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I dabble when I have time. I was introduced to Cubism and Russian constructivism initially because of the links to graphic design. A selection of this artwork is currently being shown in the Brothership Gallery in Hertford.

These paintings are modern developments inspired by past cubist and constructivist works, brought forward to today. In practise they are exercises in restraint, structure and an analysis of shape and form, placed within a human context to create an illusion of life.

An association with the industrial age today can be found in the development of AI and robotic engineering. An Industry also engaged in a search for an authentic replication of life.

I don’t know where it’ll end up, the point is in the doing - everything is just a practice for something else. I am experimenting at the moment with subtle expression, light and situation. As an absolute novice, it’s a huge learning curve still which is exciting.

I will be uploading a lot more of my sketches and paint work up here, however developmental. Including work I have turned around in ten minutes as a thought exercise. It helps to contemplate objectively when seen in a different space and sometimes there are brilliant discoveries in the roughest of work.

Another favourite project of mine because I lived and breathed every concept. The visual direction and even research and writing were all my ideas with total execution.

The Big Trip is an anthropological research based endeavour, where we are exploring ancient art, ideas, indigenous cultures, beliefs and practices to see if there are ways we can contribute to a global reset. This work is ongoing.

I spent a few months researching and finding a narrative for the identity.

For the logo I used symbolic iconography. Each letter has a narrative as well as collectively. The symbols explain different channels of our project. Navigation, story telling, sound, the human condition, and art with a narrative. The main colours represent nature: earth, rock, sky blue and sand.

I also designed the visual aesthetic, stamps, bag, leaflets, skins for the website, photography, illustration and initial social media posts up to the launch. I then gave a live presentation to introduce the project which you can see via instagram, copy below.

We have since done another exhibition at Think and Tink gallery where I designed content for that and also created an initial 3D mock-up, in progress, of a proposal for another show later next year.

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My Presentation Content:
My search for our visual language ignited in the symbols found on cave walls. Art is cultural. It is a language and a recording. An expression of our world or a story communicating a message.

For this project, the most interesting discovery for me was the spiral petroglyph. It is a symbol that has been found on many rocks dating back to the Ice Age.

There are 32 symbols *see booklet, in total like this, collected from caves across a 30,000-year time span.

This suggests it could be the first language ever created. And also shows a much early evolution in human cognition that had previously been recorded.

The map in the booklet, shows the location of where the symbols were discovered. The spiral became the most well travelled, stretching across the continents of Europe to China and Australia.

Although all their meanings are still relatively obscure, the spiral is said to mean the constant motion of the universe. Pattern of life.

I think this could also relate to time, for with many indigenous beliefs, time is not linear it is cyclical.

So it is not in a straight line with an end, it is circular. Time never stops, it is always in motion.

But what can we learn from a symbol in the bigger picture? Well they can start to build a image of an entire culture.

To us, these wavy lines universally represent water as an accessible compound. Available in any household

But for the Native Australians to use an example, it can mean lightning, drinkable flowing water, smoke or bush fire depending on area. So in this very basic example, you can start to see how a sign could begin to explain a culture, simply by understanding the environment.

And this is also what visual communication should try to explain in its essence.

For the big trip logo, the letters represent different areas of our research. Navigation, time, sound, nature and life. And together with the colours, it is intended to communicate curiosity, compassion with a love of the natural world around us.

The project was funded by Asian Cultural council and British Council

Live presentation link, skip 15mins in to start: fb.watch/jKrE5wEZIF/

This is long but it’s my favourite project. Please read if you have time.

I contacted Borneo Art Collective after I learned about their work and their current project; to increase awareness of Borneo craft and provide a modern overview of current contemporary artists from Borneo. We liked each other and felt we could collaborate so I visited Borneo for the first time, met a group of genuine, wonderful people and stayed in their residency researching with support for four months. I picked illustrators, organised editorial content, designed mood boards and templates conceptually. I wanted to provide just a simple framework. Sensitivity to the artists work was my priority. The colours chosen are a historical reference to Kuching’s break from its colonial past.

I also subbed, corrected all grammatical errors and prepared the book for print from my studio in Kent. Long hours, hardly any sleep for months. Happy to do it.

It became the beautiful, useful product we are proud of and is now available in galleries and book shops internationally. We continue to collaborate.

