Tom Gauld

Tom Gauld’s ninth cover for The New Yorker

 

‘Captive Audience’ – when trapped indoors, the act of looking out the window can become a simple, nearly sublime pleasure.

Captive Audience for the March 15th 2021 issue of the magazine. When trapped indoors, the act of looking out the window can become a simple, nearly sublime pleasure.

Tom Gauld:“When I take walks, I see a lot more people sitting by their front windows, often working on a laptop. The idea for this cover started when I walked past a building and noticed that there was a figure in almost every one of the windows. I tried to imagine an everyday event that might attract the attention of everyone in a building.“

Read a short interview between Tom Gauld and Françoise Mouly about this New Yorker cover, here

Department of Mind-Blowing Theories is a collection of over 150 science related cartoons from Tom’s weekly column in New Scientist, the international magazine about science and technology

Tom has been illustrating his column since 2014 and is approaching his 300th cartoon for the magazine

Tom Gauld’s artworks accompany Kim Stanley Robinson’s story ‘One Hundred’

Cover for The New York Times’ ‘Future of Work’ issue

Cover of The New York Times Kids Supplement ‘The Money Issue’

Tom Gauld’s eighth cover for The New Yorker

Roo’Captive Audience’ – when trapped indoors, the act of looking out the window can become a simple, nearly sublime pleasure.ftop Astronomy for the December 9th 2019 issue of the magazine. Tom recalls the ritual of going outside to look at stars and planets with his Dad. Perhaps remembering this more than what he actually saw.

Tom Gauld:“Almost all my work is about storytelling—even the single images are intended to suggest what happened before and what will happen after the moment depicted. But by using multiple panels I can show a few different moments to tell a more involved story. There are probably more storytelling choices to be made when using panels than when pencilling a single image. And it’s unusual to have a comic strip on a magazine cover, so I’m pleased we got it to work.“

Read a short interview between Tom Gauld and Françoise Mouly about this New Yorker cover, here

‘Kid Bucks’ bank notes for The New York Times Kids Supplement ‘The Money Issue’

Fifty postcards of Tom Gauld’s literary cartoons, published in a hardback book

Cover artwork for The Economist’s Technology Quarterly about Artificial Intelligence and its limits

Artwork for a plate auctioned to raise money for Life Kitchen, an initiative that provides free cookery classes to cancer patients.

Around 80% of people receiving chemotherapy experience a loss or change of taste. Life Kitchen’s classes are focused on making nutritious dishes and adapting recipes to account for this change

‘The real Nature of Thomas Edison’s Genius’ article discussing Edison’s approach being not to look for problems that needed solutions but solutions that needed modification

One in a series of artworks for The Economist’s Technology Quarterly looking at different aspects of AI

‘AI, data are harder to come by than you think’

One in a series of artworks for The Economist’s Technology Quarterly looking at different aspects of AI

‘Businesses are finding AI hard to adopt’

One in a series of artworks for The Economist’s Technology Quarterly looking at different aspects of AI

‘Driverless Cars show the limits of today’s AI’

One in a series of artworks for The Economist’s Technology Quarterly looking at different aspects of AI

‘Human’s will add to AI’s limitations’

Moonlit Gallery

“I wanted my set of stamps to feel like you’ve wandered into a strange art gallery in the middle of the night”

December 2019

Heart commissioned the Artists to each create a stamp sheet design. They were each given a perforation grid specifically designed for them and were asked to create an artwork that either worked within the grid, or interacted with it.

Tom Gauld’s design was pinhole perforated and printed 5.5″ x 8.5″ in a print run of 100 by The Portland Stamp Company

Tom Gauld’s seventh cover for The New Yorker.

Dog Walkers 2.0 for the May 20th 2019 Innovations Issue. Tom was inspired by a friend who showed him an app connecting people that wanted to walk dogs, with owners that didn’t always have time. Robots are a reoccurring motif often seen in Tom’s work.

