Guardian Cartoons

Does a weekly strip in te ob­server, au­to­bi­o­graph­i­cal. Someyhing with such ahigh turn­around you need to just keep go­ing, putt­ting my­self in it has helped with that. Steer away from very top­i­cal things eg pol­i­tics.

I do stuff that taks quite a while to read, al­most liek a col­umn. Sort of the op­po­site what woudl gor vi­ral on the in­ter­net.

ants comis­sion for the art re­view (full page spread) You don’t get a lot of ed­i­to­r­ial feed­back when you’re mak­ing comics

the chip and bean quiz for the in­de­pen­dent

chip and bean al­ter­mod­ernism for the tate

ad­ver­tis­ing for tfl ads are much more heav­ily art-di­rected, writ­ing and con­tent are done by other peo­ple

Billy Bean’s Dream, The lit­tle Giant first thing I did af­ter col­lege. Got a job il­lus­trat­ing a book for this au­thor, chil­dren’s book pro­to­type kind of fell into their hands. Keep mak­ing stuff rather than be­ing asked to do it. Looked at ex­isit­ing chil­drens books for in­spi­ra­tion, led to the work be­ing quite con­ven­tional

Went back to col­lege, started mak­ing more ex­per­i­men­tal comic stuff (away from be­gin­ning mid­dle and end 24-page struc­ture). FIRST nice pa­per, let­ter­press cover etc to make it feel like a real, tan­gi­ble ob­ject. Important to think about how work will be seen. Paper, colour, ty­pog­ra­phy are all part of the work. Good to ig­nore weird rules like you can’t have an­i­mals talk­ing to peo­ple”. Sometimes when you know too much about some­thing it can be hard to break away from tra­di­tions.

Work on a graphic novel. Talked to a busi­ness per­son (with no back­ground in art) to fig­ure out how to pub­lish it. Ended up pub­lish­ing the story one chap­ter at a time, one chap­ter would pay for the next one. Also al­lowed au­di­ence to give feed­back en­gage with the work as it was be­ing de­vel­oped.

Decided to try and get a proper book deal (this is eas­ier when you’re al­ready mak­ing money with some­thing, fol­low­ers on­line is sort of the equiv­a­lent of that). Allowed wider dis­tri­b­u­tion, cheaper for read­ers/


Second fluffy book about the char­ac­ters 10 years later.

Oh great she’s a Christian

They did­n’t teach this in worm school

Have been mak­ing work about worms for 10 years If you work on some­thing like that you’re ready to go when the book deal comes around new ex­per­ince of work­ing witha team of peo­ple sales peo­ple, ed­i­tor, graphic de­sign­ers, print­ers

Chip and Bean buy noth­ing


can you elab­o­rate on meet­ing with an ed­i­tor I met her through comic stuff, kept in touch for a long time. She was re­ally open about what we were go­ing to do - it’s all about trust in the end. I trust her de­ci­sions about wrt­ing, but some of the larger de­ci­sions that come from higher up in the com­pany I was­n’t cool with. You hav e to find a bal­ance of push­ing back so your work is­n’t com­pro­mised but also not be­ing a nuicanse

what was your first pub­lished work howd you get the job AS soon as the ed­i­tor saw the book she was es­cited to do it, I was­n’t even try­ing to sell it. Sold self-made books in shops, guy from blooms­bury picked one up and of­fered to pub­lish it as a hard­cover. People see your work, recommed it some­times work comes through a chain of loads of peo­ple. But times have changed, you don’t have to get stuff printed any­more. But if you do, theres a great com­mu­nity to sup­port you

has your style al­ways been the same, how has ti de­vel­oped since i was at the rca my style was pretty con­sis­tent. That al­lows you to just say what it is you need to say. It’s use­ful if you’re mak­ing a weekly thing to get work out quickly. Sometimes I do work­shop days and use ma­te­ri­als i would­n’t nor­mally work with with no brief, tht can feed back into your main work. I use a style be­cause my goal is to speak to the peo­ple in the other end, so it’s less about the way it