Ingman's first book was a stylish fantasy about the things cats get up to alone in the house. Unwilling to be known only for his cats, Ingman withdrew it from sale, only allowing it to be republished last Christmas, with a different cover
Photograph: Walker Books
The colours are almost dizzyingly vibrant, and the loose brushwork and languid shapes of the cats are in subtle contrast to the austerity of line drawings that suggest a different aspect of the story
Photograph: Walker Books
"If I make mistakes - anatomical blips for example - I don't correct them, I just leave them; that way I can preserve the original spark of an idea, and, of course, the imaginative content," says Ingman. The positioning of the cat's paws adds to the humour of imagining it driving a car round Martha's bedroom.
Photograph: Walker Books
Young children have an uninhibited, instinctive, approach to drawing, and it's a similar ability to put feeling before form that gives Ingman's illustrations their innocence
Photograph: Walker Books
Ingman's studio is near the busy Westway in London, and the bird's eye view it affords of surrounding car parks, bus depots, building sites, canals, flyovers and railways have clearly inspired his artwork for this collaboration with Sean Taylor, about the aerial adventures of a trampolining champion who accidentally bounces headlong through a window
Photograph: Walker Books
This engaging story of a dinner that doesn't want to be eaten was Ingman's first collaboration with Allan Ahlberg. Ingman used collage to tell the story, snipping images from an Edwardian silverware catalogue for the runaway knife and fork, who set off in pursuit of the reckless sausage
Photograph: Walker Books
Familiar fairytales are retold through ingeniously linked flashbacks. The flat colours and stylised simplicity of the illustrations create a sense of theatre, as in this scene of Cinderella sweeping the stage she's been performing on, against the backdrop of a dark forest
Photograph: Walker Books
The gingerbread boy is baked in an oven in a back-to-front story which retraces his footsteps from the famous chase scene, to being cooked, reaped and planted in a farmer's field
Photograph: Walker Books
Ingman's third collaboration with Allan Ahlberg is a latterday creation myth in which pencil creates life and colour in the characters he meets
Photograph: Walker Books
