• That’s up to you.

    I cover the full process from concept through to preparing the final CAD model for engraving.

    Some clients want me to come up with the ideas, some just want me to prepare the models.

    I can also tidy up existing models, or replicate old/ damaged pieces.

  • This depends on the complexity of the job, but my MO has always been commercial agility.

    ‘Fit for purpose’ is often taken to mean ‘not quite good enough’, but I see it as the skill of understanding where the value lies in a project, and not spending time on areas that don’t matter.

  • Less than you think.

    I work on an hourly rate of £70 GBP p/hr, and a single model usually comes in around the £600GBP mark. Working on an hourly rate allows clients to pay for the value they need. I usually agree a rough starting budget and work to a useable product, so revisions are always QOL improvements.

    Working digitally means that there’s no material costs or physical process to consider - the timescale for a 10’ memorial sculpt is the same as a 10”.

    Some of my commercial clients load the product development costs onto the price of the final object (especially in the case of collectible coins), so fixed costs help keep parity in P&L accounts. I can work this way too, if we agree costs and revision boundaries up front.

  • I’m a commercial, white-label modeller. On settlement of invoices, you own the concept, artwork and 3D files.

    Some things to note:

    1)I don’t breach copyright. Clients who supply artwork or reference images are asserting that they have legal rights sufficient for me to a) use those images as direct reference for a bas-relief sculpture, and b) adapt the images as necessary to fit the process contraints of that sculpture.

    For concepts generated by me, I draw everything from scratch, so any reference images are used solely as WIP guides. Portraits of deceased, notable figures (Winston Churchill, for example) are more oblique in their legal requirements, so please let’s chat first.

    2) Whilst ownership of design IP passes to the client on settlement of invoices, I do reserve the right to take action if my work is used in ways that are illegal, likely to cause offense, or damage my reputation.

    3) Transfer of IP rights to a client does not include the source 3D files. I invest considerable time streamlining my work to remain commercially competitive, so my source files contain bespoke processes. Transfer of IP does not include those processes, ony the completed ‘flattened’ sculpture.

I learned to sculpt the old fashioned way - Plaster of Paris and clay.

I spent much of my apprenticeship hand carving animals and letters out of blocks of steel.

Now I work digitally, which allows me to work for anyone, anywhere.

My skills and approach are very much old school, but working digitally removes old school material and process constraints, which means I can spend more time adding creative value.

My MO is always to add value where my clients need it, and to deliver a usable product regardless of budget.

My work finds its way into coins, medals, ceremonial artefacts, and packaging.

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