An alternative guide to Cheltenham. For creatives, by creatives. We (Adam, Sam & Shaun) are a trio of Graphic Design students who have come together to provide an alternative look at Cheltenham. As well as demonstrating our own talents as designers we have created this paper to showcase Cheltenhamâ€™s hidden creatives as we feel they are of ten overlooked.
CHELTENHAM T Y P E AWA R D S
FEAST YOUR EYES
DANCING KEN HANKS
Look out for our home grown produce that appears throughout the paper.
PARIS, BARELY LEGAL, SLOUGH Paris leads a simple life. She thinks serifs are going out of fashion and she’s thinking of dropping them for next season. Paris says ‘It ’s like Ludwig Mies Van Der Rohe used to say: less is more.’
Fags for Fags Adam Rizla papers individualy letterpressed with nagging reminders of the effects of smoking. Created as an entry for The Chip Shop Awards â€˜Best Public Awarenessâ€™ catagory.
LOOKING FOR JOBS Adam (is) Taken from a sequence of 31 illustrations that were created in answer to the D&AD student brief to design a hoarding for The V&A Museum. The hoarding worked on the idea of creating a prediction for each month that the hoarding would stand for.
T H E PA P E R B OY S
Gordon Young Listening Stones
Tucked away in a quiet little park, just
of communication. Each stone has its own
as the type is purposefully facing away
outside Cheltenham’s busy town centre
theme as well as a bespoke shape and
from the main path. It’s not obvious what
lies a cluster of large peculiar stones.
finish to represent the diverse ways in
they are straight away and this subtlety
These stones, which at first glance
which we communicate. The stones are
makes passers by approach the stones to
appear to be something between a small
more than just Young’s interpretation of
take a closer look, therefore making them
meteor shower and a pagan ritual site,
communication; as with most of his projects,
interact with each stone, a common trait
are the handiwork of Gordon Young. In
collaboration with local communities was
with all Young’s work. That’s enough of my
collaboration with Why Not Associates
involved. He gathered information from
analysis, the best way to experience the
Gordon is also responsible for Blackpool’s
a local newspaper and primary school as
stones is by going yourself. Hop on a bus
comedy carpet, amongst many other
well as GCHQ empolyees. As well as the
or take a stroll out of town, if it’s a nice day
public sculptural ar t installations across
typography, the shape of each stone reflects
you could even take a picnic and have a go
the country. He was commissioned by
the message being displayed. The children’s
on the swings.
Cheltenham Borough Council 8 years ago
stone, which if read as one sentence is a
to create a sculpture for the opening to the
piece of literary genius, is small and has a
government communication headquar ters
smooth finish so children can interact with
(GCHQ). The nine large glacial granite
it. The typography goes almost unnoticed
boulders all respond to a different form
CLASSIFIED GLOUCESTER Shaun A 3D topographical map response to the found issues and discrepancies within Gloucester city centre which collectively reduce the functionality of the area. Made up of six individual screen printed layers of perspex with an illuminated map of the city.
T H E PA P E R B OY S
WHIT TINGTON A F AT H E R & S O N On entering the picturesque village of Whittington we were instantly reminded of Hot Fuzz. It’s almost too quaint and you get the feeling that there must be some delusionally murderous villagers who are looking out for ‘the greater good’. Despite giving off a sinister first impression Whittington is actually a beautiful place that is full of surprises: the best of which is a letterpress workshop that is run from the most modest of outbuildings on the outskirts of Whittington Cour t. Founded by John Randle and his wife Rosalind in 1971, Whittington Press is one of the last traditional presses in the country. Home to a spectacular collection of presses, as well as numerous monotype composition casters, Whittington is one of only a handful of presses that still cast and print their own type. With all of this going on behind such a humble exterior you can instinctively tell that this is a special place. When John acquired the building back in the 70s it had previously been used as the estate saw mill and before that it was the old gardener’s cottage. He recalls how the building was originally a lot smaller with the main indoor space being where his first press sits and the rest of the structure being open fronted with a rickety tin roof held up by a series of stone pillars. As John’s first press sits proudly in its home of for ty-odd years he tells us how he bought it for a mere £50 after finding it residing amongst the hay bales in an old Wiltshire barn. When you look at the size and intricacy of the machine you can hardly believe that he bought it for so little but as he goes on to explain: most of his presses were bought as scrap for a pittance in the 70’s as they were no longer desirable due to the recent introduction of litho printing.
