The Scarlet Dukedom — Where It Started I should probably start by saying this isn’t a design project. This is something else entirely. I’ve been drawing, building, and making things since I was a kid—model making, miniatures, sketchbooks full of ideas. Always creating. In the 90s, I found Warhammer through Games Workshop, and that was it. I was in. At college, I collected Bretonnia. Not because it was perfect, but because it felt closest to what I loved—knights, heraldry, myth, that Arthurian tone. But the more I looked at it, the more I felt something was missing. The world was there… but the story wasn’t. So I built my own. What started as an army became something much bigger—a fully realised setting shaped by everything I grew up on. Robin of Sherwood. The Three Musketeers. Classic fantasy films. The kind of storytelling that puts character and atmosphere first. I wanted to know who these people were, why they fought, what they believed in. That became the Scarlet Dukedom. A Bretonnian-inspired world grounded in chivalry and myth, but with its own identity—its own heroes, its own conflicts, its own voice. This project reflects the artists and storytellers who shaped how I see the world. From the scale of Tolkien and Robert E. Howard, to the raw energy of Frank Frazetta, Boris Vallejo, and Julie Bell. Even earlier than that—copying the bold, dramatic paintings of Rudy Obrero and William George as a kid, learning composition, colour, and how to make something feel larger than life. I don’t claim to reinvent anything. I stand on the shoulders of giants. But this—this is mine. Aquilonia — The Scarlet Dukedom Beneath a scarlet banner bearing two lions passant guardant and a single fleur-de-lys in chief, the Dukedom of Aquilonia stands unbowed between mountain and sea. Vineyards stretch beneath watchful towers. Ancient forests whisper. The coast is wind-cut, vigilant, and cold. Farmers tend their vines beneath the tolling of chapel bells. Merchants load galleys at Montreuil-sur-Mer. In Middletown, masons carve pale stone from the mountains of the duchy, while shepherds cross high hills crowned with Grail shrines. All know the truth — hearth and blood must be defended without hesitation. Fortis in Arduis. Strength in adversity. The White Tower At the heart of the realm rises the White Tower — not built upon the mountain, but hewn from it. A white fang thrust into the sky. Its walls catch the dawn like drawn steel. Authority made stone. From its heights rules Duke Flay, newly returned Grail Knight, bearing an heirloom blade older than living memory. At his side stands his Elven Duchess — once met with wary whispers, now proven in wisdom and in steel. The knights followed without question. The people did not. Trust was earned, not granted. Together, they rule with resolve. The Tower is guarded by its Castellan — a giant of a man marked by a long scar and a temper to match. Discipline tempers his rage. Strategy sharpens it. Beneath him stand the Billmen of the Tower Guard, hardened soldiers wielding hooked polearms. In their hands, the bill is a merciless weapon — halting cavalry, dragging riders from the saddle, and holding the line where lesser men would break. Across the Dukedom Across Aquilonia, keeps and border towers rise like spearheads from the earth. Realm Knights govern their lands and ride at the Duke’s call. Questing Knights, grim and tireless, seek honour through endless battle. Pegasus Knights descend from the open sky when faith demands it — swift, sudden, and terrible. Montreuil-sur-Mer guards the duchy’s sea gate — a coastal citadel of thick walls and restless harbour. War galleys and merchant vessels crowd its waters. From here rules Baron Blessed, whose hatred of Chaos burns hotter than the forge. Upon the walls stand the Yeoman Crossbowmen, their scarlet pavises locked firm as their bolts strike with crushing force. Ever watchful for raiders, corsairs, and darker things that rise from the western seas. Aquilonia’s fame travels not only by steel, but by ale — a dark mountain brew drawn from cold springs and valley barley. Even Dwarfs speak of it with rare approval. The Wildwood Beyond vineyard and village, the ancient forest breathes. Within the Wildwood dwell the Wolf’s Heads — chosen of Herne, the Horned God of the Hunt. High among colossal oaks, their hidden dwellings weave through branch and rope. Paths shift. Mists gather. Shadows linger where none should stand. Here, steel alone is not enough. Faith walks beside it. The Warrior Nuns of the Abbey fight as fiercely as they pray. The Cardinal, spiritual heart of the duchy, guides Grail Damsels and warriors alike with unwavering resolve. Aerion the Grey Erratic. Bohemian. Independent. Wise. Aerion walks the edge between brilliance and madness. Staff in one hand, Greyfang in the other, he wields wild magic with unsettling precision. A hedge wizard drawing power from the land itself — from stone, wind, and the lingering echoes of ancient Elven sorcery. On a jagged cliff at the edge of the Wildwood, he stands — cloaked, watchful. Beside him, a silent owl circles the forest