking and potting of the balls, punctuated by a silence thick with the intense focus of each player" A very warm thanks to everyone at @beautifulbizarremagazine for this in-depth interview, found in last month's issue 52
Do you have a ritual when you start a new piece? "I usually warm into a new drawing by working into less critical areas, or parts of the portrait which I know will be heavily toned at the end. It allows me to move my hand and get a feel for each particular map. A relaxed, focused state of mind is important - and while I've found that the work itself feeds into that frame of mind, I often need something to set the tone at the very start, like a spark plug starting an engine or tinder lighting a campfire. I've found listening to professional snooker matches puts me in an excellent headspace. I'm a huge fan of snooker; it's the only sport I enjoy watching. While I can't exactly watch it while working, I find the sound of the commentary to be calming, along with the cracking and potting of the balls, punctuated by a silence thick with the intense focus of each player" A very warm thanks to everyone at @beautifulbizarremagazine for this in-depth interview, found in last month's issue 52
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Do you have a ritual when you start a new piece? "I usually warm into a new drawing by working into less critical areas, or parts of the portrait which I know will be heavily toned at the end. It allows me to move my hand and get a feel for each particular map. A relaxed, focused state of mind is important - and while I've found that the work itself feeds into that frame of mind, I often need something to set the tone at the very start, like a spark plug starting an engine or tinder lighting a campfire. I've found listening to professional snooker matches puts me in an excellent headspace. I'm a huge fan of snooker; it's the only sport I enjoy watching. While I can't exactly watch it while working, I find the sound of the commentary to be calming, along with the cracking and potting of the balls, punctuated by a silence thick with the intense focus of each player" A very warm thanks to everyone at @beautifulbizarremagazine for this in-depth interview, found in last month's issue 52
1 month ago
View on Instagram |
1/30
Inking the contours around the craters of the Moon (Chaplygin Crater, 2017) This is a bit different to the crosshatching you usually see here, but still follows the same concept of turning maps into portraits. I follow every contour line, changing the weight of each line to create a tonal range: thick, dense lines for shadows, light lines for highlights. See the last slide for a brief demo. I've not used this technique for a while, but with nothing new to share just yet I thought I'd post a little throwback. This particular map is - quite literally - out of this world. It's an original NASA orthophotomap which I acquired from a map dealer some time around 2014, maybe 2015. I sometimes use a brush for this technique, and every time I wonder, when does a drawing become a painting?
Inking the contours around the craters of the Moon (Chaplygin Crater, 2017) This is a bit different to the crosshatching you usually see here, but still follows the same concept of turning maps into portraits. I follow every contour line, changing the weight of each line to create a tonal range: thick, dense lines for shadows, light lines for highlights. See the last slide for a brief demo. I've not used this technique for a while, but with nothing new to share just yet I thought I'd post a little throwback. This particular map is - quite literally - out of this world. It's an original NASA orthophotomap which I acquired from a map dealer some time around 2014, maybe 2015. I sometimes use a brush for this technique, and every time I wonder, when does a drawing become a painting?
Inking the contours around the craters of the Moon (Chaplygin Crater, 2017) This is a bit different to the crosshatching you usually see here, but still follows the same concept of turning maps into portraits. I follow every contour line, changing the weight of each line to create a tonal range: thick, dense lines for shadows, light lines for highlights. See the last slide for a brief demo. I've not used this technique for a while, but with nothing new to share just yet I thought I'd post a little throwback. This particular map is - quite literally - out of this world. It's an original NASA orthophotomap which I acquired from a map dealer some time around 2014, maybe 2015. I sometimes use a brush for this technique, and every time I wonder, when does a drawing become a painting?
Inking the contours around the craters of the Moon (Chaplygin Crater, 2017) This is a bit different to the crosshatching you usually see here, but still follows the same concept of turning maps into portraits. I follow every contour line, changing the weight of each line to create a tonal range: thick, dense lines for shadows, light lines for highlights. See the last slide for a brief demo. I've not used this technique for a while, but with nothing new to share just yet I thought I'd post a little throwback. This particular map is - quite literally - out of this world. It's an original NASA orthophotomap which I acquired from a map dealer some time around 2014, maybe 2015. I sometimes use a brush for this technique, and every time I wonder, when does a drawing become a painting?
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Inking the contours around the craters of the Moon (Chaplygin Crater, 2017) This is a bit different to the crosshatching you usually see here, but still follows the same concept of turning maps into portraits. I follow every contour line, changing the weight of each line to create a tonal range: thick, dense lines for shadows, light lines for highlights. See the last slide for a brief demo. I've not used this technique for a while, but with nothing new to share just yet I thought I'd post a little throwback. This particular map is - quite literally - out of this world. It's an original NASA orthophotomap which I acquired from a map dealer some time around 2014, maybe 2015. I sometimes use a brush for this technique, and every time I wonder, when does a drawing become a painting?