T H E PA P E R B OY S
As the collection of presses has grown so has the building and over the years the spaces between each of the original stone pillars have been filled with traditional Cotswold stone as more and more space was required. There is no danger of any of the presses going missing as due to their size, many of them have been built into the development. John’s oldest press was actually installed by removing one of the original outer walls, sliding the press in on steel rollers and building the wall back up again: as John puts it ‘It’s cheaper to pay a builder to make a wall than an engineer to re-assemble my press’. John clearly has a lot of love for his equipment, especially his first press and it is clear that he is equally as passionate about his work. John labels himself as a publisher rather than a printer, he prints what he wants to print and he chooses his topics by instinct. He says that publishing and
printing by letterpress are skills that require time, patience and that natural instinct. He admits that it isn’t for everyone and his love of the trade becomes evermore clear as he exclaims that if you don’t like it ‘go and work for LLoyds Bank’ and if you want something done quickly ‘you’re better off going to Pronto Print’. Being a master of such an intricate craft John is adamant that he doesn’t work to deadlines. If only we could all take that work ethic.
John has two sons who both grew up with the press as their playground and as he reflects on how irresponsible it may have been to let them play amongst the lead he is interrupted by his son Patrick who chips in with ‘Well I’m still alive!’. As well as embarking on the magnificent, seven year long quest to learn how to use the monotype composition casters, Pat runs his own business from the press and under the guise of Nomad Letterpress he creates bespoke posters, invitations and business cards. His work is a beautiful mixture of clean design, great type and delicate embossment. Some of his work is so nice that it’s borderline print pornography. Before setting up Nomad Letterpress Pat studied for a degree in Ar t History at Leeds and he followed that with a brief stint in London where he worked for letterpress superstar Alan Kitching. We asked Pat what made him return to his roots
and his answer was simply ‘working for other people’. Although Pat loved working for Kitching and other big names in London he could never replicate the comfort of working with his dad and we don’t blame him. As well as being a magical place in a visual sense, Whittington Press is generally just a lovely place to be. Whether it be the constant tinkling of classical piano in the background or the outstandingly welcoming nature of John and Pat there is something about Whittington Press that makes you feel content and at ease, something that is so hard to find but so rewarding when you do.
T H E PA P E R B OY S
We asked John and Pat what they think the future holds for letterpress and they were both in agreement, as were we, that the future’s bright (It may not be orange but it is definitely bright). With the recent trend for all things vintage many of the traditional crafts are coming back into fruition. Just as the use of film cameras is re-emerging so is the use of letterpress and other traditional printing methods. John brilliantly explains how he thought he would be the last generation printing letterpress until he realised that he was getting a whole new crowd at the annual press open day: ‘It used to be a lot of old grey beards with sticks and now its just a sea of people with...brown hair!’. We think that letterpress is an ar t that will never die; it may go in and out of fashion but it will never truly be gone and John and Pat tend to agree with this. They explain that no matter how fancy your computer is, a digital print will never match up to a letterpress print. Letterpress has, what they call, ‘that elusive third dimension’. The act of physically transferring the ink onto the paper creates a three dimensional piece that simply cannot be copied. Pat described a letterpress print as having ‘a life, a life that you can’t get in any other way’ and we think that with that statement he has perfectly summed up the quirks and charms of the hardy craft of letterpress.
UNDER CONSTRUCTION Sam An experimental alphabet exploring how different materials can be manipulated to create letterforms.
