Have you always been interested in art? Since as far back as I can remember. I was always drawing as a child, both at school and in my spare time, and I was actively encouraged by my father, Denis. It was seascapes that really caught my eye, and, as an adult, I was able to capture the sheer rage of the sea in my paintings. I originally wanted to be an Art Lecturer and studied locally at Cauldon College, taking Art, English, and Sociology A levels in one year from 1976 to 1977 by cramming at evening classes. I had to move fast because I joined Royal Doulton in December of 1977.
	What was the appeal of Royal Doulton? A close friend who had applied for a post there suggested I might become a Figure Painter. Royal Doulton had a world-class reputation and a move to the company was a logical step; my father was a kiln bricklayer and he was very familiar with the business, the ceramics industry, and the area.
	You have always worked solely for Royal Doulton? Absolutely. I was an On Glaze Body Painter from 1977 to 1979 and an Under Glaze Painter from 1979 to 1982. It's unusual to combine both skills - the first technique consists of painting subtle hues on a glazed figurine and fixing it by firing, while the second involves painting directly onto the biscuit earthenware, allowing the colour to soak in and so create multiple layers of colours. From 1982 to 1998 I acted as an On Glaze Decorator, and became a member of the Pricing Committee in 1983 which saw me painting all the first editions. I also had a great time up and down the country doing figure painting demonstrations at Michael Doulton Events, most notably at the Hadleigh Chain of Stores in Aylesbury where we chalked up a lot of sales and I got a commendation for my work. I acted as a Team Leader from 2000 to 2003, and I currently work as a Decorative Designer.
	What would you say has been your greatest challenge? I think being made a Team Leader as part of a restructuring. It put me in charge of people with more experience than me per se. Nevertheless, following an initial meeting, we built the team spirit we needed to make a success of things. It was productive and constructive period for all concerned. Well, I am a referee in my spare time…
	Tell us about some of your major achievements to date? Apart from being a Team Leader, design really is the most satisfying of roles. I'm thinking of the latest Annuals, such as Emily - Figure of the Year 2006, Happy Birthday 2006, Megan - ICC Exclusive 2006, Autumn Stroll - ICC Club Gift, and the Cherish - Charity Figure 2005/6. With Emily, for example, I had the freedom to decorate the piece heavily in deep, rich colours, and finish it off with gold trim. This sort of attention to detail really adds value for the serious collector. Recent introductions have been a pure joy because of the amount of team spirit involved.
	How much research is involved in decorating a figurine? We have a team of three decorators with over a century's combined experience, so there is that knowledge to draw upon, as well as, of course, Royal Doulton references and Archives. We have our own books, keep an eye on the trade press and competitor activity - and the internet has proved invaluable.
	Can you describe a typical working day? I open the department at 6 am, empty the kilns that have been fired overnight, do some prototype work, liaise with production on the Far East, attend prototype meetings and research, take four to six prototype design photographs, help with the wording for Certificates of Authenticity…so it's genuinely varied.
	What do you particularly enjoy about your work? It's the creative spark of working on something new, having a challenge and coming up with the new ideas. There's also the buzz of reviving a past technique, such as the Royal Doulton 1960s and 70s florals on the latest Pretty Ladies. So you get the best of both worlds, aspiring to the trend setting while retaining older practices.
	What are your views on mixing old techniques with new technology? With a team like lours we are very strong on those 1970s skills and know-how, including the hand painted multi-layering of colours. You can see this in the deep red and black on the Hannah figurine, launched in early 2006. You can also see the same technique on Jennifer from mid-2006. Yet computers also feature in our work, especially when it comes to liaising with industry contacts.
	You clearly like the working culture? We have a team of three Decorative Designers - myself, Dave Capewell, and Tom Mason - and we work closely with the modellers, Alan Maslankowski and Shane Ridge. So we gain a great understanding of styles and approaches at prototype level, even the historical background. Together we aim to re-invent the rich old Royal Doulton style of painting, and really build on the heritage of the company.
	Do you have any role models? Since I've been allowed to bridge the gap between On and Under Glaze, I'd have to pay tribute to On Glaze Supervisor Mick Woodhouse and the late Under Glaze specialist, Brian Evans. I also have the greatest respect for the current team of modellers and decorators.
	And what are your thoughts for the future? We're currently working on the 2007 Annuals - Pretty Ladies Petites have proved a great success. Above all, though, it's really this question of recreating old Royal Doulton class in all we do - we like to think of its keeping the dream alive.