2 months ago
View on Instagram |
2/30
I visited my local gallery after lunch today, and was reminded of just how special it is to be able to see every detail of every painting up close, in the flesh. These are close-ups of some of my favourite works from recent years (pinch + zoom for an even closer look) There are plenty of imperfections... places where my pen has run a millimetre too far, or where I've used a scalpel to lighten an over-toned shadow. Imperfections can feel like major errors at the time, but in the end they're all just a part of the bigger picture.
I visited my local gallery after lunch today, and was reminded of just how special it is to be able to see every detail of every painting up close, in the flesh. These are close-ups of some of my favourite works from recent years (pinch + zoom for an even closer look) There are plenty of imperfections... places where my pen has run a millimetre too far, or where I've used a scalpel to lighten an over-toned shadow. Imperfections can feel like major errors at the time, but in the end they're all just a part of the bigger picture.
I visited my local gallery after lunch today, and was reminded of just how special it is to be able to see every detail of every painting up close, in the flesh. These are close-ups of some of my favourite works from recent years (pinch + zoom for an even closer look) There are plenty of imperfections... places where my pen has run a millimetre too far, or where I've used a scalpel to lighten an over-toned shadow. Imperfections can feel like major errors at the time, but in the end they're all just a part of the bigger picture.
I visited my local gallery after lunch today, and was reminded of just how special it is to be able to see every detail of every painting up close, in the flesh. These are close-ups of some of my favourite works from recent years (pinch + zoom for an even closer look) There are plenty of imperfections... places where my pen has run a millimetre too far, or where I've used a scalpel to lighten an over-toned shadow. Imperfections can feel like major errors at the time, but in the end they're all just a part of the bigger picture.
I visited my local gallery after lunch today, and was reminded of just how special it is to be able to see every detail of every painting up close, in the flesh. These are close-ups of some of my favourite works from recent years (pinch + zoom for an even closer look) There are plenty of imperfections... places where my pen has run a millimetre too far, or where I've used a scalpel to lighten an over-toned shadow. Imperfections can feel like major errors at the time, but in the end they're all just a part of the bigger picture.
I visited my local gallery after lunch today, and was reminded of just how special it is to be able to see every detail of every painting up close, in the flesh. These are close-ups of some of my favourite works from recent years (pinch + zoom for an even closer look) There are plenty of imperfections... places where my pen has run a millimetre too far, or where I've used a scalpel to lighten an over-toned shadow. Imperfections can feel like major errors at the time, but in the end they're all just a part of the bigger picture.
I visited my local gallery after lunch today, and was reminded of just how special it is to be able to see every detail of every painting up close, in the flesh. These are close-ups of some of my favourite works from recent years (pinch + zoom for an even closer look) There are plenty of imperfections... places where my pen has run a millimetre too far, or where I've used a scalpel to lighten an over-toned shadow. Imperfections can feel like major errors at the time, but in the end they're all just a part of the bigger picture.
I visited my local gallery after lunch today, and was reminded of just how special it is to be able to see every detail of every painting up close, in the flesh. These are close-ups of some of my favourite works from recent years (pinch + zoom for an even closer look) There are plenty of imperfections... places where my pen has run a millimetre too far, or where I've used a scalpel to lighten an over-toned shadow. Imperfections can feel like major errors at the time, but in the end they're all just a part of the bigger picture.
I visited my local gallery after lunch today, and was reminded of just how special it is to be able to see every detail of every painting up close, in the flesh. These are close-ups of some of my favourite works from recent years (pinch + zoom for an even closer look) There are plenty of imperfections... places where my pen has run a millimetre too far, or where I've used a scalpel to lighten an over-toned shadow. Imperfections can feel like major errors at the time, but in the end they're all just a part of the bigger picture.
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I visited my local gallery after lunch today, and was reminded of just how special it is to be able to see every detail of every painting up close, in the flesh. These are close-ups of some of my favourite works from recent years (pinch + zoom for an even closer look) There are plenty of imperfections... places where my pen has run a millimetre too far, or where I've used a scalpel to lighten an over-toned shadow. Imperfections can feel like major errors at the time, but in the end they're all just a part of the bigger picture.
