My book “The Office Manual,” (Two Heads, UK, 1993), featured illustrations in a style I think of as “battered line,” looking like something Xeroxed a dozen times. This one, “The Evolution of Office Work,” depicts the drudgery of working through the centuries, something of which I’ve always been keenly aware.
 "The History Of Love," one of the woodcut-style illustrations from my book "The Love Manual," (Two Heads, UK, 1995) and "Dating, Mating, Relating" (Longmeadow, US, 1995). The Love Manual became quite popular in the UK, possibly due to a double-page spread review in  The Sun  newspaper, which at that time had a readership of 13 million.
 Around 1980, before I learned how to recreate the look of a woodcut without actually carving one, I made this real woodcut for a church whose choir I sang in for several years. I don't believe they ever used it.
 “The Cat In Art,” a brush illustration for my book “Cat’s Eye View” (Two Heads, UK, 1994), “The Cat Manual” (Longmeadow, US, 1995), supposedly showing how the cat has been depicted in different ages. I enjoyed researching the various styles of art.
 “The first and only experiment with guide cats for the blind,” a brush illustration for my book “Cat’s Eye View” (Two Heads, UK, 1994), “The Cat Manual” (Longmeadow, US, 1995). I was already thoroughly experienced in Illustrator by this time, but I’ve never liked its brushes. This kind of illustration was made with a small sable brush and ink, scanned in and manipulated digitally.
 Logo for my magazine column, “Ask Smudge” (1996), in which Smudge answers pets’ letters with jaded and sarcastic responses. Never sold.
 Brush illustration to announce the birth of our daughter Georgia, 1999.
 The book I planned to write and illustrate after “The Office Manual” (1993), “The Cat  Manual” (1995), and “The Driver’s Manual” (1996), was “Care and Feeding of the Human Male” (1997).  This is one of its illustrations, in scratchboard. Unpublished.
 The book I planned to write and illustrate after “The Office Manual” (1993), “The Cat Manual” (1995), was “The Driver’s Manual” (1996). These illustrations were of supposedly important cars throughout history, the Hupmobile Zeppelin, the Heinkel-Benz Ausgefahrtsfuhrermeisterhofbrau, the Morris Mole, and the Cadillac Chesterfield. Scratchboard. Unpublished.
 "The Tudor Style," test page of  The Stylebook , an idea of mine for a directory of the major styles of art and design throughout history, from around 1980. Watercolors and inks. Other styles would have been treated in the same way, showing clothing, housing, transportation, and typography of the time, from antiquity to the present day. Because this was such an encyclopedic project, I put together this one finished illustration and chapter, and roughly indicated two other styles for comparison, showing how the same format applied to each, making it easy for the reader to compare the evolution of styles. Thames & Hudson, and Quarto, both in London, seriously entertained the possibility of publishing, but I think because I was not a "name," they declined. Unsold.
 The London house I grew up in, pen and ink, in the Victorian style typical of magazines immediately pre-halftone (1890-1900), which I loved. Probably drawn around 1980 from a photo. The hedges were a little neater when my father was around to trim them — the photograph I based this on must have been taken after he left.
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