Interview with Westley Richards Graphic Design Team

One team I work particularly closely with in all areas of graphic design is the duo Colin Townsend and Rachel-Elizabeth Harris, who recently completed the Collections 2025 brochure, captured in the beautiful surroundings of The Gleneagles Hotel in Scotland.

Tell us about your background and where you grew up?

Colin - I am a Silhillian. Born, raised and educated in Solihull, home of Land Rover Cars. Back in the late 1980’s and early 90’s, I produced marketing literature for Range Rover North America - at the time that was the only vehicle Land Rover sold in the North American market.

Rachel - I grew up near Birmingham city centre, close to the historic Gun Quarter. The city’s vibrant multicultural atmosphere and rich arts and crafts heritage set the stage for my artistic journey from an early age. 

Did you always want to be a Graphic Designer?

Colin - Initially I wanted to become an architect but typically it takes seven years to qualify and for me, that was too long. I had always loved drawing and painting but was keen to apply my talents in the area of design so graphic design seemed a natural choice.

Rachel - I've always had a creative side, growing up immersed in arts and crafts, which allowed me to explore various forms of expression. My original dream was to become a veterinarian. However, everything changed when I reached the stage of selecting my GCSE options. One of my teachers introduced me to graphic design as a new subject, highlighting its potential for creativity and problem-solving.

I realised that graphic design not only fulfilled my creative passions but also allowed me to make an impact in ways I hadn’t considered before. Looking back, I’m genuinely thankful for that defining moment in my education, it set me on a path I truly enjoy. It’s been a rewarding journey, and I can’t envision pursuing any other career.

Where did you study and what did your education entail?

Colin - I did a one year foundation course at my local art college before going on to study at Saint Martins School of Art in London. 

Rachel - I studied Graphic Communication at Solihull College, which laid the groundwork for my passion in the field. Following that, I pursued a BA (Hons) in Visual Communication at Birmingham City University, where I had the opportunity to explore a wide range of subjects.

During my studies, I delved into photography, sharpening my eye for composition and lighting. I also embraced illustration, experimenting with different styles and techniques that enriched my creative expression. My specialisation in typography has been particularly significant; I’ve developed a deep appreciation for how type shapes communication, influencing both readability and aesthetic appeal.

Each of these experiences has contributed to my unique perspective as a designer, preparing me to tackle a variety of creative challenges in my career. 

How long have you been at Westley Richards? And what did you do prior to joining the business?

Colin - Westley Richards have been a client of mine for the best part of 30 years. I was introduced to Simon Clode by a good friend. Simon had just taken over as managing director of the business from his father Walter, and he recognised the impact and importance good design can have in promoting a business. There was never a significant budget to work with and Simon would often say to me he pursued many of these projects because he wanted to do them not because he had to. We found creative ways of doing great work on a tight budget. You need to collaborate with good people to support your efforts - photographers, writers and so forth. I turned my hand to various illustrative styles when required and I was able to pull in a few favours from friends to keep costs down. 

I remember meeting Simon for the first time and sitting down in his office at the Bournbrook factory. There was stuff everywhere - old cartridge boxes, shooting ephemera, interesting framed photographs and piles of old ledgers. I was hooked and then I saw some examples of the superb guns they were building.

Prior to my relationship with Westley Richards I had worked as a designer, art director and later creative director for over 20 years. I continued to serve other clients across a diverse range of businesses but my relationship with Westley Richards is the longest I have ever had with any client over my career.

Rachel - I’ve been with Westley Richards for 13 years, joining right after I graduated from university. Before that, I worked part-time as a visual merchandiser while I was completing my studies. This experience not only honed my skills in visual presentation and customer interaction but also provided me a solid foundation in understanding brand identity and product placement. Balancing my job with academics taught me valuable lessons in time management and collaboration, which have been crucial in my development within Westley Richards.

Who would you count as mentors in design?

Colin - I don’t think I could name any mentors as such but I have always admired the work of Pentagram. Originally founded in London it now has offices internationally. Despite changing partners within the business their work has always been of a consistently high standard and crucially for me it has always been ideas led and NOT style led. Their approach is how I like to work. If you are working for a company like Westley Richards you cannot apply a variation on a design solution that you might use for say a high tech company or a business working in the financial sector. Businesses are very particular, especially gun companies that invariably have a lot of heritage. This needs to be reflected in the way the brand presents itself while still recognising that this is a modern business working in the 21st century. 

