About

 

In 1966 at eighteen years old and after completing two years vocational Graphic Design & Illustration course at Mansfield College of Art; I decided rather than take up the degree option offered, I would opt for going to London with the ambition of becoming a Designer/Illustrator in the big city.

 

My first job in London was based in the city selling advertising space for the shipping newspaper called The Journal of Commerce. This taught me selling techniques and gave me an introduction to dealing with clients, but I felt it wasn’t near enough to being a designer.

In 1967 I moved on to be the assistant to the Marketing Director and Art Director of a design studio based in Fleet Street, called Art in Marketing. As well as  catering to the needs of my directors I worked as an Account Executive, taking job briefs and seeing that the art studio interpreted the ideas into finished print ready product.

 

It was here I got my chance to go ‘on the board’ and get into design. I dealt with many clients including the top Advertising Agencies, J Walter Thompson – Charles Barker – Doyle Dane & Burnbach – Connell, May & Stevenson and many others. I dealt directly with Castrol/Burmah – Unilever and British Motor Co., (becoming British Leyland).

 

I co-designed Castrol GTX, Art Directed Castrol’s Yearbook – ‘Castrol Achievements’. I arranged for models and cars to be at locations so I could direct photoshoots for Fords ‘Old and New’ poster range. I was involved in the advertising design and promotion of the Mini and the Mini Cooper S.

 

In 1968 I moved to Max Rayner studios in the heart of Soho, which specialised in illustration and employed some of the leading illustrators of the time. The experience proved to be invaluable, enabling me to learn new techniques and improve my skills as an illustrator. The studio produces work for many of the leading advertising agencies and direct to clients, one of which was my next employer. In late 1968 I became an illustrator for Birds Eye Foods working out of their head office and produced various pack illustrations for their products.

 

After about a year I decided that I was getting no creative job satisfaction from this corporate situation and in late ’69 launched myself as a freelance artist in design & illustration. I found that the grounding in advertising was an immense asset and very quickly dropped into commissions for the Rolling Stones Organization and Rod Stewart’s Management. It was around this time I set up a studio in Carnaby Street.