2 months ago
View on Instagram |
3/30
From Plymouth to Edinburgh... crosshatching compilation, UK edition 🇬🇧 All ink drawings over old paper maps. Some of these are available as limited prints, although others are not as they've sold out! Whether you purchased a print yesterday or last year, I'll always be grateful. Thank you. I've noticed lots of new followers here lately - and I think a lot of you are from the UK - welcome! As always if you have any questions about my process, feel free to drop a comment below. Have an excellent week 💙
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From Plymouth to Edinburgh... crosshatching compilation, UK edition 🇬🇧 All ink drawings over old paper maps. Some of these are available as limited prints, although others are not as they've sold out! Whether you purchased a print yesterday or last year, I'll always be grateful. Thank you. I've noticed lots of new followers here lately - and I think a lot of you are from the UK - welcome! As always if you have any questions about my process, feel free to drop a comment below. Have an excellent week 💙
2 months ago
View on Instagram |
4/30
It's unusual for me to visit a place (on paper) more than once but it does happen! These two drawings were both crosshatched over folding maps of Oxford, UK. One place, two different outcomes. I'm sharing both again today while I press on with some new locations. If you have any questions about my process or suggestions of places I should cover, feel free to comment below!
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It's unusual for me to visit a place (on paper) more than once but it does happen! These two drawings were both crosshatched over folding maps of Oxford, UK. One place, two different outcomes. I'm sharing both again today while I press on with some new locations. If you have any questions about my process or suggestions of places I should cover, feel free to comment below!
3 months ago
View on Instagram |
5/30
Crosshatching between the streets of Paris (private commission, 2022) 🗺️✍️
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Crosshatching between the streets of Paris (private commission, 2022) 🗺️✍️
3 months ago
View on Instagram |
6/30
Items I've mailed: A Rubik's Cube In 2011 I wrote a delivery address across several sides of an unscrambled Rubik's Cube. I then jumbled the cube, placed it inside a clear plastic bag labelled "solve me" before dropping it into a mailbox. The idea was that the postal service would need to solve the cube in order to deliver it. Which surprisingly, they did. It was received just a couple of days later. Royal Mail didn't solve the cube completely, but they did narrow down the address to two possibilities; the recipient's address being one of them. When it was delivered, the bag was covered in trial and error - possible postcodes noted and crossed out, new postcodes written underneath - and eventually a road name and two possible house numbers. This was a standout experiment from my time as an art student (2008-2012). It was part of a wider project which involved mailing various 'naked' items, puzzles and artworks, using the postal system as a sort of forced gallery space. It was some of my earliest work around the themes of creative intervention, 'off-road' drawing, and using unusual surfaces or contexts as a channel or canvas for my artwork. Along with other similar experiments at the time, it helped sow the seeds of what I do now, turning old maps into detailed portraits.
Items I've mailed: A Rubik's Cube In 2011 I wrote a delivery address across several sides of an unscrambled Rubik's Cube. I then jumbled the cube, placed it inside a clear plastic bag labelled "solve me" before dropping it into a mailbox. The idea was that the postal service would need to solve the cube in order to deliver it. Which surprisingly, they did. It was received just a couple of days later. Royal Mail didn't solve the cube completely, but they did narrow down the address to two possibilities; the recipient's address being one of them. When it was delivered, the bag was covered in trial and error - possible postcodes noted and crossed out, new postcodes written underneath - and eventually a road name and two possible house numbers. This was a standout experiment from my time as an art student (2008-2012). It was part of a wider project which involved mailing various 'naked' items, puzzles and artworks, using the postal system as a sort of forced gallery space. It was some of my earliest work around the themes of creative intervention, 'off-road' drawing, and using unusual surfaces or contexts as a channel or canvas for my artwork. Along with other similar experiments at the time, it helped sow the seeds of what I do now, turning old maps into detailed portraits.
Items I've mailed: A Rubik's Cube In 2011 I wrote a delivery address across several sides of an unscrambled Rubik's Cube. I then jumbled the cube, placed it inside a clear plastic bag labelled "solve me" before dropping it into a mailbox. The idea was that the postal service would need to solve the cube in order to deliver it. Which surprisingly, they did. It was received just a couple of days later. Royal Mail didn't solve the cube completely, but they did narrow down the address to two possibilities; the recipient's address being one of them. When it was delivered, the bag was covered in trial and error - possible postcodes noted and crossed out, new postcodes written underneath - and eventually a road name and two possible house numbers. This was a standout experiment from my time as an art student (2008-2012). It was part of a wider project which involved mailing various 'naked' items, puzzles and artworks, using the postal system as a sort of forced gallery space. It was some of my earliest work around the themes of creative intervention, 'off-road' drawing, and using unusual surfaces or contexts as a channel or canvas for my artwork. Along with other similar experiments at the time, it helped sow the seeds of what I do now, turning old maps into detailed portraits.
Items I've mailed: A Rubik's Cube In 2011 I wrote a delivery address across several sides of an unscrambled Rubik's Cube. I then jumbled the cube, placed it inside a clear plastic bag labelled "solve me" before dropping it into a mailbox. The idea was that the postal service would need to solve the cube in order to deliver it. Which surprisingly, they did. It was received just a couple of days later. Royal Mail didn't solve the cube completely, but they did narrow down the address to two possibilities; the recipient's address being one of them. When it was delivered, the bag was covered in trial and error - possible postcodes noted and crossed out, new postcodes written underneath - and eventually a road name and two possible house numbers. This was a standout experiment from my time as an art student (2008-2012). It was part of a wider project which involved mailing various 'naked' items, puzzles and artworks, using the postal system as a sort of forced gallery space. It was some of my earliest work around the themes of creative intervention, 'off-road' drawing, and using unusual surfaces or contexts as a channel or canvas for my artwork. Along with other similar experiments at the time, it helped sow the seeds of what I do now, turning old maps into detailed portraits.