T H E PA P E R B OY S
Ladies and Gentlemen, welcome to the first annual Paperboys Typography Awards. The winners of this yearâ€™s awards have all definitely broken the mould in one way or another. We have searched far and wide to find the most exquisite examples of typography Cheltenham has to offer. It was a long process and choosing the finalists was tough, but after much thought and deliberation we are proud to present our worthy winners.
Best use of amateur kerning Sky sports nowhere
Best happy accident Focus was definitly lacking here
Most obvious addition to a door sign Reverse reads: Pull, Inwards
T H E PA P E R B OY S
Undiscovered talent award “You’re good at art John you can do us a sign...”
Most inadvertent use of a movie slogan Huu ya gonna call?
Best bit of type we found but couldn’t think of an amusing award for Nice isn’t it.
Biggest under estimation of how long it takes to colour in with a biro Iâ€™ve started so Iâ€™ll...
Rorschach (2012) Phil James Shadowplay
T H E PA P E R B OY S
A few mince pies with...
PHIL JAMES PHOTOGRAPHER On a bitter December morning, with our toes ever so slightly frozen, The Paperboys paid a visit to a Cheltenham based photographer, whose atmospheric yet epic photography has left The Paperboys awestruck. Phil James is a photographer based in Cheltenham. He is the owner and creative director of Shadowplay, a production company situated in the Montpellier area of Cheltenham. As we tucked into our first mince pie of the season Phil explained how his first brush with photography was using a fixed focus 110mm camera brought by his old man from a car boot at the ripe old age of ten. Phil describes this camera as “a piece of crap”. However his dearest memories come from his first real love, a Yashica roll film camera. It was this camera which made Phil dig fur ther into understanding the inner workings of photography. Born and bred a Midlander in Corby, Phil studied Art Foundation at college just down the road in Kettering. His original intentions of becoming an illustrator were swiftly thwar ted when his eternal love affair with the camera became firmly rooted. Even though Phil’s dream as an illustrator ended so
suddenly and he has since stopped
Phil describes moving to London
practicing the discipline, he has
as “a bit of a shock” upon realising
fond memories of painting onto
that London was not for the poor.
photographic prints to create new
After spending six months in Ray
atmospheric meanings. Despite his
Massey’s studio and having seen a
current love of photography he still
sharp increase in his photographic
pines for the day when “he can be
skills, Phil left the studio to become
one of those old guys who goes
to ar t classes’. Phil describes how
assistant. Phil worked alongside
his initial attraction to photography
six photographers, all with distinct
was the “immediate result”
photographic styles and disciplines,
rather than “spending weeks on
providing a solid launchpad for his
a painting”. Phil’s romance with
photography continued when he
Subsequently, Phil hurled himself
swept himself to Gloucester to
back to Gloucester to assemble
study a HND in Photography. He
a professional por tfolio whilst
impressed Ray Massey who was
studying to top up his HND into
one of his tutors during the course,
a degree. Upon obtaining his
who subsequently offered Phil a
degree, Phil reached a crossroad,
job in his photographic studio in
having to decide whether to head
back to London or ply his trade in
T H E PA P E R B OY S
Gloucestershire. In true have a go
why Phil chose such an obscure
spirit, Phil decided “lets have a go
yet curious name, he boldly claims
around here” and so Phil set up in
that “I’m a Joy Division fan. I like the
Gloucester. With a very warmly
connotations of how photography
received grant from the Prince’s
is playing with light and shadows”.
Trust Phil bought two studio
Out of Ian Cur tis’ masterful lyrics,
lights, a camera and some lenses
the studio Shadowplay was born.
to enable him to carry out basic
Shadowplay work for various
studio work. Shor tly after, he was
London companies and Phil puts
commissioned by a local agency to
this simply down to “being on the
under take a photographic project
web, you can be anywhere”.
on an impor tant account.
Like all creatives’ worst kept
Reflecting on his decision not to
secret, Phil is a self confessed
return to the big smog, Phil simply
hoarder of ‘things’ which he
states that from his experiences,
controversially refers to as ‘junk’.