In my view, a great project is not just about design, content and usability, it’s also the experience, the narrative and the lesson. I learnt a lot about my own volition and had an adventure.

https://www.manoplus.com/products/borneo-laboratory-a-laboratory-for-borneo-aesthetics

Also displayed in the Think and Tink gallery in Kuching.
https://www.instagram.com/thinkandtink.kch/

Continual relationship with WIRED magazine and their events sector. Layout designs, conceptual developments and re-designs, checking for error, ensuring pages are print-ready and commissioned illustration work.

I have loved WIRED for years and years. Its content and design. I’ve often tried to emulate it, have experimented and dissected it to discover its structural secrets - this is why they hired me.

In my opinion, it’s the best commercially designed magazine by far. The editorial team manages a collaboration that compliments their intelligent content with equally brilliant art direction that’s always on point. Here, is a wonderful example of designers and editorial working together harmoniously and valuing each others role equally. As it should be.

I led the design of a series of reports, infographics and illustrations in addition to some photography for the United Nations. All the templates had to be very flexible to accommodate the varied content supplied by the journalists.

It was an absolute honour to work with such a talented and dedicated team and raise public awareness of the refugee and migrant crisis internationally.

This began after presenting some moods for an event poster (not these though) and they went with someone else.

So decided it was an opportunity to explore the 60’s, learn a bit and it inspired the idea of taking one idea and doing it in many different style to play and show the breadth of possibility.

The first was really a response to a modern psychedelic idea, which was inspired by the Bob Dylan illustration. I did a range of illustrations to fit different situs and possible promotions. Using bright colours to signify 60’s pop with some Op art embellishments and gold finish.

For the woman in the blinds, I am tackling Bauhaus and Neo Noir genres to see how I can communicate that period in cinema, how the legislation affected the film in terms of story and image, using plainer, simple forms. I am really enjoying this one, I think I’m going to take it as far as it can go. I’ll change the illustrations to match the quotes, as the shop was opening though, I thought it was fun to hide it and have someone peering out but you can’t see in. Also gives them time to set up. They are also selling the Psycho poster and I think I want a range of horror to romance in these displays and promotions. I think it’s a shock and edgy to see a murderous quote selling a place. I found that exciting, I think it makes it stand apart as edgy and something you’d be intrigued by. Who says happiness sells dreams.

May the list go on…

My Involvement: I did all the artwork, infographics, design and concept.

I began working with the World Ethical Data Forum during lockdown and loved working with their team. Seldom has there been the need for effective dialogue surrounding data. With the potential civil and political consequences of data's abuse so severe, WEDF are at the forefront of the crucial discussions needed to protect the future of the democratic process itself. “Everyone says data is the new oil. But we don’t want the data age to end in the same fiasco as the oil age. WEDF helps to make sure it doesn’t.” –SERGE DROZ / Security Lead at Protonmail

I am currently redesigning their branding behind the scenes. Responsible for the art direction and design production as the creative lead. This brochure is the face of things to come. I also created, designed and produced all the collage illustrations.

The paper texture is a nod to the history of the printing press. The fonts were chosen to provide contrast. I wanted an illustrative font that also provided a strong voice and contrast to a simpler sans serif for the main font. Proud to be a part of something so important.

I designed two logos and a pattern design to be used on bags, wallpaper and chair coverings. Carmen is a incredibly talented visionary. She has a unique voice creatively and that’s what makes her designs beautifully compelling. She’s also a master seamstress.
I will be able to upload more photos after lockdown ceases.

We have also discussed developing hen party branding and we want to keep it fun without generic brashness. I will take my inspiration from the Garden of Eden and rude fruit. Keeping the visuals decadent but innate, carnal but elegant, suggest a sensory experience through touch and smell.

This was another Covid adventure taken on by myself and Borneo Art Collective. We were approached by a pioneering food manufacturer in Malaysia who wanted to develop a food brand to sell into the Asian market with a view to taking it internationally if successful. We take good quality ingredients for granted in England but in Asia, taking the time to produce a product ethically and naturally is relatively new. I was responsible for the art direction of the product, photography direction and design. All done over Skype and the internet.

Imagery
After our market research we chose photography as the lead imagery but I personally felt illustrations would have worked equally as well. We are currently shooting high-res imagery of the boxes, these are just mock-ups so the colours are not currently Pantone here.

Logo
I developed the logo based on Borneo’s unique plant habitat. Fiddlehead is unique to Borneo and a pretty curly green vegetable so this seemed a fitting accompaniment for the logo.

Colours
As they wanted it to represented health and responsible production I went for earthy tones over the more traditional vibrant purples or reds used a lot in Asian culture.

