Hello! I'm Paddy Lynch, a cartoonist, illustrator and graphic designer from Dublin, Ireland.

I like to make drawings and images that tell stories and communicate ideas.

Books and comics I have illustrated include: Big Jim (with Rory McConville 2013, the O'Brien Press), My Last Day at 17 (with Doug DuBois, 2015, Aperture Foundation) and my comics series Last Bus (Cardboard Press). I run the monthly Dublin Comic Jam, and publish other folks' zines and comics under the Cardboard Press imprint.

 

Let's work together!

email: paddy@patrickl.net
phone: 086 399 5654 (irl) or
+353 86 399 5654 (intl)
skype: patrickldub

 

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Posts Tagged ‘graphic novel’

Big Jim

Posted by Paddy
Big Jim cover BigJim_p5 BigJim_p18 BigJim_p72

 

The story of Jim Larkin and the lockout of Dublin workers in 1913 led by William Martin Murphy, told in graphic novel form.

On August 26th 1913, the trams of Dublin stopped. The Great Dublin Lockout had begun. Over the next four months, James Larkin would lead the workers of Dublin against William Martin Murphy and the Employers Federation in a conflict that would change the face of Irish industrial relations.

Dublin was brought to its knees by the food shortages and the aftermath of Bloody Sunday. As winter approached, Larkin lead his Firey Cross campaign to England, hoping to rally the entire United Kingdom to strike in support of the Irish workers.

 

even-handed in its representation, Paddy Lynch’s understated artwork complements McConville’s engaging and historically accurate material

Children’s Books Ireland Recommended Reads Guide 2013

Lynch’s artwork is extremely effective, as rough and dark as the era it depicts, and interesting use is made of archival photographs cleverly interspersed throughout

Look Left

Click here to read a preview.

Stray Lines

Posted by Paddy

Check it out. I teased the cover image to Stray Lines last week and now here’s the big announcement:

Cardboard Press (which is the small press publishing concern of Katie Blackwood and myself) is proud to announce that it will be publishing it’s first anthology, Stray Lines, featuring new work from Philip Barrett, Barry Hughes, Gus Hughes, Chris Judge & Andrew Judge, and Paddy Lynch.

Conceived as an opportunity to showcase some of Irelands most exciting and original indie comic creators together in a beautifully designed and produced publication, Stray Lines will make a handsome addition to any graphic novel collection as well as being a go-to source for new original Irish comic book talent.

I’m both super excited and incredibly nervous about this project as it’s the biggest and most ambitious project we have ever undertaken. The work from all the participants is absolutely top class and we can’t wait to share it with the world.

The cost factor is about 5 times larger than anything we’ve done previously and so we’re running a campaign to help finance the printing. I won’t go into all the details, but we’ve put together a whole range of rewards for every level of pledge, so maybe you could throw a few coppers into the pot.

 

 

Big Jim Preview 5

Posted by Paddy

Dark plots are hatched in  the corridors of power. Larkin is released from prison and delivers another of his rousing speeches, a particular quality for which he was well remembered (actual recital begins at about 1:03). I was rather pleased with this page, although in reflection the second panel will probably be redrawn before publication.

Only 12 pages to go on this project and I can begin to think about some new ones in earnest! Have a very special project lined up to see the light of day before the summer that I’m incedibly excited about, but it’s too early to spill the beans.

By the way, you’re keeping an eye on my Tumblr, right? Diary comics, and extra insights into the Big Jim working process are some of the many delights you might enjoy over there.

Big Jim Preview 2

Posted by Paddy
Big Jim pg 21 excerpt pencilBig Jim pg 21 excerpt

One thing I’ve found while working on this project is that I’ve become more and more particular when it comes to what materials I use . I used not to be that fussy over paper type, possibly due to the influence of some of the more ‘fine art’ practices I had in college, preferring a rough paper texture and soft pencils. However, recently I found that this combination was not giving me the optimum surface quality that I would like for inking so I’ve caved and switched to the ubiquitous Bristol board. As can be seen in the examples above, it’s lead to a somewhat tighter pencilling/inking combination than I used to display.

Anyway, this scene was really a joy to draw. There are a lot of nicely plotted sequences throughout the book like this that play little moments against the larger Moments of Grand Historical Significance. I honestly think this is important, as there is a danger with historical based drama to fall into the trap of hyperbole which leaves little space for the reader to identify with the characters or the events being depicted.