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Items I've mailed: A Rubik's Cube In 2011 I wrote a delivery address across several sides of an unscrambled Rubik's Cube. I then jumbled the cube, placed it inside a clear plastic bag labelled "solve me" before dropping it into a mailbox. The idea was that the postal service would need to solve the cube in order to deliver it. Which surprisingly, they did. It was received just a couple of days later. Royal Mail didn't solve the cube completely, but they did narrow down the address to two possibilities; the recipient's address being one of them. When it was delivered, the bag was covered in trial and error - possible postcodes noted and crossed out, new postcodes written underneath - and eventually a road name and two possible house numbers. This was a standout experiment from my time as an art student (2008-2012). It was part of a wider project which involved mailing various 'naked' items, puzzles and artworks, using the postal system as a sort of forced gallery space. It was some of my earliest work around the themes of creative intervention, 'off-road' drawing, and using unusual surfaces or contexts as a channel or canvas for my artwork. Along with other similar experiments at the time, it helped sow the seeds of what I do now, turning old maps into detailed portraits.
3 months ago
View on Instagram |
7/30
#inkdrawing #crosshatching #art
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#inkdrawing #crosshatching #art
3 months ago
View on Instagram |
8/30
#art #inkdrawing #crosshatching
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#art #inkdrawing #crosshatching
3 months ago
View on Instagram |
9/30
Transforming old paper maps into portraits, one line at a time 🗺️✍️
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Transforming old paper maps into portraits, one line at a time 🗺️✍️
3 months ago
View on Instagram |
10/30
Transforming old paper maps into portraits, one line at a time 🗺️✍️
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Transforming old paper maps into portraits, one line at a time 🗺️✍️
3 months ago
View on Instagram |
11/30
Transforming old paper maps into portraits, one line at a time 🗺️✍️ Audio is from my appearance on BBC Radio Solent, where I was invited on to chat about my portrait work for Universal Music and the John Lennon Estate
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Transforming old paper maps into portraits, one line at a time 🗺️✍️ Audio is from my appearance on BBC Radio Solent, where I was invited on to chat about my portrait work for Universal Music and the John Lennon Estate
3 months ago
View on Instagram |
12/30
Transforming old paper maps into portraits, one line at a time 🗺️✍️ Audio is from my appearance on BBC Radio Solent, where I was invited on to chat about my portrait work for Universal Music and the John Lennon Estate
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Transforming old paper maps into portraits, one line at a time 🗺️✍️ Audio is from my appearance on BBC Radio Solent, where I was invited on to chat about my portrait work for Universal Music and the John Lennon Estate
3 months ago
View on Instagram |
13/30
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3 months ago
View on Instagram |
14/30
🗺️✍️
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🗺️✍️
3 months ago
View on Instagram |
15/30
For anyone new here... my work and drawing process in a nutshell 🗺️✍️
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For anyone new here... my work and drawing process in a nutshell 🗺️✍️
3 months ago
View on Instagram |
16/30
🗺️✍️
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🗺️✍️
3 months ago
View on Instagram |
17/30
🗺️✍️
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🗺️✍️
3 months ago
View on Instagram |
18/30
Crosshatching over old paper maps... my process in a nutshell 🗺️✍️
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Crosshatching over old paper maps... my process in a nutshell 🗺️✍️
3 months ago
View on Instagram |
19/30
🗺️✍️
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3 months ago
View on Instagram |
20/30
Some (hopefully) calming lines for a Monday afternoon. My mark making might be fast at times, but my overall process is slow and grounding. Thank you all for taking the time yesterday to look around my studio, I'm glad so many of you enjoyed the tour! As I mentioned previously, I'll deep dive into my map collection in a future newsletter.
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Some (hopefully) calming lines for a Monday afternoon. My mark making might be fast at times, but my overall process is slow and grounding. Thank you all for taking the time yesterday to look around my studio, I'm glad so many of you enjoyed the tour! As I mentioned previously, I'll deep dive into my map collection in a future newsletter.
3 months ago
View on Instagram |
21/30
If like me you're a bit nosy and like to poke around other artists' spaces, you should look out for my next newsletter, dropping tomorrow. I'll be giving a little tour of my studio, talking about some of my inspirations... and recounting the story of Dave, my missing goldfish. If you don't already receive my newsletter, you can sign up via email using the info at the top of my profile. It's free to join. Hope you're all having a fantastic weekend!
