Phil Wrigglesworth is an illustrator, typographer and food artist living in London. Here, he shares his portfolio with Digital Arts.
Where did you train?
I studied illustration in Bristol, Berlin and Brighton, also known to me alone as 'The Trilogy of Big Bright Bs'.
What kinds of craft materials and tech do you work with?
I use the good old HB pencil (the Goldilocks of the pencil family, not too hard and not too soft), and an A4 sketchbook for idea creation and visual thinking. I like to be mobile with where I create ideas depending on my mood, and prefer not to be pinned to my desk. My artwork is created in Photoshop, although I consider the way I work with pixels a very hand done process.
What techniques and approaches do you use most?
Over time, I have developed two methods of working. The first utilises a cocktail of drawings systems to create a complex, visual, non-fixed point perspective language. The second is a collage language that allows ideas that are disconnected from reality to become believable in their form.
What has been your favourite piece you've created and why?
Recently I created my 100th piece for The Guardian, which has to be my favourite piece on sentiment alone.
What clients have you worked for?
The Guardian, Penguin, Wired, Mental Floss Magazine, the Wall Street Journal, the Washington Post, United States Postal Service, AMTRAK and 3x3 Magazine.
What/who are your biggest influences?
German Expressionism, The Muppets (especially Doctor Teeth), Lego, Eccentrics and George Smiley.
What are you working on now?
I'm working on a personal project titled Left Over Lads, which is a food portrait project. You have to feed the creative soul sometimes.
What would be your one piece of advice for creative aspiring to work in the design industry?
Don't undervalue yourself.
3X3 Magazine – Doggie Dystopia. A full-page illustration on theme of 55 (there are 55 dogs in the image).