From his cosy south coast studio in Brighton Graham Carter is one of the most exciting illustrators and print makers currently working in the UK, with a keen eye for design Graham creates visuals for a number of publishers and brands and his collectable prints have become sought after the world over.
We’ve updated Grahams online portfolio with some of his latest pieces including the stunning additions below a cover piece for National Velvet, his forth coming picture book publishing with Andersen Press in 2019 , check it out HERE and for more information about his work do drop us a line.
Having worked at the forefront of the industry for over 16 years Graham has built up an impressive client base, from BAFTA, Waterstone’s and Visa to The Guardian and The Sunday Times his work has adorned numerous successful campaigns. In recent years Graham has also worked as a Director with Animation Studio Ticktockrobot developing a variety of personal projects as well as commercial animations for a host of clients.
Following on from the success of his first book Alphamals A-Z published by Big Picture Press Graham is currently working on his second picture book, Otto Blotter Bird Spotter which publishes with Andersen Press in October 2019.
“Graham Carter’s high colour, graphic artwork captures the striking beauty of each animal, and the short but informative non-rhyming poems on each double page spread add an original element not often found in nature nonfiction.”
Joe Lillington has been represented by Arena Illustration for two years and in that time has emerged as a go-to illustrator for historical non-fiction publications for children.
The influence of Medieval manuscripts on Joe’s recent work is evident in the detail and depiction of figures and landscapes, often drawing reference from the work of Pieter Bruegel who’s work he greatly admires, Joe’s illustrative style has equally been shaped by his childhood love of the Asterix graphic novels by Rene Goscinny and Albert Uderzo which first triggered his love for history, characterisation and strong narrative.
His forthcoming book Ancient Warriors created in collaboration with Iris Volant and published by Flying Eye Books hits the shelves on the 7th August. We took some time out to get a creative insight in to the way in which Joe works and where he finds inspiration.
ARENA: Your work heavily references periods in ancient history, accurately recreating environments, fashions, weaponry and scenes from everyday life, how important is reference development work for non-fiction books? And do you spend time visiting museums and galleries sketching?
JOE: Reference is definitely very important when working on non fiction because you are always aiming the be as accurate with what you are depicting as you can. However it is time consuming and with some facts are still debated so it can be tricky to get things right, also, depending on the project, you only have a certain amount of time to spend of research so you just have to do as much as you can.
I try to draw a lot from museums and I do take a lot of photos, but it can be hard to find the exact reference you need and again, with time restrictions, books and the internet are also a really useful resource.
ARENA: Is there a particular period in history which you are particularly drawn to and why?
JOE: I find the early medieval period interesting because you’ve got the end of the Roman Empire and then the beginning of the Middle Ages. With the fading Roman influence and lots of smaller Kingdoms, I think that it’s a fun time to set adventures and can lend itself to a lot of atmospheric settings.
ARENA: Are there any periods in history which you think would make an amazing children’s book but which hasn’t been fully explored yet?
JOE: I think something pre history where modern humans and Neanderthals were around at the same time would be really interesting but difficult as there’s not a lot of concrete information about what it was like!
ARENA: Tell us a bit about your daily work routine and do you have any tips for how newly graduated illustrators can utilise social media platforms to promote their work?
JOE: I start with emails and checking what work I want to get finished that day. Then do a few hours work, when I feel I need to take a break then I take the dog for walk, then usually work through afternoon and sometimes evening until I’ve got what I needed to done. I also aim to do a little social media everyday but I don’t always manage!
ARENA: Tell us about your proudest career moment so far?
JOE: I feel proud of my new book Ancient Warriors because it is definitely the longest and biggest project I’ve done so far. It took a lot of work over many months to complete so it’s really nice to have it finished and produced so beautifully by Flying Eye.
ARENA: Ancient Warriors publishes with Flying Eye Books in August featuring famous battles, weapons and great leaders from various periods in history, Was is there a spread which you are particularly proud of and perhaps one which you found tricky to get just right?
JOE: The Shaolin monks spread is my favourite. I’m really pleased with the two central figures and I think the surrounding composition also works well showing the battle and setting the scene. I think this time period in China is really exciting visually so it was a fun one to work on. This spread also went through a couple of different colour versions and so it’s satisfying seeing it finally finished and in print!
ARENA: Tell us about three illustrators you follow on Instagram that we should keep an eye out for?
JOE: I really love the work of Linnea Sterte whose recent book Stages of Rot was beautiful. I like Alexis Deacon’s Instagram because his work is great and he also posts sketches and works in progress which I love to see as they help you understand his way of working and thought processes. I’m also a big fan of Sam Bosma’s work and books and again he posts works in progress to Instagram which are really interesting.