Rachel - Colin Townsend. I’ve had the privilege of working alongside him for 13 years, and I can honestly say he’s taught me a great deal during that time. His guidance, expertise, and approach to design have been invaluable to my professional growth. I’d also like to mention Simon Clode. He saw potential in me early on and constantly pushed me to reach my full potential. His belief in me made a lasting impact on my career.

Share some highlights of projects you have worked on together at the company?

Colin - The bicentenary book would have to be considered a highlight. It was the first project Rachel and I worked on together. I also particularly enjoyed working with Rachel on the 'The Explora' journal which was something we had started with Simon before he sadly passed away. Trigger resurrected the project and was determined to produce it, partly as a tribute to Simon. I should perhaps also mention an early project ‘The Black Brochure’ as it came to be known as, a company catalogue published in 2000. I designed and art directed the photography for it over a three year period during which time the design changed dramatically. We were waiting for guns to be completed so that they could be included, perhaps most notably the ‘Hummingbird Gun’ that Rash (Rashid el Hadi) had so stunningly engraved.

Rachel - I would say there have been highlights across all the projects we've worked on, especially given the high standards we strive for and the positive reception of the work we create. One project that stands out to me personally is the design of the Bicentennial book - In Pursuit of the Best Gun 1812 - 2012. It was a significant opportunity for me, as I was brought on as an intern to work alongside Colin on such an important project for the company. Fresh out of university, having the chance to contribute to a milestone like this was a huge deal. A lot of effort and care went into the project, and I'm incredibly proud to have been a part of it.  

Working on 'The Explora' journal was also a highlight for me, as it was the first major project we tackled after Simon’s passing. We put a lot of heart and effort into it, and I truly believe we did an amazing job. I think he would have been proud of what we accomplished.

How has your understanding of graphic design changed during your time at Westley Richards?

Colin - It hasn’t.

Rachel - My understanding of graphic design has deepened significantly during my time at Westley Richards. Initially, I viewed design primarily as a visual aesthetic, focused on creating appealing graphics. However, I’ve come to appreciate the strategic role that design plays in storytelling and brand identity.

Working on various projects, I learned how to align design elements with the brand's values and target audience. Collaborating with other teams highlighted the importance of communication and feedback in the design process. I've also gained a greater understanding of how typography, colour theory, and layout can influence user experience and perception.

What do you enjoy about your role?

Colin - Over the years I have worked on just about everything connected with the way the company presents itself from a marketing perspective - branding, packaging, promotional literature, publications, website etc. To have been able to play a role in helping to create a distinct identity for the company and its range of products has been very rewarding.

Rachel - What I enjoy most about my role is the sheer variety. There's always something new to work on, which keeps things interesting and challenging. I love that no two days are the same, and there’s always a wide range of tasks to tackle, from creative projects to problem-solving. The constant variety keeps me engaged and motivated.

The planning, effort, and research that go into the design projects here at Westley Richards are what make them truly stand out. Every project involves a deep dive into the details, ensuring that we deliver work that meets both creative and strategic goals.

Tell us about the Collections 2025 brochure that you recently completed at Westley Richards? 

Colin - This is the sixth year the 'Collections' brochure has been produced. We update the design each year while maintaining a similar format. Photography is key so we try and create a design that does not distract attention from the imagery. Westley Richards' photographic team shoots about 2,000 images and we get a long list of about 1,000 photos from which we have to select around 40-45 for inclusion. We like to have a narrative running through the brochure rather than a compilation of disjointed images so the selection process and getting the running order working is quite important. Ultimately the whole production is down to teamwork and there are a lot of us at Westley Richards working to bring the project to fruition.

Rachel - Our latest brochure was photographed at Gleneagles in Scotland, and the results are stunning. The careful planning and effort that went into showcasing our newest collections really stand out, capturing the essence of each piece beautifully. The breathtaking landscapes and elegant settings provided the perfect backdrop, enhancing the visual appeal of our collection. We aimed to create an immersive experience that not only highlights the quality of our products but also evokes the spirit of the location. We’re excited to share this journey with our customers and inspire them with our latest product ranges!