This is another drawing I did a little while ago that I had forgotten about. I was asked to make a drawing for a Punch and Judy obsessed man, to give to him as a 70th birthday present. And this is what happened. 

I drew this a while ago now but completely forgot to post it. An old friend commissioned me to draw Metz Cathedral in France. Those trees aren’t there in real life, but we wanted to jazz/colour it up a bit. 

Oliver McAinsh Illustration ›

I’ve just made the first update to my site since I launched it a little while ago. Check it out if you have a minute…

My submission to the recent Little White Lies poster competition for Aronofsky’s Noah. 

Whilst playing around with ideas I was becoming increasingly uneasy about combining typography with my drawings to create a traditional looking film poster. So, I decided that I would go all out and make the type the main feature of the design and draw it.

It’s quite self explanatory I think - I have only drawn the tops of the letters to give the impression that it is submerged in water, and they are constructed in a similar way to the ark in the film.

My design can be seen among the other submissions here.

This is the final illustration I have created for the Man Who Mistook His Wife For A Hat study, although I am planning on creating more illustrations from other studies in the book.

"While we were talking my attention was caught by the pictures on the walls. ‘Yes,’ Mrs P said, ‘he was a gifted painter as well as a singer. The School exhibited his pictures every year.’ I strolled past them curiously - they were in chronological order. All of his earlier work was naturalistic and realistic, with vivid mood and atmosphere, but finely detailed and concrete. Then, years later, they became less vivid, less concrete, less realistic and naturalistic; but far more abstract, even geometrical and cubist. Finally, in the last paintings, the canvas became nonsense, or nonsense to me - mere chaotic lines and blotches of paint … This wall of paintings was a tragic pathological exhibit, which belonged to neurology, not art."

The relevance to the objects on the right hand side of the frame relates to a previous study undertaken on the patient, where Sacks discovered that he had “difficulties with leftness”.

Later on in Sack’s first meeting with his patient, the doctor asked him to put his shoe back on after he had taken it off for a quick test. After a few minutes of leaving his shoe on the floor…

"…finally his gaze settled on his foot: ‘That is my shoe, yes?’ Did I mis-hear? Did he mis-see? ‘My eyes,’ he explained, and put a hand to his foot. ‘This is my shoe, no?’ ‘No it is not. That is your foot. There is your shoe.’ ‘Ah! I thought it was my foot.’ Was he joking? Was he mad? Was he blind? If this was one of his ‘strange mistakes’, it was the strangest mistake I had ever come across."

My next set of illustrations have been based on case studies from the Oliver Sacks book, The Man Who Mistook His Wife For A Hat. The book recounts various cases of neurological disorders experienced by the doctor and author.

This illustration is from the study of which the title of the book takes it’s name. A passage in the book describes the Sack’s first meeting with his patient:

"He faced me with his ears, I came to think, but not with his eyes. These, instead of looking, gazing, at me, ‘taking me in’, in the normal way, made sudden strange fixations - on my nose, on my right ear, down to my chin, up to my right eye - as if noting (even studying) these individual features, but not seeing my whole face, it’s changing expressions, ‘me’, as a whole."

Drawing of Llewyn Davis chasing a ginger cat down a street in New York, from the Coen Brother’s new film. 

Following on from the news of the flooding, I found an article expressing concern for the mental welfare of certain groups of people in the area - particularly farmers who’s produce had been destroyed by the weather. 

A couple more variations of the editorial piece I posted recently, about the Somerset flooding.