Wednesday, 19 April 2017

Nylmah excerpt - available to buy online now

Occasionally the laser cutter messes up while it's cutting and I'm unable to use whole pieces for books. Here's an example of a small area of a damaged Nylmah that I managed to save - it encapsulates the story well and it also works as a stand alone piece.

This is a unique, one-off piece and is currently available on my online shop at

Monday, 3 April 2017

Jancia ze Lwowa

Jancia ze Lwowa, or Jancia from Lwow, tells the true story of a family growing up in Lwow during the second world war.  The colour illustrations were commissioned by a colleague who wrote the story and published it herself earlier on this year.

I will post more images from this project later, but for now it's great to finally be able to share these images on my blog!

Monday, 6 March 2017

A walk through A Midsummer Night's Dream

For those who didn't get to see the largest concertina book I've ever created at McNaughtan's Bookshop and Gallery in Edinburgh last summer, here's a short one minute video of it from beginning to end:

A higher resolution of this video is available at

Only seven copies of this book will be made (eight including the display copy featured in this video).

Each copy in the edition is priced at £1,800.

There are just five copies are currently available.  If you are interested in purchasing one of them, or would like to ask any questions about it, please contact me through

I hope you enjoy this short video and thank you for looking!

Thursday, 23 February 2017

Etching collage

Below are some photos from an experiment I did with a couple of unsellable etchings I had to remove from an edition.  Taking a scalpel to my etchings always feels unusually cathartic, though I'm still not sure why.  Perhaps the etching process can remove the spontaneity of image making, which chopping up helps to restore.

Friday, 27 January 2017


About a week ago, an illustration student contacted me with some questions about my laser cut book Dr Jekyll and Mr Hyde.  Unfortunately I get mailer daemons ('mailbox unavailable') whenever I reply to her email, so instead I'm going to include the questions with my answers here on this blog.  Hopefully she'll find them here and they'll be of some use!

I was just wondering if there was a reasoning for the book being a concertina form? 

I think I wanted something that could be as small and compact as a book, and something that could fold out in to a small landscape as well.  I thought that the setting of this story is something that should somehow be incorporated in to how the book looks too.  The concertina format worked well for that.

What have you found this brought to sequence? 

It lets me include the landscape in a way that's more physical than a regular book that's stitched together at the spine, and I really like that dimension to it.  It lets you include all kinds of other things.  Though having said that, the concertina format can also be quite limiting.  Hopefully it makes me a better editor in deciding what to include and what to leave out.  You can't include everything in a story, but it does allow you to accentuate other little details.

And finally, does the form effect how the sequence is read?

I sort of hope that it gets read left to right like a regular book, but it doesn't always happen!  Some people start looking at the book in the middle pages and work their way backwards in the book.  I also designed some of the pages in it so that it could be read like a comic as well, so you'd start by looking at the top left of each page and work your way to the bottom right corner.