Success:
This product sold out in ten minutes through an Asian QR fashion site. It is extremely popular so we have now been asked to develop their branding and produce their entire range over the course of a few years. The product will be sold internationally and for the next range we will be adding a few more illustrations too.

Continued collaboration: Sambal Udang Jars
Due to the success of the first product, released in a few months I also created the die-cut and entire design of these two Sambal Udang jars. And the illustration too.

Typography experiment selected by London Design Week and exhibited in the Victoria and Albert Museum.
Press coverage: https://typetastingnews.com/2013/09/15/magnetic-by-toni-giddings/

I created an original stencil on magnetic paper and photographed the effects through magnetic film, to show the earths magnetic field. And as the visual represents the force, the word defines its reality.

The research into ferrofluid and magnetics led to a fascination with the other invisible forces of nature. I am considering an installation that explores these. They are the earths tools. I would like to inspire a contemplation of shared responsibility and global unity but hey that’s not for me to say. Anything that explores, (with humility) the remarkable secrets of our planet is good enough.

Inspired to react against the British Museums choice to retain artefacts from their countries of origin, despite many calls for repatriation. This overall bag design mimics their own branding deliberately but with obvious embellishments. I drew the building, chose nine items that were most debated & wrote a bit about them on the back. They’re all still held under a superficial law from the 1960’s but should be returned to their countries of origin.

I like to have stories attached to my designs.

The sunset tiles are inspired by sunsets and holidays. There are steps to the pool, sunset and horizons.

The cat tile is more elaborate. It tells the story of the life cycle and natures part in it. Sun, rain, growth, life and death (cat/bird). It’s designed to interlink, creating an endless pattern.

The tiles are hand-made by one of the last men on earth who can use this method in Turkey.

I infiltrated Ottotiles during the pandemic, I purely just rang up Damla to tell her I had designed some tiles on a whim and that I loved her work, let’s work together.

She saw it as an opportunity and gave me a challenge. We continue to work together in a mutually satisfying relationship that benefits us both.

Tile designs for https://www.ottotiles.co.uk

A series of illustrations influenced by surrealism and the sci-fi genre. The first for a collective album to accompany the event held in the music space within Nowhere festival. I drew this originally in reaction to symptomatic arguments at the end of a broken relationship.

The second illustration was designed for a written piece about the future of the science fiction genre in modern times. There’s a lot more to explore here personally. Sci-fi is one of my favourite genres and I live inside it in my mind.

These projects and ideas fuelled a belief that the door dividing graphic design and art is open if you begin from a place of honest contemplation over predetermined commercial intent.

Coar are incredibly important in the middle east and are predominantly a team of hard working humanitarians. I wanted to work with them to help them with their endeavours. As trouble in Syria increases, these magazines help infiltration, allow a point of contact, reflection and create jobs for refugees of war.

Really short turn around on this project. Every time there were changes it went through several departments. Also, there wasn’t really an up to date branding book so I improvised and used one image that I felt would compliment the brand and font. The CEO of Boots okayed the look and feel and I had a day and a half to conceptualise all the infographics, draw them and lay out the page and design it whilst constantly updating the copy changes. Myself and the business manager worked through the night, and it was signed off and printed by 7pm the next day.

*Waiting for product shots atm

Work from Hearst in Soho London and the World Ethical Data Forum.

I art direct, animate, illustrate and design templates for WEDF. These are just a few I created for their online event in October 2022 and March the year before.

I chose a greek goddess statue that represents democracy and defaced her digitally. I wanted to incorporate nature (clouds and rainbow) into the design to show the very important human element often neglected from a discussion based around technology that technology is currently leading.

For the second instagram set made in 2021, we posed a series of questions, I used shadow and light to represent the nature of the subject and teamed them with leading imagery that asked a secondary question.

Next are banners and Ads I did whilst working in Hearsts Commercial Studio in Soho. A lot of the content had already been decided upon. I am grateful that I had some time with them to learn how they managed a very busy agency with high-profile clients to a very demanding schedule.

Clients I worked with: Jaeger_LeCoultre | BUCHERER 1888 | TAGHeuer | Sainsbury | Gemfields
Magazines: Harpers Bazaar | Esquire

I love drawing, playing and experimenting. These are developments and extracts from other projects. I have now decided to sell some of them and on the right platforms have had good responses.

As an illustrator and designer of many years I am used to evaluating and communicating culture through visual mediums.

