photographer, designer, filmmaker & bicycle mechanic.


New work – Illustrating Dr Bike


Dr Bike online media 2016

In 2015 I embarked on a project at The Bike Station, to create an extension of Dr Bike, attempting to empower the general public and demystify the technicality of bicycle maintenance. Sound familiar? Demystification is something I have been into for a while, though I hadn’t really taken it into the realm of infographics before. The 2015 media was printed as 3 distinct Z-Cards which worked well, but lacked the media push to make them truly public.

This year we decided to revamp the Z-Cards adding a fourth, for symmetry. Professor Chris Oliver, Scotland’s premier hand surgeon and epic ambassador supreme of cycling social media and the link between science, medicine, politics and enjoyment, offered his support in writing material for the 4th pamphlet, in exchange for being able to share the media with his 17.3k Twitter followers. A pretty good deal all round.

Downloadable versions of the printed material are here: drbike1 drbike2 drbike3 drbike4 And on The Bike Station’s website. The printed material will be available from The Bike Station’s 15th birthday (and having recycled over 50 000 bikes), this coming Saturday 22/10/16.

Breaking these into around 40 Twitter friendly infographics has opened the possibility for the media to be expanded gradually, and my next additions will add a series on “family friendly” cycling – trainers vs balance bike, kid’s seats, trailers etc… And addressing different aspects of comfort on the bike, possibly with some tips from Douglas Shaw at Edinburgh Bike Fitting. Saddles, their differences and their comfort. Underlying physical imbalances. Ape-factor (relationship between upper body and lower body length) and how this can often leave you with a bike that is too big… I think there is a lot that can be put into writing and shared with #DrBike which will help people understand things that will help improve their experience of cycling and – in the long run – bring more active business to the industry.

Tobias Feltus:

Constructive Criticism and the path to being able to deal with stuff.

I’ve been banging on about how my Master’s ruined my career as a designer ever since I finished the degree (it left me over-qualified, too old and with no experience to get jobs in agencies), but rarely discuss the things that I did learn. And by learn, I am not talking about books read, nor theories learned. Not taught subjects, no. I mean the ability to adapt, to take on board, and to explain myself when misunderstood. Qualities which are transferrable.

In 1999 I moved to Edinburgh for my BA. I had already worked as a photographic and printmaking technician at Civitella Ranieri, and was reasonably adept at drawing, painting and sculpture. It was part of the way I had grown up, and I was generally very confident in what I did, as I had no reason not to be. The internet didn’t really exist, so my only pool of comparison and competition were my immediate friends or successful thises and thats who were published in books.

My painting tutor in first year was the first person to challenge my bubble. He basically forced me to unlearn and re-learn, punching a hole in my comfort zone. Initially this was damaging – of course – but it was also a necessary step for me to break from a linear approach to painting (starting with a fine line, moving from one side to the other, and then building up to darker hues) and allow me to loosen up, which then in turn let me learn to adapt and understand techniques or artists who I previously discounted as poppycock. One day I remember blocking in a large sheet of double-sided card with a big brush and runny acrylics, simplifying the geometry of the room we were in as a background for the still-life, when I abruptly came to the realisation that I understood Mondrian – an artist who’s work previously had been little more than wallpaper to my understanding, but which suddenly had opened out into vast cityscapes, simplified both in form and colour. Sadly I do still seem to need to understand to appreciate – life would be easier if this were not the case.

In 2nd year I was studying design, and most of my course was structured around developing briefs. We would be given a scenario, and a toolset, from which we would need to form a solution that we could then describe and justify. Had we been studying law, our solution would have been the defendant and evidence the toolset; the tutors were the prosecution and the rest of the class a jury. We would usually have an interim and final group critique for each brief, and a few of us rapidly adopted a routine that involved going to the pub after a crit to discuss who had “won” the crit, and continue discussing our various approaches. By winning, what we meant was who had given the best overall presentation, leaving the least number of holes that could be questioned or – if questioned – were answered promptly and eloquently. This process involves a lot of lateral thinking, simplifying your presentation, understanding why you make a series of decisions and – above all – feeling comfortable with the fact that being questioned or challenged is both a learning tool and part of the process of growing up. This is constructive criticism.

So what does this mean now? I instinctively circumnavigate a debate, without making it an argument. I comfortably explain why I continue to use analogue photographic equipment without really leaving anything to criticise… Last year I was working on the Ooglies (a stop-motion animated series for BBC kid’s TV), and as a head of department I had the director and producers above me, and a team below me. I had to be able to express how I wanted things to progress to my team, without explicitly forcing them to follow a blueprint as we had to move forward without having finalised a lot of details of the production. I also had to be able to receive instruction from above, work on things and be able to adapt to the changes they would ask me to make. Often you will find that clients, producers and directors are not visually eloquent. For example they would tell me A, I would bring them drawings of A, and they would then say “no, B”, to which I would have to adapt without feeling assaulted. In this kind of a situation everyone thinks they have the most stressful and important job of the team, and the way that I was able to keep things moving smoothly was to be able to adapt rapidly. To then adapt B to C without as much as rolling my eyes, after B had been built and was, I had thought, ready to go.

No, of course I’m not perfect, I’d be insane to even hazard the thought. Of course I still have opinions and feelings that get hurt and can make me angry, but without that initial experience of having to develop briefs and take peer and academic criticism on board, adapt and try again cyclically, I would not be suited to working in any aspect of the creative industries today.

Tobias Feltus:

My old (design) site…

My old website comes from a time which feels so remote now. Web design now seems to be all about short content and being readable on a small phone, but when I branded my work as FeltusFecit a ‘cool’ site was still heavily steeped in Flash and Javascripts giving it automated animated functionality to create an alleged wow-factor. I remember the excitement of waiting minutes for a site to load, to view the amazing functionality which, amusingly, was not necessarily accompanied by any real content.

So my site was clever, as I developed it to look like a complicated flash site, but be fast and compatible with non-flash browsing. Nowadays, however, it tends to fall apart as mobile browsers don’t support a lot of the depreciated tags which I used liberally to construct and nest my slices and change content in iframes.

Have a look HERE.

Tobias Feltus: