In a world increasingly filled with conflict and negativity, Liverpool-based illustrator Luke McConkey has made it his mission to spread positivity through his distinctive cartoon-style artwork. With his signature elongated limbs reminiscent of Robert Crumb's style, oversized ears, and Simpsons-inspired three-fingered hands, McConkey's characters bring fluid movement, playful energy, and expressive charm to every illustration he creates.
Since transitioning from design agencies to full-time illustration three years ago, McConkey has attracted an impressive roster of major clients who are drawn to his uplifting artistic vision. His client list now includes household names such as Costa Coffee, Nike, Apple, Uniqlo, The Guardian, LA Times, and Hyundai – brands he never imagined working with when he first started his illustration career.
"I'm a little bit of a goofy guy," McConkey explains. "I try to see the world in a positive light because – and not to get all existential on you – it's all a bit mad, isn't it? This blue marble in the vast expanse of the universe. I think my style naturally reflects the silliness of life, the color and beauty of it. I don't really have any proper training either, which I reckon adds to the weirdness of my compositions."
Despite lacking formal illustration qualifications, McConkey has always been a natural doodler. He studied Interactive Media Design at Liverpool John Moores University, where he explored graphic design, animation, film, and ActionScript 3. His career path took an unconventional route through the design agency sector, starting as an account manager before gradually moving toward a creative lead position. In 2017, he launched his freelance graphic design career, focusing primarily on logos and typography.
McConkey's pivot toward illustration began organically when he noticed himself consistently encouraging clients to incorporate more imagery into their design briefs. Recognizing this pattern, he decided to focus heavily on developing his unique cartoon-style aesthetic and worked diligently to capture the attention of Handsome Frank, the prestigious agency that now represents his work globally.
His artistic inspiration draws heavily from 1990s animation and European comic book artists. "Rather than getting distracted by the tidal wave of content online and trying new things, I wanted to focus on what I loved as a kid," McConkey reflects. "Growing up in the 90s, with a boom in hand-drawn animation for films, TV shows, and even games, I think it was a natural step. Older stuff too – what I now understand to be ligne claire from the likes of Hergé's Tintin and Joost Swarte's work – simple linework-led characters with lovely block colors. I also looked at the artists I was most drawn to: Keith Haring, Roy Lichtenstein, Moebius."
McConkey identifies his breakthrough moment as a major commission from the LA Times to create a complete suite of illustrations for their Weekend Edition welcoming 2023 as a year of positivity. "It was a perfect brief for me but also a very daunting one – a publication like the LA Times was going to trust me with all this work: the cover, header illustrations and spots, the lot!" he recalls. "I don't know if it put me on the map in terms of other clients, but it certainly gave me the experience I needed to say to myself, 'Right, I can flippin' do this, let's goooo!'"
His work for Costa Coffee has become particularly recognizable, featuring bold characters engaged in playful activities against stunning scenic backdrops, all rendered in his signature pastel color palette. "Jobs like this, where the brief matches your personality, are just a delight," McConkey notes. "It all came naturally, and working with a great group of art directors and project managers on the client side always helps. We just kind of got it, and the sketch phase through to the final vector artwork became a breeze. It was a good lesson for me that working with the right people, even for massive brands like Costa, can be effortless in terms of getting the job done."
Among his most visible projects was creating the official illustration for the Glastonbury Festival tote bag, a collaboration with Trainline that saw 200,000 bags printed and distributed to every ticket holder. His most recent high-profile commission involved creating wall graphics for the children's department of Nike's Liverpool store – a particularly meaningful project for someone who grew up near the famous Penny Lane.
"Life is magic," McConkey concludes with characteristic optimism. "We're constantly being shown the bad side of life, and it can be really bad. I just want to make the most of my time whizzing round the sun, and I hope I can spread as much love and smiles to folks I come into contact with. It sounds a bit hippy-dippy, but I think you've got to take time to stop, look at some clouds or a tree, go for a pint with your mate, hug your partner or play with your child, and just appreciate how crazy and weird it is."