If like me you're a bit nosy and like to poke around other artists' spaces, you should look out for my next newsletter, dropping tomorrow. I'll be giving a little tour of my studio, talking about some of my inspirations... and recounting the story of Dave, my missing goldfish. If you don't already receive my newsletter, you can sign up via email using the info at the top of my profile. It's free to join. Hope you're all having a fantastic weekend!
If like me you're a bit nosy and like to poke around other artists' spaces, you should look out for my next newsletter, dropping tomorrow. I'll be giving a little tour of my studio, talking about some of my inspirations... and recounting the story of Dave, my missing goldfish. If you don't already receive my newsletter, you can sign up via email using the info at the top of my profile. It's free to join. Hope you're all having a fantastic weekend!
If like me you're a bit nosy and like to poke around other artists' spaces, you should look out for my next newsletter, dropping tomorrow. I'll be giving a little tour of my studio, talking about some of my inspirations... and recounting the story of Dave, my missing goldfish. If you don't already receive my newsletter, you can sign up via email using the info at the top of my profile. It's free to join. Hope you're all having a fantastic weekend!
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If like me you're a bit nosy and like to poke around other artists' spaces, you should look out for my next newsletter, dropping tomorrow. I'll be giving a little tour of my studio, talking about some of my inspirations... and recounting the story of Dave, my missing goldfish. If you don't already receive my newsletter, you can sign up via email using the info at the top of my profile. It's free to join. Hope you're all having a fantastic weekend!
3 months ago
View on Instagram |
22/30
"Nothing makes me feel older than a software update. Everything changes, and by the time I’ve got the hang of things, it’s time for the next update. For the most part I’m not against advances in technology, I just wish it would slow down a little. I remember the days of buying a videogame on a disc or cartridge, knowing it would stay that way forever, imperfections and all. It was solid and predictable, dependable even. Software today feels like water between my fingers. Always changing shape, never solid – a constant stream of features added, features taken away – it can feel so frustrating. In a practical sense, thinking about maps specifically, the ability to update maps digitally is of course incredibly useful, and I use Google maps along with most other modern technologies. But in terms of what appeals to me, what I find most intuitive, most comfortable, I’m very old-school. I like pens on paper, calendars on the fridge, lists in a notebook. If a daily task can be done in the real world away from a screen, that’s often the way I’ll do it." I have an in-depth interview in Beautiful Bizarre Magazine! I'm in great company too. It's out March 1st and can be pre-ordered now. A huge thanks to the writers and editors at @beautifulbizarremagazine for the feature 💙
"Nothing makes me feel older than a software update. Everything changes, and by the time I’ve got the hang of things, it’s time for the next update. For the most part I’m not against advances in technology, I just wish it would slow down a little. I remember the days of buying a videogame on a disc or cartridge, knowing it would stay that way forever, imperfections and all. It was solid and predictable, dependable even. Software today feels like water between my fingers. Always changing shape, never solid – a constant stream of features added, features taken away – it can feel so frustrating. In a practical sense, thinking about maps specifically, the ability to update maps digitally is of course incredibly useful, and I use Google maps along with most other modern technologies. But in terms of what appeals to me, what I find most intuitive, most comfortable, I’m very old-school. I like pens on paper, calendars on the fridge, lists in a notebook. If a daily task can be done in the real world away from a screen, that’s often the way I’ll do it." I have an in-depth interview in Beautiful Bizarre Magazine! I'm in great company too. It's out March 1st and can be pre-ordered now. A huge thanks to the writers and editors at @beautifulbizarremagazine for the feature 💙
"Nothing makes me feel older than a software update. Everything changes, and by the time I’ve got the hang of things, it’s time for the next update. For the most part I’m not against advances in technology, I just wish it would slow down a little. I remember the days of buying a videogame on a disc or cartridge, knowing it would stay that way forever, imperfections and all. It was solid and predictable, dependable even. Software today feels like water between my fingers. Always changing shape, never solid – a constant stream of features added, features taken away – it can feel so frustrating. In a practical sense, thinking about maps specifically, the ability to update maps digitally is of course incredibly useful, and I use Google maps along with most other modern technologies. But in terms of what appeals to me, what I find most intuitive, most comfortable, I’m very old-school. I like pens on paper, calendars on the fridge, lists in a notebook. If a daily task can be done in the real world away from a screen, that’s often the way I’ll do it." I have an in-depth interview in Beautiful Bizarre Magazine! I'm in great company too. It's out March 1st and can be pre-ordered now. A huge thanks to the writers and editors at @beautifulbizarremagazine for the feature 💙
