Last week saw the publication of Orson Teller's Alice Ravenwood and the Tomb of Saint George, "an exciting, pulpy fusion of Ghostbusters, Mary Poppins and Indiana Jones". Now, surely you want to read that!

I mention it here because I very much enjoyed making the logo and cover art for this book, a montage of scenes and characters that populate the story. To learn more and get yourself a copy, visit Orson Teller's website here, where you'll see a second volume of Alice's adventures is already in the works.

An interview with me has just been published over at Down the Tubes. I was interviewed last year by Matthew Badham, and after a slight delay and a bit of an update, it now sees the light of day.

Many thanks indeed to Matt and to John Freeman. I will have more news on the '50'zine', mentioned at the end of the interview, very soon.

Here's a couple of pieces recently done ... actually neither in August, one in May and one in July (though it is the August edition of Fine Food Digest).

While consistency can be a problem, depending on my work schedule and other life stuff, I have been able return to drawing The Brambletye Box recently, so head over and read the latest strips if you haven't yet seen them.

The current auction scene is four pages long, so that's three done and one more to go, with the lastest strip seeing the reappearance of Lily Lawrence and her father, Lord Lawrence. Plus a somewhat unsubtle nod to one of my favourite Franco-Belgian creators.

One thing about digital art is it kind of ... doesn't exist! It does, of course, and usually it ends up being printed or, in the case of Curious Expedition 2, the video game I worked on with Maschinen-Mensch, displayed on a screen. But until CE2 I'd worked almost exclusively in print, so to have the art existing exclusively in the digital ether feels a bit strange.

I wanted a decent record of all the work I did, so I've made a one-off art book (through Blurb), a portfolio, just for my own archive. Although there are no other copies (the art remains the copyright of Maschinen-Mensch), I did make a little video of a flip-through the book, so you can have a peek for yourself.

A project I worked on at the end of 2022 and into the new year has just gone live over on the Museum of London website. It's a 7-page comic called Deaf Londoners in the 1660s, and it tells the story of three such people, two who we know of from the diaries of Samuel Pepys.

You can read the comic and see the accompanying resources here, including teachers' notes and a BSL-interpreted video of the strip.

The comic was principally researched and written by Dr. Kate Loveman, Associate Professor in English Literature, 1600-1789, at the University of Leicester, and an expert and author on Samuel Pepys, and all done as part of the Reimagining the Restoration project. Also directing the project was the Museum's Learning Manager, James Harrod.

It was great fun to do, with plenty of detail to research - and it was wonderful to have a couple of real experts on hand to advise and provide material and context for the visuals.

Many thanks to both Kate and James for a terrific working experience, and for bringing me into the project.

My work-illustration website has been woefully out of date for a few years now, but I've, at last, spent the past two weeks redesigning and updating it, and now it's live and published.

It should be good for desktops, tablets and phones, so give it a whirl ... and let me know if anything is broken or you spot a typo .... there's always one lurking about somewhere.

Earlier in February I recorded an interview with Paulo Tirre from Eurocomics, which has just been released on their excellent channel today - you can see it here.

Eurocomics comes out to us from Brazil, and while much of their content is in Portuguese and French, my interview is in English. Hope you enjoy it!

I'm currently redesigning and building my work website - after nearly three years of no updates. Anyway, I came across these mole concept drawings I did for Curious Expedition 2 - I don't remember doing them, but I like them, so thought I'd post them here before February vanishes.

This year saw the 50th anniversary of the Festival de la Bande Dessinée d'Angoulême, just known as Angoulême to most comics folk, the town where publishers and creators alike gather annually for one of the largest comics festivals in the world.

I've only been once, a very memorable trip back in 2014, but The Beat has included my brief views as part of their Angoulême Memories piece, including some who have been nearly 40 times (such as Paul Gravett).

For a trip down (my) memory lane you can read my blog report from the time here.