Tom Gauld:“I am often looking for ways to present everyday things in a funny, interesting, or unexpected way, and substituting people for robots can be good for this. I think it’s funny and slightly tragic that robots are in this middle ground, where they have some qualities of living creatures, but at the same time are machines that can be dismantled or discarded like a broken microwave.“

Read a short interview between Tom Gauld and Françoise Mouly about this New Yorker cover, here

Name your strategy … Reinvent or Reinforce? thought leadership piece for the creative agency, Lippincott

Lippincott is a brand strategy and design agency that regularly publishes ‘Sense Perspectives’.

Winter Fantasy Map

Repeating pattern for Heart’s limited edition wrapping paper 2018.

Winter Garden for the February 4th 2019 issue of the magazine. When coming up with ideas for this cover, Tom recalled his Uncle’s house, which he visited as a child.

Tom Gauld: “It was a small house in the middle of the city, but packed with house plants. I have memories of staying over one night and plants looming over me.”

Read a short interview between Tom Gauld and Françoise Mouly about this New Yorker cover, here

Winter Fantasy Map

Repeating pattern for Heart’s limited edition wrapping paper 2018.

The ‘go-big-or-go-home’ reality of naming a modern offering, thought leadership piece for the creative agency Lippincott

Lippincott is a brand strategy and design agency that regularly publishes ‘Sense Perspectives’

Cover for Eye 97 special ‘Magazine’ issue Part Two.

Following on from Eye issue 96, this is only the second time that Eye has commissioned an illustrated cover.

Tom Gauld’s artwork celebrates the endless possibilities for magazines.

 

Soundtrack to Spring for the April 16th 2018 issue of the magazine. The idea for the cover came to Tom whilst sitting in his daughter’s violin lesson, listening to her play.

Tom Gauld: “I noticed that there were birds singing in the trees outside. It made for a very pleasant moment, and I thought it would be interesting to try and capture it in a cartoon by using musical notes within speech bubbles.”

For the magazine’s first musical cover, Tom wanted the scores in the speech bubbles to make sense to those who can read music. He worked with fact checker Fergus McIntosh to select Spring themed pieces of music including Vivaldi’s “Spring” and Beethoven’s “Spring Sonata”. These were then performed by friends of The New Yorker (including McIntosh) and can be heard by hovering over the musical notes, here.

Read a short interview between Tom Gauld and Françoise Mouly about this New Yorker cover, here

Book cover for comedian and broadcaster, Paul Merton’s selection of eighty of the funniest stories ever written, to be published by Head of Zeus

One in a series of ten spots, published throughout one issue of The New Yorker, fall 2018

One in a series of ten spots, published throughout one issue of The New Yorker, fall 2018

One in a series of ten spots, published throughout one issue of The New Yorker, fall 2018

Since 2014 Tom Gauld has been creating a weekly cartoon for the New Scientist

# 153 Genome 

 

Since 2014 Tom Gauld has been creating a weekly cartoon for the New Scientist

# 199 Internet of Things 

 

Since 2014 Tom Gauld has been creating a weekly cartoon for the New Scientist

# 200 Willow Pattern

 

Since 2014 Tom Gauld has been creating a weekly cartoon for the New Scientist

# 223 Plagiarism 

 

Since 2014 Tom Gauld has been creating a weekly cartoon for the New Scientist

# 218 Bring your ____ to Work Day

 

Since 2014 Tom Gauld has been creating a weekly cartoon for the New Scientist

# 216 Delivery

 

Since 2014 Tom Gauld has been creating a weekly cartoon for the New Scientist

# 129 Graviton

 

Since 2014 Tom Gauld has been creating a weekly cartoon for the New Scientist

# 135 Text Abbreviations

 

Since 2014 Tom Gauld has been creating a weekly cartoon for the New Scientist

# 147 Cutlery

The Endless Journey myriorama. Twelve picture cards which can be arranged to form 479,001,600 different landscapes. Available to buy here

Myriorama, or ‘Many Thousand Views’ consist of numerous cards depicting fragments or segments of landscapes that can be arranged in a multitude of different combinations. This ‘entertainment’ for young ladies and gentlemen originated in France. The first English version in 1824 was a set of 16 cards which depicted Gothic ruins, castles, cottages, a lighthouse, a man fishing and a gypsy encampment. These landmarks had a backdrop of mountains with islands and a lake to add extra texture and depth.