"Nothing makes me feel older than a software update. Everything changes, and by the time I’ve got the hang of things, it’s time for the next update. For the most part I’m not against advances in technology, I just wish it would slow down a little. I remember the days of buying a videogame on a disc or cartridge, knowing it would stay that way forever, imperfections and all. It was solid and predictable, dependable even. Software today feels like water between my fingers. Always changing shape, never solid – a constant stream of features added, features taken away – it can feel so frustrating. In a practical sense, thinking about maps specifically, the ability to update maps digitally is of course incredibly useful, and I use Google maps along with most other modern technologies. But in terms of what appeals to me, what I find most intuitive, most comfortable, I’m very old-school. I like pens on paper, calendars on the fridge, lists in a notebook. If a daily task can be done in the real world away from a screen, that’s often the way I’ll do it." I have an in-depth interview in Beautiful Bizarre Magazine! I'm in great company too. It's out March 1st and can be pre-ordered now. A huge thanks to the writers and editors at @beautifulbizarremagazine for the feature 💙
"Nothing makes me feel older than a software update. Everything changes, and by the time I’ve got the hang of things, it’s time for the next update. For the most part I’m not against advances in technology, I just wish it would slow down a little. I remember the days of buying a videogame on a disc or cartridge, knowing it would stay that way forever, imperfections and all. It was solid and predictable, dependable even. Software today feels like water between my fingers. Always changing shape, never solid – a constant stream of features added, features taken away – it can feel so frustrating. In a practical sense, thinking about maps specifically, the ability to update maps digitally is of course incredibly useful, and I use Google maps along with most other modern technologies. But in terms of what appeals to me, what I find most intuitive, most comfortable, I’m very old-school. I like pens on paper, calendars on the fridge, lists in a notebook. If a daily task can be done in the real world away from a screen, that’s often the way I’ll do it." I have an in-depth interview in Beautiful Bizarre Magazine! I'm in great company too. It's out March 1st and can be pre-ordered now. A huge thanks to the writers and editors at @beautifulbizarremagazine for the feature 💙
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"Nothing makes me feel older than a software update. Everything changes, and by the time I’ve got the hang of things, it’s time for the next update. For the most part I’m not against advances in technology, I just wish it would slow down a little. I remember the days of buying a videogame on a disc or cartridge, knowing it would stay that way forever, imperfections and all. It was solid and predictable, dependable even. Software today feels like water between my fingers. Always changing shape, never solid – a constant stream of features added, features taken away – it can feel so frustrating. In a practical sense, thinking about maps specifically, the ability to update maps digitally is of course incredibly useful, and I use Google maps along with most other modern technologies. But in terms of what appeals to me, what I find most intuitive, most comfortable, I’m very old-school. I like pens on paper, calendars on the fridge, lists in a notebook. If a daily task can be done in the real world away from a screen, that’s often the way I’ll do it." I have an in-depth interview in Beautiful Bizarre Magazine! I'm in great company too. It's out March 1st and can be pre-ordered now. A huge thanks to the writers and editors at @beautifulbizarremagazine for the feature 💙
4 months ago
View on Instagram |
23/30
A few popular prints still in stock. Some of my personal favourites have sold out and I only have proof prints to hang on my own walls! I don't really tend to hang a lot of my work anyway. At least not in my studio as you'd perhaps expect. To make prints available to collectors, my finished drawings are carefully reproduced using heavyweight papers and archival inks. Print runs are always limited in number, and once they sell out, that's it, they're gone. There are thousands of my prints hanging all over the world - to know that so many people see my work every day is very special to me - and of course it allows me to continue doing what I do, what I love to do. So thank you to all collectors and enthusiasts who make that happen 🙏
A few popular prints still in stock. Some of my personal favourites have sold out and I only have proof prints to hang on my own walls! I don't really tend to hang a lot of my work anyway. At least not in my studio as you'd perhaps expect. To make prints available to collectors, my finished drawings are carefully reproduced using heavyweight papers and archival inks. Print runs are always limited in number, and once they sell out, that's it, they're gone. There are thousands of my prints hanging all over the world - to know that so many people see my work every day is very special to me - and of course it allows me to continue doing what I do, what I love to do. So thank you to all collectors and enthusiasts who make that happen 🙏
A few popular prints still in stock. Some of my personal favourites have sold out and I only have proof prints to hang on my own walls! I don't really tend to hang a lot of my work anyway. At least not in my studio as you'd perhaps expect. To make prints available to collectors, my finished drawings are carefully reproduced using heavyweight papers and archival inks. Print runs are always limited in number, and once they sell out, that's it, they're gone. There are thousands of my prints hanging all over the world - to know that so many people see my work every day is very special to me - and of course it allows me to continue doing what I do, what I love to do. So thank you to all collectors and enthusiasts who make that happen 🙏
A few popular prints still in stock. Some of my personal favourites have sold out and I only have proof prints to hang on my own walls! I don't really tend to hang a lot of my work anyway. At least not in my studio as you'd perhaps expect. To make prints available to collectors, my finished drawings are carefully reproduced using heavyweight papers and archival inks. Print runs are always limited in number, and once they sell out, that's it, they're gone. There are thousands of my prints hanging all over the world - to know that so many people see my work every day is very special to me - and of course it allows me to continue doing what I do, what I love to do. So thank you to all collectors and enthusiasts who make that happen 🙏