ARENA: What was the best piece of advice you were given as an illustration student and what useful piece of advice would you give new graduates?
JOE: I remember someone saying to try and have five or six different ideas for projects or stories at different stages of development on the go at the same time. That way, you can dip in and out of each, depending on what you are doing with other work at the time. I think that that many is something great to aim for. It’s good to be developing your own projects as you never know what opportunities might arise for different things at any time.
My advice would echo that and also just to keep drawing a lot because even after a day or two not drawing you can feel out of practice. Just by doodling and sketching you will generate the ideas you want to develop.
This lavish, generously proportioned hardback provides readers with an immersive, puzzle solving experience with a variety of red herrings, misplaced props and out of context objects cleverly hidden within each spread.
Frances created her striking scenes using an iPad Pro in a vivid pallet of colours showcasing periods in history including Marco Polo’s journey to the East, Sacagawea, Lewis and Clark exploring America and Aldrin and Armstrong’s voyage to the stars amongst a number of other landmark historical moments.
Each of the 10 puzzle spreads is followed by a page revealing the hidden mistakes and exploring the fascinating historical facts relating to that period in history. There are also 10 sneaky mistakes hidden on the front cover including a rather fancy looking poodle and a snazzy baseball cap.
This book and its partner in the series Lands of Long Ago bring history to life in an engaging and visually distinctive way, readers will re-visit this book over and over again, perfect for budding detectives and youngsters hungry for knowledge.
Here is a small selection of some of our favourite spreads from the book and also a sneak peek at Frances’s development work for the Americas page.
Grab your very own copy of Spot the Mistake Journeys of Discovery HERE
This month Bloomsbury Publishing launch a stunning new celebratory collection of Harry Potter house editions, to commemorate the 20th Anniversary of the publication of Harry Potter and the Chamber of Secrets These editions feature delectable illustrations by award winning illustrator Levi Pinfold. Ravenclaw, Hufflepuff, Slitheryn and Gryffindor are all represented in their dedicated house colours with the hardback editions wrapped in house colours with lavishly gilded dust jackets and coloured edges.
Each of the house editions includes a Hogwarts school map drawn by Levi and a unique illustration of each house’s common room, exquisitely drawn in line with pen and ink with breath taking attention to detail. We’ve featured the Hufflepuff Common Room illustration here.
Each edition also has their house elves depicted.
Unique to these new editions are four fascinating annotated house crests which explain the various images incorporated into each emblem and their significance, such as peacocks denoting power, resurrection and immortality, or snails signifying perseverance.
Hufflepuff House Edition cover symbols;
Bee and ants for industry and hard work
Spider for labour and prudence and a reference to Aragog.
Beech trees, representing tolerance.
Door to the Chamber of Secrets (main motif).
Dobby, denoting the value of service.
Mandrakes grown by Professor sprout.
Dove to show consistency.
Grab a copy of your own House Edition HERE
The quirky animated shorts, being rolled out for digital and social, were directed by 1stAveMachine’s award-winning Animation Director, Will Samuel – a series of detailed collage cut-out animations, with their style sitting somewhere between Tolkien and Monty Python’s holy grail. Taking the humorous path, the spots focus on the beer’s unique pungent aroma resulting in the line ‘Behold the Dankness’.
The Hemporer created by Erich and Kallman, is a regal-looking character donning a leafy crown, a statement necklace and a long bushy moustache.
Director, Will Samuel commented: “The Hemperor is a strong, playful, benevolent ruler of all things hemp so from the start I wanted to show off his kingdom in a truly spectacular light. The style of animation was directly influenced by the design. I think the cutout, stop motion effect enhanced the comic nature of the scripts. Using well-timed, simple, yet crafty movements, I found was enough to imbue the character with plenty of emotion and life.”
The illustrated background components were then combined with the logo to create a series of highly entertaining short animated ads. check them out HERE
Tomislav Tomic lives in Croatia. He graduated from the Academy of Fine Art in Zagreb, 2001. He loves making picture books and had already had work published when he was in high school.
His exquisite, intensely detailed pen and ink drawings, based on the renaissance engraving style, perfectly illustrate tales of magic and fantasy with an appeal to adults and children alike. His beautiful engravings were featured alongside the work of John Howe, in the bestselling novelty book, Wizardology (Templar) and many other ‘ology’ titles. He recently illustrated the Harry Potter library books including Fantastic Beasts and Where to Find Them.
Other clients include, Macmillan, Royal Mail (Mythical Beasts stamps) Bloomsbury, Scholastic and Museum of London.
Find out more about Tomislav’s incredibly intricate work and view his portfolio HERE