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Bio - New Short Version

Ed was born in York, England in the late Sixties. As a child, he loved drawing & making stuff and was fascinated by anything mechanical. He harbored dreams of one day becoming a racing driver or working on a garbage truck. Instead, he spent four years at art school, then washed dishes and cleaned hospitals for a living.

Following this, he worked as a model maker for film & TV before going on to become an award winning, Swiss trained watchmaker; working at the Royal Crown Jewelers in London, England restoring antique wrist & pocket watches.

Ed was working towards a life of quiet introspection in Switzerland, restoring & assembling high end watches.

Instead, a move to Canada in 1999 ended all that.

Ed had to abandon watchmaking, learn how to use a computer and forged a new career making photo-realistic images & movies of yet to be built architectural models & interiors. In his spare time, he uses the same technology to produce weird pictures and has been working in this medium for over a decade. He also works with mixed media, abstract metalwork & jewelry.

In the Summer of 2012, Ed moved on from Digital Art to concentrate solely on his mixed media, jewelry & sculpture production.

A quiet man, Ed enjoys spending time with his family, music, movies, beer and tinkering in his workshop.

He also feels very lucky to be living & working in the Okanagan - a very beautiful area of Canada.

Bio - Old Long Winded Version


Born in York, England in the late sixties. Like all kids, I loved drawing and making stuff, and was fascinated by cars, motorbikes, tanks - anything mechanical. All through my childhood I wanted to be an artist when I grew up... along with being a racing driver and working on a garbage truck.

Art School

Leaving school at 18, I studied for 1 year on a local Arts Foundation course before doing my 3 year Degree in Graphic Design at Leeds Polytechnic. I studied pure Graphic Design for 1 year, before moving over to the Illustration department where I drifted into 3D illustration. Using an old Bolex movie camera left behind when the film-making course there had been closed down, I experimented with stop frame 3D animation. I soon became more involved with the construction of the models and sets than with the actual filming.

I graduated in 1988 and signed on the dole like everyone else in England at that time.

More images coming as soon as I can find them


Over the next few years I held down a number of dead end jobs while continuing with my modelmaking activities in our garden shed. I was becoming more involved with small scale metalworking and machining, constructing metal figures around old items that I found in junk & thrift shops. I would give them jointed metal legs, arms and fingers.

Meanwhile, I had been visiting modelmakers and film companies throughout the country, trying to get my foot in the door. Eventaully, I landed a job with a small modelmaking company in Manchester called Mackinnon and Saunders - a great bunch of people who were closely linked with Cosgrove Hall films, and specialised in the construction of jointed figures for stop frame animation. Over the next couple of years I got the chance to work on a variety of TV and movie projects including, briefly, Tim Burton's 1996 film Mars Attacks. My job was armature construction, building up the jointed metal skeletons inside the moulds which were then injected with foam latex to make the figures.

Though this was very interesting work, like all film work, it could be pretty sporadic. Also, seeing the advances being made in computer animation at the time, I figured I could soon be on the dole again so I decided to move on in a different direction.

More images coming as soon as I can find them


I had been introduced to the work of of famous English watchmaker George Daniels through his landmark book Watchmaking, which I had read cover to cover several times picking up small scale metalworking and machining tips. This was the direction I decided to follow so back to school I went. I studied Horology (the art and science of clock & watchmaking) part time at a small college in Manchester. In my spare time I was back to mopping floors to pay for it, plus whatever I could pull in from the modelmakers.

I graduated in 1996 after 3 years of study, and was the top student in the country, winning the British Horological Institute's bronze Medal. Thanks to funding from Worshipful Company of Cloackmakers I was able to continue my studies in Switzerland at a small school in Neuchatel.

Following this, I returned to England and spent the next few years working in the centre of London at 2 of the top restoration houses, restoring antique timepieces, mostly wrist and pocket watches. Meticulously dismantling and rebuilding the complex movements I often had to make missing or damaged components from scratch. The oldest piece I worked on was a clock from the 1700's. We also restored high end wrist watches up to the 1960's from Swiss manufacturers such as Rolex, Patek Phillippe, Vacheron Constantin, Jaeger-le-Coultre etc.

These few years in London were a very rewarding period in my life, but towards the end of the 90's, me and my wife were getting tired of the crowds and expense of living in the centre of London. So once again, we decided to move on.

To find out more about the world of high end watchmaking & restoration, check out the Links page under General Interest.

Click here to see photos of some of the watches I restored.


After a planned move back to Switzerland fell through, we decided to move out here to Calgary, Canada, landing in the Fall of '99. It quickly became clear that I wouldn't be able to make any kind of living out of watchmaking here, so following a brief period of panic, I decided to follow up on some previous training in technical drawing, and went back to college to learn AutoCAD. In the last weeks of the 20th century I had to finally give in and learn how to use a computer.

In early 2000, my training landed me a job as a draughtsman at a local furniture manufacturing company. This was now at least helping to pay the bills but I soon grew bored with modifying shop drawings all day. So I went back to college on a night to learn 3D Studio MAX in the hope of landing some more interesting employment. The company I worked at had a small Imaging department and as luck would have it, a vacancy appeared just as I was finishing my courses. I applied and managed to land the job. I spent the next 3 years producing computer generated, photo realistic product renderings and c.g. movies and flythroughs of various environments.

A visit to the computer graphics conference SIGGRAPH in LA in 2001 really opened my eyes to the c.g. world and it's limitless possibilities. In 2004, I moved to a small architects firm where I worked briefly before being offered the opportunity to be one of the first employees in a start up company that designs and manufactures office interiors. I now work as part of a small Imaging team, again producing computer generated images and movies of our products.

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