below, ever searching for those clever… or foolish… enough to seek him out. Hidden behind rune-sealed hollows lies his sanctuary — a place of study, trial, and quiet danger. Few who find it leave unchanged. Example of a page entry would be Aerion the Grey ,Hedge Wizard  level 3 Ancient, brilliant, and slightly mad, Aerion wanders the cliffs and forests of the Dukedom, shaping fate with subtle magic and cunning insight. Stats: M4 | WS2 | BS3 | S3 | T3 | W3 | I4 | A1 | Ld7 Arcane Mastery:  Can cast level 3 wizard spells; all spell ranges count as D3 and ignore soft obstacles. Spellcasting Risk:  Miscast on double roll; all 1s are treated as miscasts. Grayfang:  Weapon channels +1 Strength when striking in melee. Potion Gourds of Madness:  Absorb D3 wounds; risk of miscast when used. Ancient Wisdom:  All spells cast gain +1 power; 1s remain misscasts. Call of the Mist:  Teleport into wooded terrain; may bypass obstacles. Mystic Guidance:  Once per turn, re-roll one failed die for a friendly unit in movement or shooting phase. Points:  120 pts Lore / Visual Notes:  Aerion the Grey is a hedge wizard of subtle magic and cunning. Rumored mad to outsiders, his foresight and knowledge of arcane paths make him indispensable to the Dukedom. Often perched on cliffs or hidden in the Wildwood, he aids heroes, guides allies, and bends fate without direct confrontation. Spellcasting:  Roll 3 magic dice at the start of the game to determine Aerion’s spells. He may cast 1 spell per turn (level 1–3). All spell ranges count as D3 and ignore soft obstacles. Miscasts occur on double rolls; 1s are treated as misscasts. Design Notes — Aerion the Grey Aerion grew from a mix of influences that have shaped me over the years. He carries the grounded wisdom of Gandalf, the wild edge of Radagast, and a touch of Merlin’s mythic unpredictability tied to the land itself—yes, a nod to his Welsh roots too. A bit of British fantasy crept in— The Weirdstone of Brisingamen —and even the eccentricity of the Fourth Doctor. The model itself came from Mordheim : Nicodemus, a fantastic sculpt that was unapologetically epic. I couldn’t resist using it as the physical anchor for Aerion. None of this was copied; it all simmered over time, shaping the character. Then I added my own instinct—and Aerion just clicked. The Scarlet Dukedom — Built from a Lifetime of Making “I’ve always made things. Still do. It’s just who I am.these models might look like armies on a shelf, but to me they’re something else entirely — a kind of autobiography. Every influence, every story, every film, every idea I grew up on… it’s all in there. And it still is.

How I turn instinct, chaos, and clarity into a brand that actually means something Most people think branding starts with a logo. It doesn’t. It starts with a feeling you can’t quite explain yet — something just out of reach, but strong enough to follow. That’s where every real brand begins. The Sketchbook Comes First Before anything is polished…before grids, vectors, or perfect curves… there’s the sketchbook. Rough lines. Loose thinking. No pressure to be right. That’s where the real work happens. im old school Most people rush past this stage. They want something clean, something presentable. But if you clean it up too early, you lose the idea before it’s fully formed. The Moment It Clicks There’s always a point in the process where something shifts. You stop searching. And something clicks. Not perfectly — but enough. Enough to follow. That moment matters more than anything else. Because that’s where the brand starts to reveal itself — instead of being forced into existence. Lantern Films: More Than One Meaning With the Lantern Films Collective project, it wasn’t about designing a logo. It was about uncovering something deeper. A symbol that holds more than one idea: The lantern — light, guidance, atmosphere The director — control, vision, storytelling Something simple at first glance…but layered underneath., transition from sketch to refined concept That tension — between what you see and what you feel —that’s where strong branding lives. Why Most Branding Falls Flat Most branding doesn’t fail because it looks bad. It fails because it’s been rushed. It’s built on what looks right…instead of what feels right. So you end up with work that’s technically correct —but forgettable. From Chaos to Clarity I don’t force ideas. If I have to force it, it’s usually wrong. Instead, I let the process breathe: Sketch Explore Push Strip back Refine Until the idea starts pushing back. That’s when you know it’s ready. Not when it’s perfect —but when it feels true. Branding Isn’t Decoration Branding isn’t about making something look good. It’s about creating something that means something. Something that connects even if people can’t explain why. And that always starts the same way: With a few pencil lines…a bit of chaos…and that moment it finally clicks. Final Thought If you’re trying to build a brand don’t start with the outcome. Start with the feeling. Then follow it. If you’re building something and want a brand that actually reflects it,you know where to find me.

