by experience

Professionally trained, I started my first design studio in 1983 and have since designed and art-directed for all manner and size of projects – from the kitchen table to global – and in almost every business sector.

Contributing those already hugely successful, as well as those only just beginning to find their way, has impressed on me the essential elements that determine success for the client on the one hand or failure on the other.

Part of the recipe for client as well as directing the art is to enjoy the work – and to question all assumptions about what is required and why before we begin. Getting things 'right' is a precision job. Economy of thought is more important than volume. Aim is more important than budget. Values are everything.

'Work isn't to make money; you work to justify life' – Marc Chagall

The projects I enjoy, and the only project I accept, are business challenges for those who are passionate about their venture, are inquiring by nature and looking for a way forward that is different to the mainstream.

why these logos?

Cadcentre (Computer Aided Design Centre), a client aiming at an audience of mainly petro-chemical and heavy engineering, which has since been rebranded, also by myself, as AVEVA plc. The Cadcentre logo was intended to appear male-orientated, vibrant and strong; at that time the company had to punch well above its weight against far-larger competition. I was said that one project the company gained (worth £1m at the time) was won solely because of this logo. This design was cited by their new client as the only difference between two competing bids. It looked like a more progressive company that would pay closer attention to his needs, and hence the contracted was signed.

FOL Networks (Farming Online), a first wave dotcom aimed at integrating British agriculture, which with its new brand identity and guidelines in place attracted £7m of initial funding. I wanted the design to promote the idea of '24/7' (to an audience for whom this was a relatively new phenomenon), hence the elaboration of the 'O' – almost a clock face.

Flitwick Manor, a country hotel and restaurant. Flitwick is pronounced with a silent 'w' – a problem turned to advantage by this design. This identity was successful for the business in the 1980 and 90s. The entrepreneur and chef, Somerset Moore, then sold to a larger concern who, sadly, rebranded in their own corporate style. I often get too emotional involved. It's always difficult to see what I consider to be good work rendered redundant. But in an ever-changing world, of course, it happens!

Stray Dogs, poetry publisher – hence the use of fullstops and commas! I include it here, because one of my mantras is simplicity of design, and this logo is also one of my favourites. I love reducing elements to an absolute minimum. And talking of minimum, this was a zero-budget project, and by chance designed in a rush (all of 1 hour). Strange how some designs just 'occur' whereas others take days or weeks of contemplation!