Tim started Logomotion in 1997. Coming from an artistic family he remembers sketching logos as a child. He trained as a graphic designer/illustrator in Brighton in the late 1970s before design became dominated by the computer revolution. Part of him still misses the original processes and he always sketches ideas on paper before implementing them on the computer. His desk is usually cluttered with logo and website ideas. With the help of a friend he taught himself to use computer design programs, initially designing logos and then designing the first Logomotion website to advertise his logo designs. Gradually his web and print design skills became as much in demand as his logotypes.
Debbie graduated from Falmouth School of Art in 1992 and, with a Degree in hand, left for the bright lights of London where she worked in a design agency for 7 years. Having finally had enough of the daily Northern Line commute she sought fresh air and countryside and relocated to Bristol where she worked for 2 agencies during her 4 years there. In 2003 she left her job at the agency to learn to be a mother… however she soon missed the creative world of design and desperately needed to use her brain again so began to work on a freelance basis from home. In 2004 she moved back to her beautiful home town of Lyme Regis, on the Dorset coast where she continues to design by the sea!
Sidney Gibson FCSD is a design consultant advising on corporate identity, advertising and related promotional activities. He has spent over 35 years in the advertising industry, including 10 as MD of a city agency, and 11 starting and running his own agency. He is a Fellow of the Chartered Society of Designers and has wide experience also working on the 'client side' of advertising and marketing.
As the author of the book 'Does My Firm Look Big In This?' he acknowledges the dilemma faced by many owners and managers of smaller businesses and organisations who may feel sceptical about design and have to restrict time spent on promotional matters. But he maintains that with proper planning and support the benefits of design are attainable for everyone and proven techniques can easily be applied by both small and larger companies alike.
As a seasoned professional, Sid has the experience of knowing how things work in the design and advertising world. He cuts through jargon and superficiality to great effect and will always offer solid, practical observations and creative solutions on how to build and promote an organisation that gets noticed.
Ian is an illustrator, cartoonist and logo designer. He originally worked as an art director for several major advertising agencies. He then left to pursue a highly successful career in illustration.
Over the past thirty years he has worked for most major publications and currently contributes weekly cartoons for both the Mail on Sunday and the Financial Times. His forte is producing visual solutions to complex ideas which makes his work particularly suited to livening up annual reports etc.
Margaret is an experienced and popular children's book illustrator, who studied at the Royal College of Art in London where Quentin Blake was her tutor.
To date, she has well over a hundred titles to her name and has worked with some of the finest children's authors such as Leon Garfield, Kaye Umansky, Margaret Mahy and Jeanne Willis. She has also worked on character development such as the successful Rocks Cordials range and greetings cards.
Whilst working freelance as a calligrapher and lettering designer for print, packaging etc., anything from book covers to baby food, Ros has also produced documents as props for the film and television industry. For instance in "East Enders" an old letter reveals the birth of an illegitimate daughter in 1933. Working from a script she designed a handwriting style to suit the period and the character, used the correct type and size of writing paper, envelope, address, stamp and postmark for the period, and generated several hand-written but exact duplicates of all 3 pages of the letter and its envelope, torn open in precisely the same way, to allow for multiple 'takes'; anything out of place shows in the filming.
Sometimes actors will be filmed writing, maybe halfway through a page in a notebook. Actors act, they don't write, so Ros has sometimes written up many pages into a notebook having learned to write fluently in a specific actor's hand, because turned pages behave differently once written on, and so that when an actor continues writing in the action of the film it is convincing.
For "The End of the Affair" directed by Neil Jordan in 1999, Ros learned to write in both Julianne Moore's and Rafe Feinnes' hands, because the plot turned on the diary of the heroine, and the male lead, a writer, kept notebooks. Scattered all over the poet's attic set for Lancome's "Poeme" commercial, directed by Anthony Minghella, were notes, memo's and shopping lists 'in the hand of' Juliette Binoche. In the filming she added notes to a musical manuscript, also designed by her; many copies were needed, for nearly 200 'takes'. Ros has taught various actors to write with quills, amongst them again Rafe Feinnes (both thoughtful and interested) and Liv Tyler in "Onegin" directed by Martha Feinnes in 1999, and Keira Knightley (who was very quick to learn) and James McFaddyen for 2005's "Pride and Prejudice".