London just wasn’t a match made
Much of Shadowplay’s studio is
in heaven for him, feeling that he
rammed to the ceiling with his
wanted to be happy where he
‘junk’. A lot of his weird, wacky
and downright splendid hoard
After initially having a studio in
has had a previous life as a prop
Gloucester, Phil made the shor t
in one of his photographic sets.
trek to Cheltenham to open a new
A personal favourite is his Barber
studio and again moved premises
chair (which he has very kindly
in 2006 to what has become
modelled for us).
known as ‘The Old Baker y‘. Set
Phil travelled to India on a three
back within a quiet side street,
week trip organised by the
the studio is cover t by nature and
Project Mala charity. Apar t from
there is no distinct smell of freshly
getting horrendously ill with Delhi
baked bread (as there once was)
Belly, Phil expresses how the trip
seeping through it’s walls. Behind
considerably changed his view on
these doors is where Phil now plies
life and gave him new directions
his trade alongside his dedicated
within his personal work.
from film to digital he first stated
and talented team. When Phil took
Many of Phil’s current works,
that he was ‘a bit of a purist’ but
over the building it was a derelict
both commercial and personal,
always kept a firm gaze on how
space being used for fine wine
have a high sense of drama and
the industry was evolving. From
storage. For Phil, it was love at
atmospheric personality to them
this, as soon as digital was born,
first sight and with an awful lot of
which enable him to conceal
he put his film cameras to rest
the good old tender loving care
hidden meanings within his work.
and made the leap to digital,
he transformed the space into a
However, in the future Phil is
giving him a high vantage point
photographic studio. When the
looking to change the direction
over practitioners who stayed
studio star ted to work with CGI,
of his personal work which will
faithful to film. His reasoning
retouching and video alongside
see him return to a theme of
behind giving film photography
photography, Phil turned the studio
simplicity. Much of his personal
its marching orders was how
into a Production house. With the
wor k will soon focus on
instant digital photography is
evolution of the studio came the
por traiture and simple methods
and how you know what you are
evolution of the brand. Gone
of shooting and image making
shooting is right straight away. This
was studio name of Phil James
without any complexities.
resulted in Phil losing his “oh shit”
Photography. Phil rebranded the
When we asked Phil how he
moment from when developed
studio as Shadowplay. On reflecting
had coped with the switchover
film exposes flaws in the shoot,
usually too late to reshoot. It
photography as a way of expressing
enabled Phil to develop a way of
yourself, to a much wider audience.
working which would later define
However, he is wary of the idea that
how he directed his shoots. Phil’s
people are taking a one handed,
initial response to the mind blowing
shaky photograph, whacking a filter
quality of digital compared to film
over it and calling it ‘ar t’. As an
was how “the detail in the shadows
instagram user himself, Phil highly
was absolute bonkers”. However he
recommends that any other lovers
did tell us that if you didn’t calibrate
of the app actually tr y shooting
the colours of an image shot on
on film and developing their own
a digital camera when they first
photos, as he did for years. He says
came out then “people looked a
that this allows you to get a feel for
bit ill”. We hope he never told a
what it’s really all about as you can’t
beat the magic of watching your
When we asked Phil what he
prints forming in front of your eyes.
thought of the increasingly popular Instagram app he explained how he is delighted that it has exposed
UNIDENTIFIED Shaun A self initiated journal on the idea of back alleys as visual metaphors for corruption within society.
