����logo���

Over 40 years, Tim’s exquisite craftsmanship has adorned Royal Charters, letters patent issued by the monarch and even coins in the nation’s pockets. In that time, Tim has earned an international reputation for the precision and beauty of his craft. His work blends traditional and contemporary methods, underpinned by a deep understanding of heraldry, symbolism and natural history.

In 2022 he was commissioned by the College of Arms to design a new Royal Cypher for His Majesty King Charles III. He also designed the Stole Royal, worn by the King at the Coronation, cementing his place among the country’s most distinguished artists. Last year, his contribution to calligraphy, heraldry and design was recognised with an MBE in the King’s Birthday Honours.

As 2026 marks his fortieth year in the profession, Tim reflects with characteristic modesty on a life’s work shaped by patience, precision and a deep respect for tradition. “I was always interested in art and history,” he recalls. “As a child, I loved knights, castles and anything medieval.” By the age of 12, he had joined his local heraldry society, mixing with enthusiasts many decades older. “They invited me along to evening classes with an artist from the College of Arms. I made it known to them then that I’d like to work there.”

After studying calligraphy and illumination at Reigate School of Art, Tim began working in 1986 with the College of Arms, the official body responsible for heraldry in England. Today, his designs appear everywhere — particularly the design of His Majesty’s Royal Cypher, a monogram that is one of the most recognisable symbols of the new reign.

“I was delighted to be asked to design it because it’s such a one-off special piece of work — the last one had been designed 70 years ago,” he says. “I’m amazed at how much it’s used. It’s everywhere — on post boxes, flags, uniforms, coins and stamps. It has become so rapidly identifiable with the King, which is something I'm very proud of. Someone from Buckingham Palace told me the King loves it and wants to use it as much as possible, which was very nice to hear.”

Despite this visibility, much of Tim’s work has traditionally gone uncredited. “My name is often not associated with the work I’ve done,” he admits. “It was very nice when the MBE was announced, it mentioned that I designed the Cypher and the Royal Arms and everything. I was grateful to be recognised because for a long time if you googled who designed the Royal Cypher, it would say the College of Arms. It feels like it could be a committee rather than one person with a creative mind behind the design.”

Designing the Stole Royal — the embroidered vestment placed around the King’s neck moments before his crowning — was one of the most memorable experiences of Tim’s career. Working from a detailed brief provided by the Palace, Tim incorporated heraldic and religious symbols into a flowing design that could be faithfully interpreted by the Royal School of Needlework. “They made a wonderful job of it,” he says. “They interpreted it exactly as I would have hoped. My idea was to put some of the badges on little roundels and the Royal School of Needlework liked that idea because it meant that they could sew them separately and have several different people working on individual ones and then they put it all together. Then I designed a sort of framework to hold the whole design together – a continuous chain-like pattern.

“Watching the Coronation on television and seeing the Prince of Wales put the Stole around the King's neck, then seeing him sit down on the throne and have the crown put on him was incredible and moving. It felt like a special landmark moment.”

Alongside his remarkable professional success, Tim speaks fondly of his time at ����logo���, where he completed his BA in History of Art while working full time. “It was hard work, but I absolutely loved it,” he says. “The tutors were amazing, and I made some really good friends. I’m still close to some of them now.” After graduating, he went on to study for an MA at the Courtauld Institute with one of his visiting tutors from ����logo���. “I’m sure my studies all feed in to my artistic work — I go to a lot of exhibitions and I’m always looking at other artists’ work. It all inspires me.”

His favourite memory from his time at ����logo��� is “a fun and sociable” trip to Florence with his classmates. Looking back nearly thirty years later, Tim describes his studies as a defining chapter in his life. “It was a really important part of my life and something I’ve never regretted doing.”

As he marks his fortieth professional anniversary, Tim remains as dedicated to his craft as ever. “I feel very lucky,” he reflects. “I’ve had the chance to do things that only come along once in a lifetime.” Whether he’s illuminating a charter, designing a coin or refining the heraldic symbols that define a new royal era, Tim continues to approach every project with the same care and curiosity that first inspired him as a child — proof that craftsmanship, like learning, is a lifelong pursuit.