A few popular prints still in stock. Some of my personal favourites have sold out and I only have proof prints to hang on my own walls! I don't really tend to hang a lot of my work anyway. At least not in my studio as you'd perhaps expect. To make prints available to collectors, my finished drawings are carefully reproduced using heavyweight papers and archival inks. Print runs are always limited in number, and once they sell out, that's it, they're gone. There are thousands of my prints hanging all over the world - to know that so many people see my work every day is very special to me - and of course it allows me to continue doing what I do, what I love to do. So thank you to all collectors and enthusiasts who make that happen 🙏
A few popular prints still in stock. Some of my personal favourites have sold out and I only have proof prints to hang on my own walls! I don't really tend to hang a lot of my work anyway. At least not in my studio as you'd perhaps expect. To make prints available to collectors, my finished drawings are carefully reproduced using heavyweight papers and archival inks. Print runs are always limited in number, and once they sell out, that's it, they're gone. There are thousands of my prints hanging all over the world - to know that so many people see my work every day is very special to me - and of course it allows me to continue doing what I do, what I love to do. So thank you to all collectors and enthusiasts who make that happen 🙏
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A few popular prints still in stock. Some of my personal favourites have sold out and I only have proof prints to hang on my own walls! I don't really tend to hang a lot of my work anyway. At least not in my studio as you'd perhaps expect. To make prints available to collectors, my finished drawings are carefully reproduced using heavyweight papers and archival inks. Print runs are always limited in number, and once they sell out, that's it, they're gone. There are thousands of my prints hanging all over the world - to know that so many people see my work every day is very special to me - and of course it allows me to continue doing what I do, what I love to do. So thank you to all collectors and enthusiasts who make that happen 🙏
6 months ago
View on Instagram |
24/30
These three locations - Washington DC, Buffalo, Minneapolis - will be available as prints very soon. Keep an eye out for my next newsletter for details. This time last week my latest prize draw came to a close, and a winner was picked at random. A huge thanks to everyone who entered, and congratulations to the winner!
These three locations - Washington DC, Buffalo, Minneapolis - will be available as prints very soon. Keep an eye out for my next newsletter for details. This time last week my latest prize draw came to a close, and a winner was picked at random. A huge thanks to everyone who entered, and congratulations to the winner!
These three locations - Washington DC, Buffalo, Minneapolis - will be available as prints very soon. Keep an eye out for my next newsletter for details. This time last week my latest prize draw came to a close, and a winner was picked at random. A huge thanks to everyone who entered, and congratulations to the winner!
These three locations - Washington DC, Buffalo, Minneapolis - will be available as prints very soon. Keep an eye out for my next newsletter for details. This time last week my latest prize draw came to a close, and a winner was picked at random. A huge thanks to everyone who entered, and congratulations to the winner!
These three locations - Washington DC, Buffalo, Minneapolis - will be available as prints very soon. Keep an eye out for my next newsletter for details. This time last week my latest prize draw came to a close, and a winner was picked at random. A huge thanks to everyone who entered, and congratulations to the winner!
These three locations - Washington DC, Buffalo, Minneapolis - will be available as prints very soon. Keep an eye out for my next newsletter for details. This time last week my latest prize draw came to a close, and a winner was picked at random. A huge thanks to everyone who entered, and congratulations to the winner!
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These three locations - Washington DC, Buffalo, Minneapolis - will be available as prints very soon. Keep an eye out for my next newsletter for details. This time last week my latest prize draw came to a close, and a winner was picked at random. A huge thanks to everyone who entered, and congratulations to the winner!
6 months ago
View on Instagram |
25/30
Fast, confident lines crosshatched over an old map of Buffalo, sourced from one of the many atlases in my collection 🗺✍️ Just a quick reminder - this time next week I'll be gifting a rare (no longer available) Brooklyn print from my studio to one of my newsletter subscribers, picked at random. Check the link at the top of my profile if you'd like to enter the draw. Someone has to win, and if you already receive my newsletters, you're already in with a chance. Buffalo will be included in my next release of limited prints and originals, dropping in just a few weeks from now. Can't wait to share more with you all!
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Fast, confident lines crosshatched over an old map of Buffalo, sourced from one of the many atlases in my collection 🗺✍️ Just a quick reminder - this time next week I'll be gifting a rare (no longer available) Brooklyn print from my studio to one of my newsletter subscribers, picked at random. Check the link at the top of my profile if you'd like to enter the draw. Someone has to win, and if you already receive my newsletters, you're already in with a chance. Buffalo will be included in my next release of limited prints and originals, dropping in just a few weeks from now. Can't wait to share more with you all!