T H E PA P E R B OY S
Dry turkey, flatulent grandparents, that rehearsed smile you have to wear when you realise that Aunt Ethel has bought you beige Y fronts for the seventeenth time in just as many years; for most people one Christmas a year is more than enough, but not for Catherine Shinn. Owner of an antique textile and Christmas decoration business, you will often find Catherine nestled in a little nook of her very own Santa’s grotto of which every cranny is stuffed with wonderfully decadent and authentic Victorian style Christmas decorations. This little slice of evergreen Christmas magic is situated in the basement of the family run Well Walk Tea Room. However, despite its humble appearance, this idyllic small town business boasts some huge Hollywood clients. Being hand cast in Germany using authentic moulds that have been passed down through the generations these decorations are in high demand for set dressing in the film industry. As well as featuring in numerous British classics, such as Beatrix Potter and Downton Abbey, Catherine’s Victorian
decorations have also featured in recent sci-fi smash hit Prometheus. As if this wasn’t bizarre enough, some of the decorations in question are actually made by a partially sighted German craftsman who creates these beautifully intricate ornaments using nothing but sound. Now that really is something that has to be seen to be believed. (Pun very much intended) As well as getting her decorations featured in international blockbusters Catherine finds time to create delicate textiles that also like to frequent the big screen. Being an expert in antique textiles and a dab hand with a needle has led to Catherine creating the flags that were used in Kingdom Of Heaven as well as the timeless Robin Hood. Catherine doesn’t let all of this highbrow work go to her head though, in fact she admits to often forgetting what she has done until it pops up on the television the following year. For someone that is linking Cheltenham with Hollywood Catherine is wonderfully blasé about her work and achievements.
P H I L M c AV I T Y Adam & Sam Part of our entry for The Roses student awards â€˜Open Wideâ€™ brief which posed the challenge of making the dentist a desirable place to go.
T H E PA P E R B OY S
ANTITHETICAL Shaun An entry to the D&AD student awards Lâ€™Artisan Parfumeur brief. A range of four unisex perfume bottles which work on the idea of the attraction of opposites.
A smaller, more delicate hat.
A close look at Kenâ€™s head.
One stickle brick.
The exit to Narnia.
A stolen D&AD award.
The secret to Kenâ€™s success.
#WhatsUnderKensHat Follow us on twitter @_ThePaperboys and tell us what strange wonders you think Mr Garland has hidden under his hat.
A yellow sofa.
T H E PA P E R B OY S
Underground Vintage From retro leather biker jackets and classic Levi 501 jeans to outlandish platform boots and 70’s disco outfits, Browsers offers an eclectic mix of vintage clothing and timeless classics. The basement store has shared its home with the leading independent record shop in town, the Vinyl Vault, for about 20 years. You only have to take a visit on a busy Saturday morning to see why this marriage of styles and sound has stretched over two decades. Selling Hawiian shirts in the winter and fur coats in the summer, owner Jim always has a wide variety of pieces to rent or sell. If you rummage around enough you might find a genuine 1950’s leather jacket for twenty quid or an original B.O.A.C satchel for a tenner. The word ‘vintage’ is bandied around nowadays just as easily as ‘Keep calm and carr y on’ posters are thoughtlessly reproduced. That’s the real draw of Browsers, the authenticity of it’s retro clothing. Nothing is reproduced and ever y item is sought out by Jim or his daughter Naomi. Naomi extended the shop seven months ago. She now runs a boutique version of Browsers directly above the basement. It’s filled (and a little more organised) with good quality, reasonably priced, individual collections that never go out of fashion. Fashion and music have always gone hand in hand, Elvis Presley and his blue suede shoes, Freddie Mercur y and his yellow leather jacket, David Bowie and his, well pretty much anything really. The Vinyl Vault offers music to match any style you could pick out from Browsers; even if you don’t have a record player it’s always worth taking a look at the diverse range of album artwork vintage records have to offer.
T H E PA P E R B OY S
Whilst we all enjoy a cheeky chicken bake now and again, no one wants to be caught in Greggs doing the dirty with two sausage rolls and a fondant ring doughnut. To make sure you don’t become ‘that guy’ we have handpicked a selection of Cheltenham’s finest bakeries, bars and restaurants so that you can ensure you are seen in all of the right places. We’ve got great places for a quick daytime bite, restaurants where real food is cooked by real chefs and bars that are guaranteed to give you something new to try. We have unearthed more than a few delights in our selection so instead of sticking to that familiar beer and a burger why not give some of our choices a pop next time you’re feeling peckish.