How fantasy, comics, and long days in Wales shape the brands I create My first inspiration came as a child, copying the oil paintings of Rudy Obrero  and William George  — bold, impossible, never-before-seen visions of heroism and adventure crafted for a toy box. Nothing I’ve seen before or since has matched that sheer imagination, and I’ve always loved unusual, out-there ideas . I was also influenced by films, TV, and cartoons , and later, in school, comic books and a family of artists further shaped my visual instincts. Discovering The Beatles  taught me that “a well-directed scene or a guitar riff can teach you timing, contrast, and mood — all essential in guiding a client’s visual identity.”  Alongside the masters of fantasy illustration — Boris Vallejo, Julie Bell, Frank Frazetta, Rudy Obrero, Dali, and Magritte  — these influences continue to inform every piece I create. My time in Wales  was formative as well. Rolling hills, misty woodlands, and local stories shaped my sense of color, composition, and organic movement , teaching me that even a simple walk in the countryside can spark ideas for textures, shapes, and harmony  I use in brand work. Back in Manchester and at college , every line I drew, every color I chose, carried pieces of the worlds that inspired me. From classic comics to urban design, nature’s forms to pop culture energy, my art-led brand designs became a mash-up of everything that sparks creativity. After building a strong art history and traditional art background , mastering brush strokes, layered inks, and textures, I began creating logos and identities that feel tangible and alive . Moving onto a graphic design course , I discovered the problem-solving side of design exhilarating. Reading countless books — from mysteries to Sherlock Holmes   and Tolkien  — added narrative depth to my visual storytelling. This combination of imagination, diverse influences, and hands-on skill  is exactly what allows me to craft brands that stand out, connect with the right audience, and tell a story worth remembering . These influences are the fuel for every brand I craft . They allow me to create identities that are distinctive, art-led, and tailored to the client’s vision . Curious how this perspective could transform your brand? Explore my [portfolio] or get started with your [Starter Kit] today.

When I’m not designing brand identities or illustrating posters, I’m a lifelong geek and collector. I love exploring classic sci-fi, fantasy art, and model making — and sometimes I even review the figures that inspire me. “Anthony Ainley Master figure review — part of my love for sci-fi, collectibles, and inspiration behind my creative work.” This is the Master I grew up with: campy, theatrical, but utterly enjoyable. You could tell Anthony Ainley loved  being the Master, and his Master loved being the Master. It’s that energy and flair that made the character unforgettable. Doctor Who was my escape back in the day — and still is. I’ve always loved the creativity and imagination of the show. Back in school, being creative imaginative marked me as very different, but Doctor Who fueled my imagination and creativity. i loved the 4th Doctor he was as alien as i felt, I still think it’s one of the best programs ever invented, and considering it was a BBC in-house production made on a shoestring budget, it’s a miracle how much genius and creativity went into every prop, model, and storyline. That resourcefulness continues to inspire me to this day. Ian Chesterton : ...Let me get this straight. A thing that looks like a police box, standing in a junkyard, it can move anywhere in time and space? A Alien Time & Space machine shaped like a old Police Box thats multi dimensional (Inside /out different dimensions) that can travel to any planet in any cosmos or reality and to anytime in thats planets history ,controlled (when possible) mostly just drifts where wants to by a Alien benevolent and curious eccentric and old fashioned (oh and has a Timelord trick to cheat death, he Regenerates into a new man ) , thats just rocket fuel for the imagination Enjoying my review? I also create bold, art-led branding, illustration, and visual identity for creative businesses. [Contact me] to bring your ideas to life.

I’m Ben Flay — a brand designer, traditional artist, illustrator, and all-around creative. I design bold, art-led brand identities, make posters, draw book covers, and bring ideas to life — all with a mix of craft, strategy, and a bit of creative fire. I play guitar, geek out on sci-fi & fantasy, and make miniature models. Every project I take on is infused with craft, imagination, and storytelling. I work with individuals, creative businesses, and corporate clients across the UK (and beyond). Services / What I Can Do For You presentation sheet board Visual Identity & Brand Design Illustration for Businesses Posters, Book Covers, and Bespoke Artwork Full Art-Led Branding Packages Ready to make something bold together? [Contact M e] click on any link to chat