The contemporary myriorama by Tom Gauld, commissioned to celebrate the life of Laurence Sterne, contains incidents and characters from his novels.

The Laurence Sterne Trust was established as a registered charity in order to promote the writings of Laurence Sterne, the 18th century novelist and vicar of Coxwold. Shandy Hall is where he lived and wrote The Life and Opinions of Tristram Shandy.

On the Beach for the August 6th & 13th 2018 issue of the magazine. Tom’s inspiration for this cover came from a photograph by Weegee of Coney Island.

Tom Gauld: “I wanted this cover to feel like a David Attenborough nature documentary, a time lapse of the beach as a herd of New Yorkers arrive at the seaside, like wildebeests at a watering hole .”

Read a short interview between Tom Gauld and Françoise Mouly about this New Yorker cover, here

The Endless Journey myriorama. Twelve picture cards which can be arranged to form 479,001,600 different landscapes. Available to buy here

Myriorama, or ‘Many Thousand Views’ consist of numerous cards depicting fragments or segments of landscapes that can be arranged in a multitude of different combinations. This ‘entertainment’ for young ladies and gentlemen originated in France. The first English version in 1824 was a set of 16 cards which depicted Gothic ruins, castles, cottages, a lighthouse, a man fishing and a gypsy encampment. These landmarks had a backdrop of mountains with islands and a lake to add extra texture and depth.

The contemporary myriorama by Tom Gauld, commissioned to celebrate the life of Laurence Sterne, contains incidents and characters from his novels.

The Laurence Sterne Trust was established as a registered charity in order to promote the writings of Laurence Sterne, the 18th century novelist and vicar of Coxwold. Shandy Hall is where he lived and wrote The Life and Opinions of Tristram Shandy.

Cover of Mooncop written and illustrated by Tom Gauld, published by Drawn & Quarterly and translated into ten languages

Set against an epic backdrop, this is the story of the last remaining Mooncop after the much anticipated lunar colonisation doesn’t quite become the big deal everyone was expecting. A young girl runs away, a dog breaks off his leash, an automaton wanders off from the Museum of the Moon. Each day the Mooncop goes to work, life gets a little quieter and a little lonelier.

Tom Gauld: “The idea of a cop on the moon came from a 1960s tin toy I saw, which was a car with ‘Space Patrol’ on the side and a robot driver in a glass dome wielding a laser cannon. The packaging showed the car on a deserted moon, with the Earth in the black sky above. The toy suggested a future where we were not only living on the moon, but the enterprise was successful enough that it required a heavily-armed police force. I began to imagine the life of a lonely policeman patrolling the moon and the story grew from there.”

Read a review by Wired here

Imaginary London Park, a series of twenty four prints installed throughout the Cystic Fibrosis Unit at Bart’s Hospital

The risk of cross infection at the Unit means that patients, who range in age from sixteen to mid-thirties due to limited life expectancy, are unable to socialise with each other, leaving them alone in their rooms for weeks on end. Recurring infections causes the same patients to be in and out of the Unit several times a year.

As part of Tom’s commission, he met with patients to gain insight into the particular circumstances of their condition, the hurdles they encounter, their hopes and fears in order to create a project that is relevant to their reality. The outcome is an urban park featuring humorous vignettes and unexpected elements. Each isolation room in the Unit displays a selection of prints from Tom’s Imaginary London Park series. Embedded within each image are an array of symbols that relate to an explanatory key, included in the rooms. Patients can imagine the variations in their own, as well as adjacent rooms. Due to frequent   re-admission, patients can explore more of the work, and discover new vistas, when they return to the Unit and occupy a different room.

 

 

Imaginary London Park, a series of twenty four prints installed throughout the Cystic Fibrosis Unit at Bart’s Hospital

The risk of cross infection at the Unit means that patients, who range in age from sixteen to mid-thirties due to limited life expectancy, are unable to socialise with each other, leaving them alone in their rooms for weeks on end. Recurring infections causes the same patients to be in and out of the Unit several times a year.

