While London is often seen as the epicentre of the arts in the UK, cities and towns outside have forged their own distinct identity. Bristol is a city that’s been shaped by independent culture and a sense of rebellion. This has seeped into the work of the University of the West of England’s graduates too, and for graphic designer Toby Revell, an anti-mainstream stance can be found through his project Daily Sh*t.

On his cleverly designed website, Revell has posted images from the project – “a “newspaper that contains 25 differently approached designs that take on the mainstream news headlines from the summer of 2024”. Aside from examining negative news cycles, Revell’s work encompasses playful and humorous illustrations. Surveillance is a common theme in his work, and forms the basis of projects such as a book called Eye Can See You. For another, entitled How NOT to be a Spy, the designer has created a satirical zine on what not to do when trying to become, well, a spy.

“My time at UWE Bristol over the past four years has been hugely important in shaping both my development as a designer and my growth as a person,” he says. “The course constantly challenges you to think beyond the obvious – to find new and original ways of visually communicating ideas. I’ve really enjoyed pushing my creativity through critical thinking, hands-on processes, and working collaboratively with others. It’s helped me build confidence in my design voice while learning how to approach problems from different perspectives.”

As with most graduates, Revell is in the process of figuring out his own style and his university experience has been instrumental in providing him with a sense of direction. “I’ve come to understand where my strengths truly lie. It’s not about having one distinct visual style but it’s more about the way my work makes people feel,” he observes.

“It wasn’t until my final year that I realised my strongest work often comes through humour and satire. I don’t intentionally try to make everything ‘funny’, but I’ve noticed that I naturally approach projects in a playful way, whether that’s through the concept itself or the way it’s visually executed.”

Another area that’s shaped his work is Bedford, and the market town is the subject of his project Neighbourhood Watch. “It’s a very local, close-knit environment. You constantly see familiar faces, everyone knows the local pubs, and it feels like you’re always aware of what’s going on. That kind of community connection can be both comforting and at times a bit intense,” he muses.

I believe that if designers completely avoid AI, they risk falling behind. It is important to use AI to support our work and stay current

One day, Revell started paying attention to a Facebook group he’d been a part of for years. The group connects together four neighbouring villages, but the dynamics, he found, felt disjointed and provided him with plenty of amusement. “One minute someone’s selling a single wooden plank, the next it’s someone complaining about kids on bikes!” he points out. “It can flip between wholesome, absurd and passive-aggressive in seconds. That tension between friendliness and nosiness really stood out to me.”

Inspired by the group chat and The Simpsons, he worked on capturing these unpredictable dynamics through a fast-paced, episode-style animation. Set against a calm, friendly village backdrop, Neighbourhood Watch mirrors life in Bedford. Revell describes it as “peaceful on the surface, but with an underlying sense of gossip and quiet surveillance”.

He explains, “I used characters popping up from behind windows, fences, and walls to represent that sense of being watched, or watching others. While it looks playful and cartoonish on the surface, the video holds deeper significance beyond its appearance: online groups acting as virtual surveillance tools in local areas.”

Graduates are entering a landscape that looks vastly different now than before, and virtual tools, such as AI, have brought up mixed opinions. For Revell, he’d rather AI wasn’t used though he admits that it’s inevitable in graphic design and that adapting is necessary. “I wouldn’t want to use AI to create visuals for me completely,” he clarifies, “but I have used it and would continue to use it as a tool to help develop concepts.

“I believe that if designers completely avoid AI, they risk falling behind. It is important to use AI to support our work and stay current, because it can offer many advantages when used thoughtfully.”

Another challenge is, of course, entering the job market. Revell is actively looking for both paid and unpaid opportunities. His next step is also to develop his skills in motion design while continuing to branch out. “I want to become the best version of myself,” he says, “and I believe working alongside other talented creatives in any area of design will help me achieve that.”

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