Huffkins 01242 513476 huffkins.com
The Daffodil 01242 700055 thedaffodil.com
Cafe Rubik 01242 698330 cafe-rubik.com
The Suffolk Kitchen 01242 237057 thesuffolkkitchen.co.uk
Brasserie HPJ 01242 692830 brasseriehpj.co.uk
Armagnac 01242 525230 armagnacrestaurant.co.uk
The Sandwich Box 01242 230831 thesandwichbox.co.uk
The Railway 01242 522925 therailwaycheltenham.co.uk
Well Walk Tea Room 01242 574546 wellwalktearoom.co.uk
Le Champignon Sauvage 01242 573449 lechampignonsauvage.co.uk
John Gordons 01242 245985 johngordons.co.uk The Retreat 01242 235436 theretreatwinebar.co.uk Soho Bar 01242 510999 sohobarmontpellier.com The Tavern 01242 221212 thetaverncheltenham.com The Beehive 01242 702270 thebeehivemontpellier.com
(gre e n)
(real l y tal l )
Parabola Arts Centre
T H E PA P E R B OY S
Imagine that Cath Kidston and David Dickinson had an affair and the resulting lovechild went on a wild rampage clearing out every National Trust property in England and stealing the Bayeux Tapestry before opening a small tearoom in the heart of Cheltenham in which to stow the loot. Imagine then that the basement of this tearoom was the physical embodiment of Roy Wood’s wish for it to be Christmas every day. What you are currently imagining is something close to The Well Walk Tea Room. Filled to the brim with marvellous antiques, real bone china and hand blown German Christmas decorations, The Well Walk Tea Room is the last of Cheltenham’s true tearooms. With every other cafe in town belonging to some millionaire bigwig, the homemade cakes and proper English tea of The Well Walk Tea Room provide a refreshing reminder of what Britain used to be like. Situated in one of Cheltenham’s oldest shops this traditional tea room offers an extensive range of cakes as well as home made soups and other lunches. All of this comes set amidst a wonderful array of antiques and textiles which are also for sale and as if things weren’t quaint enough, hidden underneath the tea room is a Victorian Christmas shop which is open all year round. A visit to this family run tea room really is a treat for the eyes as well as the stomach.
When you think of cinema food you think of over priced popcorn and sickly pick’n’mix; what you do not think of are three course meals and à la carte menus. However, this is what you are in for if you take a trip to The Daffodil. Set in an absolutely exquisite conversion of a 1920’s Art Deco picture house, The Daffodil has everything: great food and drink as well as a uniquely beautiful setting. Great for a posh lunch or an indulgent evening meal, this restaurant is one of Cheltenham’s finest. Converted in 1998 many of The Daffodil’s details have been kept as mementoes and reminders of what it once was and it is these details that make it so special. From the classic film posters of the time to the original projectors, every detail adds to this restaurant’s charm. The kitchen sits in place of the screen so that the busy chefs can be seen from every table and the staircase swoops down in a way that makes you expect to find Leonardo Dicaprio at the bottom waiting to ravish you before tragically freezing to death because you were too selfish to let him on your massive floating wardrobe. The Daffodil is a real gem and an absolute must if you are after that unique dining experience.
T H E PA P E R B OY S
With over twenty bottled beers from around the world, a handful of constantly changing cask ales and an extensive spirit/cocktail list, which includes an award winning Bloody Mary recipe, The Tavern really is the perfect place to wet the whistle. Home to some beautifully quirky decor (the highlight of which is a stuffed seagull) and with a warm, welcoming atmosphere The Tavern prides itself on making people feel at home. Owned by local entrepreneur Julian Dunkerton, or ‘Mr Superdry’, The Tavern knows how things should be done and by taking tips from places such as New York and Amsterdam it brings together the best drink, the best interiors and the best hospitality to come up with a winning combination that makes for one of the most current bars in Cheltenham. It doesn’t stop there though: The Tavern also does food. Describing their menu as ‘Good honest comfort food’ The Tavern aims to give you the finer things in life without the fuss and they most certainly know how to deliver. Whether you’re looking for a spot of lunch or a well deserved pint after saving the world through the medium of design, we can safely say that The Tavern is a top choice.