The hair:

Hair has always, (in some way) reflected society. Especially for women. It has been used to depict wealth, status and culture. For example, to shame a woman in medieval times was to cut her hair, in the Renaissance period, long hair suggested a heavenly status and fertility. How a woman wears her hair can also translate to her value in society.

Often older women cut their hair to prevent ‘looking older’. In this way, long hair carries the currency of youth and feminine power. An abundance of choice and possibility in today's western society.

In these drawings I use hair and movement to suggest this youthful freedom and empowerment. The mane of a woman here holds the symbolism of a lioness.

I am intending to do more focused drawings in the future and will be showing at several art fairs and selected galleries in London and Hertfordshire. COVID dependant.

I may even use social media more to my emotional detriment.

https://www.etsy.com/uk/shop/Studio9Printworks

The brief for the launch was to create a magazine for a young industry that reflected modern tastes.   

I went all out, heavy on design here but I was given full reign and again I was a younger designer. I loved creating all the art and probably drove the team crazy even though they were very receptive at the time. I worked into the dawn often but I know they all loved the fact it also set us apart from all the other competitors. It stood out so I’m not sorry. I don’t like the stuffiness of a lot of overly commercially focused magazines and surprisingly this didn’t suffer. It spread the word.

Design for an event discussing the psychological motivations of 20-30 year olds using social online gaming. It is a step towards awareness. I have to be honest, I despise the recklessness of the gambling industry so if I can help shine a light on the motivations that manipulate the receptive minds of my peers I will.

I am including this as it’s a work in progress. My concept involves 1800’s apothecary and opium den culture, cocaine in sodas, medicine cabinets, bizarre contraptions, velvet and Old Fashioned’s. I wanted to pay homage to the bizarre and the experimental, repurpose old cocaine posters, create a really comfortable fantasy lounge with beds and honour all the mad cap inventions that the 1800’s brings with it for decor and design.

In addition, there will be a makeshift cart for the purpose of driving cocktails around a festival, to sell. After recent talks it appears it might go back into development for next year. Covid strikes again.

My research: shorturl.at/fwOVX

This was a redesign included lots of illustration and typography that I really enjoyed but I didn’t like the subject matter. It was communicating to the gambling industry as well as the gaming community.

The editorial team tried to cover the gambling topics responsibly and we did offer acts of help to those hopelessly entwined. I was a young designer at the time and however distasteful it was to me, it did allow me to explore, flex my design muscle and pay rent. They also paid for my continuing education and allowed me to eventually work from anywhere in the world so I am eternally grateful for their support and all their help.

For these designs I was relatively free to just do cool. I often suspect there is a bit of nonsense attached to traditional market focus, if it’s compelling and exciting, I think that can override ideas that can become tired in some cases.

Branding design for an event held at a popular diner in New York for young people in gaming industry. 

I don’t think it worked in it’s entirety but it did attract a young crowd. And people wanted t-shirts! I enjoyed designing it and love aspects of it. Especially the logo developments

An interesting project that never went anywhere. It was too contemporary for its own face. I loved doing it and researching, as you always do as a designer, deep into the history of Cirque Du Soleil and Joseph Grimaldi.

Pageant needed a clean and simple brand refresh. I used a Swedish-inspired grid from the 70’s as it’s timeless and really flexible and can also be used easily by less experienced designers. I liked the shape of the logo. It didn’t have huge amounts of creative thinking behind it, other than it needed to be appealing, convenient to use and translatable.

Personal exploration using geometrics for the current eGR survey. All drawn by hand, I also experimented with different styles of infographics.

A fun project in experimental infographics, typography and letter forms.

A short animation for Marine Accounts, story board, script, music and illustration by myself in line with their brand and market focus. The cormorant is the name of the boat they use for their logo. I introduced the bird across their ad campaigns as it’s a helpful element to lead the eye.

This was for a supplement that was supposed to slip sweetly inside the Independent. It was a big fat failure. The illustration is good, I based all of the design and concept on nuclear information pamphlets from the 1980’s. I did get an interview and I like the cover-line I ran with but it missed their objective for a peaceful Sunday reading. I got my coat. I include it because it was a valuable learning curve.

Designed for a marketing intelligence company.

I usually design, illustrate and create alone but for this I worked with another designer. The most interesting part of this for me and the hardest, became our explorations of refined shapes that could also rotate and merge into each other when animated but still communicate each subject as an individual icon.

It also needed to work across platforms and in all situations. A lot to ask from a couple of lines and circles but hey that’s the gambit. Find a solution or die.

The templates were simplistic solutions for their existing presence, as a counterattack to an already overcrowded online arena.