As part of Tom’s commission, he met with patients to gain insight into the particular circumstances of their condition, the hurdles they encounter, their hopes and fears in order to create a project that is relevant to their reality. The outcome is an urban park featuring humorous vignettes and unexpected elements. Each isolation room in the Unit displays a selection of prints from Tom’s Imaginary London Park series. Embedded within each image are an array of symbols that relate to an explanatory key, included in the rooms. Patients can imagine the variations in their own, as well as adjacent rooms. Due to frequent   re-admission, patients can explore more of the work, and discover new vistas, when they return to the Unit and occupy a different room.

Imaginary London Park, a series of twenty four prints installed throughout the Cystic Fibrosis Unit at Bart’s Hospital

The risk of cross infection at the Unit means that patients, who range in age from sixteen to mid-thirties due to limited life expectancy, are unable to socialise with each other, leaving them alone in their rooms for weeks on end. Recurring infections causes the same patients to be in and out of the Unit several times a year.

As part of Tom’s commission, he met with patients to gain insight into the particular circumstances of their condition, the hurdles they encounter, their hopes and fears in order to create a project that is relevant to their reality. The outcome is an urban park featuring humorous vignettes and unexpected elements. Each isolation room in the Unit displays a selection of prints from Tom’s Imaginary London Park series. Embedded within each image are an array of symbols that relate to an explanatory key, included in the rooms. Patients can imagine the variations in their own, as well as adjacent rooms. Due to frequent   re-admission, patients can explore more of the work, and discover new vistas, when they return to the Unit and occupy a different room.

Internal artwork from the book          I Think I Can See Where You’re Going Wrong: And Other Wise and Witty Comments from Guardian Readers

Every day The Guardian publishes over forty thousand reader comments. The book (for which Tom also created the cover) is a miscellany of the best and most baffling thoughts from their witty, well-meaning readers.

Diet coke advertising campaign and packaging in the US and Europe over several years. The campaign included packaging, point of sale, out of home advertising and a series of animations for TV and the Super Bowl.

Using virtual reality to teach peace to solidiers

The ‘Happy Place’ app, helping combat depression

A collection of strips from the weekly ‘Riffs’ column in The New York Times which Tom Gauld illustrated for several years

Book cover for the Six degrés de liberté by Nicholas Dickner, published by Éditions Alto

Book review of Wood Ghosts

Canongate Books’ 40th anniversary identity, one in a series of artworks created for an illustrated book, as well as advertising and marketing

Holiday Track for the December 11th 2017 issue of the magazine. 

Tom Gauld’s cover celebrates the annual migration of large trees coming to the city for their final moment of glory.

The Guardian Review cover, time travellers

Cover of Goliath written and illustrated by Tom Gauld, published by Drawn & Quarterly and translated into ten languages

Cover of The World Today for Chatham House, the rise and impact of campaigning online

Poster for Tom Gauld’s talk for The Typographic Circle

Book cover for Shadow Show, a collection of short stories in celebration of the American author Douglas Bradbury, published by Harper Collins

Book cover for Our Island Story by H. E. Marshall, published by Orion Books

This book was first published in 1905 and is considered by many to be the best and most comprehensive history of Britain for young readers

Book cover for The Tribes of Britain by David Miles, published by Orion Books

A book that explore the diverse peoples of Britain and Ireland through their physical characteristics, the structures and settlements they built, and the place names and dialects they invented.

How to teach artificial intelligence to tell stories

The Guardian Review cover, books of the year

Risk

Cover for Baking with Kaftka, a second compendium of Tom Gauld’s cartoons from The Guardian. Published by Drawn & Quarterly in the US and Canongate in the UK. In 2018 Baking with Kafka won an Eisner Award for Best Humor Publication

Cover for You’re All Jealous of my Jetpack, the first compendium of Tom Gauld’s cartoons from The Guardian. Published by Drawn & Quarterly