S U S P I C I O U S PA C K A G I N G Adam An experimental range of packaging that explores the use of language and wit rather than the conventional eye catching visuals.
T H E PA P E R B OY S
T H E B I G S L E E P B O O K C OV E R Sam My interpretation of the classic murder mystery novel The Big Sleep, by Raymond Chandler ; This yearâ€™s chosen book for the Penguin Design Award.
At first glance, Dancing Ken appears to be a stark raving mad individual who can easily be found within the wilderness of a Cheltenham pub dancing the night away with his exaggerated earrings and his exuberant dress code. Behind the veneer of apparent madness sits a renowned personality within the metaphorical walls of
DANCING KEN HANKS: THERE’S METHOD IN THE MADNESS
Cheltenham. During his life’s tenure Ken has stood multiple times as the Monster Raving Loony Par ty candidate for Cheltenham. At one stage, Ken’s political career was nearly brought to a juddering halt when he was threatened with expulsion from the Monster Raving Loony Par ty due to his policies being far too restrained. Throughout the entirety of Ken’s life he has been an avid collector for numerous charities, raising well over one million pounds. Dancing Ken credits himself as a fashion designer who in his earlier years, designed and modified clothing to suit his unique code of dress. Ken’s first piece of attire was a pure white American Drape Suit which made him him feel a million dollars. Ken credits himself as an innovator within the fashion world as he boldy states: the work he does today, the world does tomorrow. He credits this to how his single
which have been precisely scattered
little games with his best mate;
breasted spor ts jacket with a spear
on the hallway wall. Hats off to Ken
maybe you could play along too!
pointed collar was copied by his
for his vast array of hats.
Ken used to put an LP on without
best mate only days later.
Ken has a love for album covers,
his friend noticing, then forced him
His fond feelings towards the world
so much so that he decided to
to guess the song.
of Mickey Mouse were translated
stick a ton of L.P.s on his wall for
Since meeting Ken, we can see why
onto his trouser linen through some
admiration purposes (Definitely not
Screaming Lord Such wanted Ken to
of his early modification work using
to save him from painting).
stand as the Monster Raving Loony
His first exposure to music came
Par ty candidate for Cheltenham.
Much of Ken’s outer persona comes
from when he used to buy wax
However, behind his animated
from his divine love for Country and
records which were shipped from
fashion sense, sits a warm hear ted,
Western. This is highlighted through
America for his listening pleasure.
charitable gentleman who has a
the truck load of cowboys hats
Ken used to love playing cheeky
strong flair for creativity.
Born and bred in rural Shropshire, I decided to apply for university after my application to work in a cereal factory was rejected. If I had to define myself as a designer I’d lie somewhere between typographer and illustrator, but good ideas are always key to any project. A good idea, Scottish indie folk music and copious amounts of tea are all I need to produce good work. I’ll work anywhere as long as it’s with creative people.
Brought up amidst the crisp sea air of Brighton, I fled the south coast to begin studying graphic design in Cheltenham. I believe that all design should be meaningful and that design fluff should be blasted beyond the stratosphere. As a serial hoarder, I have made it my ultimate quest in life to accumulate anything that could inspire my work. My aspirations lie within branding and packaging, but ultimately, I will throw my weight at anything that I am given.
Raised in a barn somewhere near Worcester I made the small leap to Cheltenham a few years ago to undertake my degree in graphic design. I’m big on emotive design and I feel that great ideas are at the hear t of all successful design. I am pretty open minded about where I work as long as it is with exciting people and not as a par t of a logo machine designing for insurance companies, vegan soup manufacturers and ‘Al’s Pasty Van’.
www.behance.net/sedwardsdesign email@example.com 07837 012207
www.behance.net/pimley firstname.lastname@example.org 07810 574928
www.behance.net/adcale email@example.com 07532 162480
With special thanks to Gill Fox James