[5] During this period he produced what he considered his 'best poster'[6] for the underground club UFO established by John Hopkins, co-founder of the International Times.
He contributed artwork, including two covers (issues 4 and 13) for the radical OZ magazine as part of Hapshash a collaboration which continued for two years.
Other influences were eclectic and culturally wide-ranging, such as William Blake, Max Ernst, Magritte, Disney animation, Hindu symbolism, Japanese and Middle Eastern decorative designs, engravings of indigenous Americans, and other cultural ephemera that George Melly described as "a visionary and hallucinatory bouillabaisse".
In the mid to late 1970s and the 1980s he focused more keenly on two seemingly contrasting themes, the Machine Paintings, which are highly detailed sections of trains, planes and trucks and the Nature Paintings, which provided close-up fragments of nature images such as ivy leaves often juxtaposed with hard man-made surfaces.
His interest in both these themes continued to play a major part in his subsequent career resulting in several large scale paintings.