Andy Goodman is one of those rare artists whose special talent is to create an entire image using a single line. What at first glance looks like a doodle or even an out-of-control scribble quickly assumes a graphical form that delights the mind. Your grin might even graduate to a giggle once the visual pun he’s created sinks in. You’ve felt something. It’s left an impression, and the artist’s work is done.
“I am fascinated with everyday phrases and language and pick up little observations throughout the day from what I hear and read. Some of these stick in my head long enough to commit to drawing up and realising in the most simplistic and economical way,” explains Andy. “I put all my latest observations into one file and scroll through each day, looking for ideas relevant to how I’m feeling, ones that reflect the zeitgeist or what the weather’s like. And I guess it’s a never-ending process!”
Measured in finches
Jigsaw hug
Polar square
Lost in nought
Based in Bath, Andy is an illustrator who has worked for clients such as the Irish Independent, IKEA, LeadDev, Insify and Contagious, but this follows a 25-year career as a graphic designer. Back then, he did layouts for Vogue, The Observer, The Independent, Condé Nast Traveller and House & Garden. All those years in editorial design influenced his linework, as we’ve described, but also his approach to solid shapes, bold colours and negative space.
He’s a very hands-on artist, too, but not the kind who spills paint, splatters ink, or colours outside the lines in broad brushstrokes. His forms are always clean and refined but come about through an unusual ambidextrous technique. “It’s funny that I draw with my left hand but create final line work and vectors using the mouse with my right,” Andy explains. “Just think if I could do the two simultaneously!”
Do we need standups? for LeadDev
Professional indemnity for Insify
Flexible for Insify
The process begins with a loose pencil line, and though he cleans it up, its fluidity and gestures are preserved as it is redrawn in smooth vectors and then finessed to completion. Looking at Andy’s bookshelf, perhaps the great designers and illustrators of the 20th century – Paul Rand, Alan Fletcher, Bob Gill, David McKee, Bruno Munari and Bob Gill – would approve. They inspire him alongside mid-century artists Victor Pasmore, Saul Steinberg and William Scott, and parallels can be seen in Andy’s appreciation of line, shape and colour.
Clients such as LeadDev have recognised how effective Andy’s work can be when used in sequence for continuity in their material. “LeadDev is a community of software engineers, and they were asking for three or four illustrations each month to support some of the many articles they publish. The ever-increasing challenge has been to create something original for each article, and feedback from the client has been invaluable in keeping the work fresh,” says Andy.
He has also built up a body of illustrations with a bespoke look and feel for The Irish Independent and the Dutch insurer Insify, where he has been able to bring his playful line-based style to the fore. Occasionally, his work escapes from page and screen and can be seen larger than life in towns and cities, such as his project to bring a big set of windows on Oxford Street in London to life with colourful Christmas gifts for IKEA.
Andy would love to return to large-scale artwork soon and explore more children’s illustrations. “I made some kids’ books, published by Edizioni Corraini, a few years ago and feel compelled to do another with my current style—so watch this space,” he adds.
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