I was born in the mid 1970s and grew up through the 80s and early 90s. I’m from a working-class family in the Midlands, back when Thatcher was deindustrialising the UK, taking school milk off kids, and putting BBC Micros into classrooms.
I was born into an analogue world shaped by the freedom that followed the Second World War. Life was smaller and more monocultural. Your link to the wider world came through a handful of TV and radio channels, whatever was on at the cinema, and the shops your mum dragged you into. It was simpler, but it burned brighter. The post-war era gave us an incredible run of films, TV, music, comics, and toys. Star Wars, He Man, Thundercats, Knight Rider, ET, Jaws, Aliens, Trap Door, and the rise of early electronic music all left a permanent mark.
I feel lucky to have grown up then and still been young enough to catch the explosion of rave culture and the first PlayStation in the 90s. That mix of analogue innocence and digital rebellion shaped my taste completely and still defines what I think is good today.
The first computer that crashed into my life was the ZX Spectrum in 1984, Sinclair’s first truly affordable home computer. For the first time, you could control what appeared on your own TV. Making graphics and games became the perfect way to spend a rainy afternoon. The Atari ST and Amiga took things even further, and suddenly you could make music, art, and animation on the same machine. Most creative people of my generation started out on those computers.
Fast forward to the present and I’ve been working for 28 years across games, film, TV, web, automotive, and advertising. I’ve been lucky to work with some incredibly talented people. I’ve always tried to learn something from every job: a better process, a new technical skill, or a smarter way to handle politics. But the one constant has been the desire to make something good, to exceed what was expected.
You don’t make anything memorable by just doing the job. You have to find the part of the work you care about and push it until it comes alive. That has driven me to take on progressive challenges at the edge of design and technology.
What you see here is a snapshot in time, what I thought was right for each project, warts and all. Most of it is real commercial work for real clients, not just nice looking experiments that solve nothing. It’s work I made myself or led directly.
Making good work means turning up, putting the hours in, caring about the detail, and pushing it until it works for you in some way. You need technical understanding, timing, and the ability to spot opportunities and deliver. And you need people willing to go there with you.
That has been the thread through all of it.
I was born into an analogue world shaped by the freedom that followed the Second World War. Life was smaller and more monocultural. Your link to the wider world came through a handful of TV and radio channels, whatever was on at the cinema, and the shops your mum dragged you into. It was simpler, but it burned brighter. The post-war era gave us an incredible run of films, TV, music, comics, and toys. Star Wars, He Man, Thundercats, Knight Rider, ET, Jaws, Aliens, Trap Door, and the rise of early electronic music all left a permanent mark.
I feel lucky to have grown up then and still been young enough to catch the explosion of rave culture and the first PlayStation in the 90s. That mix of analogue innocence and digital rebellion shaped my taste completely and still defines what I think is good today.
The first computer that crashed into my life was the ZX Spectrum in 1984, Sinclair’s first truly affordable home computer. For the first time, you could control what appeared on your own TV. Making graphics and games became the perfect way to spend a rainy afternoon. The Atari ST and Amiga took things even further, and suddenly you could make music, art, and animation on the same machine. Most creative people of my generation started out on those computers.
Fast forward to the present and I’ve been working for 28 years across games, film, TV, web, automotive, and advertising. I’ve been lucky to work with some incredibly talented people. I’ve always tried to learn something from every job: a better process, a new technical skill, or a smarter way to handle politics. But the one constant has been the desire to make something good, to exceed what was expected.
You don’t make anything memorable by just doing the job. You have to find the part of the work you care about and push it until it comes alive. That has driven me to take on progressive challenges at the edge of design and technology.
What you see here is a snapshot in time, what I thought was right for each project, warts and all. Most of it is real commercial work for real clients, not just nice looking experiments that solve nothing. It’s work I made myself or led directly.
Making good work means turning up, putting the hours in, caring about the detail, and pushing it until it works for you in some way. You need technical understanding, timing, and the ability to spot opportunities and deliver. And you need people willing to go there with you.
That has been the thread through all of it.