6 months ago
View on Instagram |
26/30
This map of Buffalo will be available in my next studio release, which drops in just a few weeks! The release is US themed and we're working on the print runs as I type. To coincide with the release I'm gifting a print of Brooklyn II (see my previous post) to one of my newsletter subscribers, selected at random. To enter the draw you just need to sign up to my newsletter, which you can do using the link at the top of my profile. You have until next Sunday, November 16th - the day after my birthday - to enter. If you're already signed up, you're already in the draw. It's as simple as that. Good luck!
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This map of Buffalo will be available in my next studio release, which drops in just a few weeks! The release is US themed and we're working on the print runs as I type. To coincide with the release I'm gifting a print of Brooklyn II (see my previous post) to one of my newsletter subscribers, selected at random. To enter the draw you just need to sign up to my newsletter, which you can do using the link at the top of my profile. You have until next Sunday, November 16th - the day after my birthday - to enter. If you're already signed up, you're already in the draw. It's as simple as that. Good luck!
7 months ago
View on Instagram |
27/30
Are you feeling lucky? My next studio release is US themed (after last month's UK theme), with new prints and originals dropping in just a few weeks from now. This Brooklyn print won't be included as it's no longer available, BUT... I do have a rare AP (Artist Proof print) in my plan chest which I'd love to gift to one of you at random. To enter the draw, simply join my email newsletter using the link at the top of my profile. If you're already on my mailing list you don't need to do anything at all, you're already in with a chance. I only send newsletters every so often, usually just to share new work, new news (so just, news) and any other updates from my studio. It's free to receive, and unlike the mysterious algorithms of social media, if you're on my mailing list, you will always see my updates.
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Are you feeling lucky? My next studio release is US themed (after last month's UK theme), with new prints and originals dropping in just a few weeks from now. This Brooklyn print won't be included as it's no longer available, BUT... I do have a rare AP (Artist Proof print) in my plan chest which I'd love to gift to one of you at random. To enter the draw, simply join my email newsletter using the link at the top of my profile. If you're already on my mailing list you don't need to do anything at all, you're already in with a chance. I only send newsletters every so often, usually just to share new work, new news (so just, news) and any other updates from my studio. It's free to receive, and unlike the mysterious algorithms of social media, if you're on my mailing list, you will always see my updates.
7 months ago
View on Instagram |
28/30
Close-up of Keira Knightley crosshatched over Boston, commissioned in 2023 by @disneyplusuk and @20thcenturystudios Scroll to see the full portrait 👀
Close-up of Keira Knightley crosshatched over Boston, commissioned in 2023 by @disneyplusuk and @20thcenturystudios Scroll to see the full portrait 👀
Close-up of Keira Knightley crosshatched over Boston, commissioned in 2023 by @disneyplusuk and @20thcenturystudios Scroll to see the full portrait 👀
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Close-up of Keira Knightley crosshatched over Boston, commissioned in 2023 by @disneyplusuk and @20thcenturystudios Scroll to see the full portrait 👀
7 months ago
View on Instagram |
29/30
Sunset in the studio. My windows are east facing, so I only really get direct light early in the morning - which is fine - but then if the sky is clear around late afternoon, I get a softer display of sunlight, reflected from neighbouring buildings. The colours create a warm atmosphere and the shapes change minute by minute. Perhaps one day I'll record a timelapse.
Sunset in the studio. My windows are east facing, so I only really get direct light early in the morning - which is fine - but then if the sky is clear around late afternoon, I get a softer display of sunlight, reflected from neighbouring buildings. The colours create a warm atmosphere and the shapes change minute by minute. Perhaps one day I'll record a timelapse.
Sunset in the studio. My windows are east facing, so I only really get direct light early in the morning - which is fine - but then if the sky is clear around late afternoon, I get a softer display of sunlight, reflected from neighbouring buildings. The colours create a warm atmosphere and the shapes change minute by minute. Perhaps one day I'll record a timelapse.
Sunset in the studio. My windows are east facing, so I only really get direct light early in the morning - which is fine - but then if the sky is clear around late afternoon, I get a softer display of sunlight, reflected from neighbouring buildings. The colours create a warm atmosphere and the shapes change minute by minute. Perhaps one day I'll record a timelapse.
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Sunset in the studio. My windows are east facing, so I only really get direct light early in the morning - which is fine - but then if the sky is clear around late afternoon, I get a softer display of sunlight, reflected from neighbouring buildings. The colours create a warm atmosphere and the shapes change minute by minute. Perhaps one day I'll record a timelapse.
7 months ago
View on Instagram |
30/30
View on Instagram

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