Skip to content
Built to Last, Made Personal: Jo Burt's Custom Kinesis Built to Last, Made Personal: Jo Burt's Custom Kinesis

Built to Last, Made Personal: Jo Burt's Custom Kinesis

We all love the excitement of a brand-new bike and the promise of the latest technology. But sometimes the best stories come from the bikes we've already shared thousands of miles with.

Long-time friend of Kinesis Bikes and legendary artist, Jo Burt, knows this better than most. After years of adventures, his trusted Kinesis had earned every scratch and scar along the way. Rather than replacing an old favourite, Jo chose to give it a new lease of life, commissioning and working with the talented team at Fatcreations to create a one-of-a-kind custom paint finish that celebrates the bike's history while preparing it for many more miles to come.

It's a story about craftsmanship, individuality and the enduring appeal of a bike that's truly built to last.

Story by Jo Burt

I love my bike, but to put it bluntly, it’s shagged out.

I’ve had my Tripster AT for 7 or 8 years now, and it's safe to say it’s had a tough paper round. As a gravel bike, it’s enjoyed a rufty-tufty life and far too often taken down stuff that exceeds its design brief, often even willingly, and has the multiple scars to show for it. Always a Trigger’s Broom of a bike with things being replaced and upgraded as and when necessary, everything has unfortunately grown tired at exactly the same time; the drivetrain has gone baggy, the brakes don’t respond to any amount of bleeding, and it’s all just about hanging on in there. It’s like a loved but ageing cat that you know is just about to get very expensive at the vets.

I could easily get a new frame, swap all the non-terminal hardware over and replace all the knackered bits with new. Gravel bikes have evolved so much in the time since I got this bike, and the revised version of this bike, the Tripster AT Plus, is a great example with tweaked geometry, improved tyre clearance and suchlike that it would be a practical choice. But I like my old bike and have an irrational emotional connection to it because we have done Stuff. Not just stuff, but Stuff. Pyrenees, Slovakia, Tuscany, most everywhere in the UK, Slovenia, Croatia, Spain, Finland and countless trips out the front door and straight up the hill, sometimes for just a couple of hours, sometimes for days. Sunshine, rain, dust, mud, lots of laughter, many many many many miles, a few tears, and getting me home on more than one occasion by me just holding on and pedalling. As a result of all this, it’s covered with an acne of chips, scabs and scrapes and each one shares a story – there are flakes of paint left behind somewhere in the world to mark my passing as it’s been lent on walls, scraped along immovable things, chucked on the ground, and had too many rocks ricochet off the downtube.

Whilst bikes may be inanimate objects, they are also kinetic, so can take us to places, steer us through experiences and dish out joy and pain in equal measure so it’s hard not to get sentimentally attached to them in some way. I was in prime seven-year itch territory so there was the temptation to just trade in for a new bike, but it doesn’t feel right to toss all of that away for the sake of something shiny and new. There’s also a strong case for not bowing to needless replacement and consumerism. I’m genuinely quite happy with my bike, it does what it does with almost boring competency and I don’t actually feel the need for a new model. I am comfortable with what it does and willing to accept its limitations and ride within them, and then enjoy nudging outside of them too. I’ve never much been bewitched by the faster, lighter and spanglier of things anyway, but mainly because it’s my bike it was long overdue a full-on strip and refresh, including a respray.

About now you might need a bit of backstory

When I’m not on my bike I’m a full-time illustrator and known in certain corners of the cycling for a cartoon sheep on a mountainbike that I’ve been scribbling for MountainBiking UK magazine for nearly 40 years. It’s quite popular amongst middle-aged MTBers and there’s even a book. Bex, who is half of Fatcreations, a custom bicycle painting studio near Chichester in Sussex, is a big fan of this ungulate and has extensively and exquisitely decorated her downhill mountain bike with his likeness as a homage to the sheep. So we’re well aware of each other. Long story short, because I have some artistic chops and they’re admirers of my work, Fatcreations have agreed to let me colour in my frame as part of its refurbishment; this isn’t a drop-down option to their usual customers.

It’s fair to say that it took quite a long while to get to this point, and most of that was me deciding what colour to have the bike resprayed in, always the hardest decision. There’s a folder on my computer stuffed with pictures of bike frames in colourways I liked for inspiration, and while I knew what I wanted as a jumble of vague ideas, solidifying that into a coherent frame-shaped paint job took stupidly long. Years. Eventually, I struck on the idea that the frame should be based around the theme of chalk. I live at the base of the South Downs and a large proportion of my riding has been on the dusty white and flint sprinkled trails, so it would be nice to reflect that heritage and show where my soul lies. The graphics were to be pink because I’ve always had some form of pink bike, starting with a spangly pink Roberts road bike back in the 90s.

The first job is to get rid of all the scabby old paint, so Fatcreations blast and rub that away, then gave the frame and fork a nice blank canvas coat of primer. Bex and I mix up a selection of off-whites and beiges and blacks to get the colours I’ll need to paint the chalk effect onto the frame, using the lumps of chalk and flint pocketed from just up the hill for reference. She then reaches into the cupboard for a stock tin of shocking magenta pink with sparkles which she thinks would be perfect for the contrasting Kinesis graphics. It absolutely is. It’s time to put on masks and get spraying, and while I’ve spent my entire life wielding a paintbrush, pencil and pen and committing them to a piece of flat paper, now that I have to use an unpredictable paint gun on a collection of awkward 3D tubes I’m all butterflies. Bex has pinned up a sheet of brown paper for me to practise on and after a quick tutorial and test spray she’s confident to let me loose on my bike frame. She’s a brave woman.

I give the bike and fork a coating of chalk white as a base coat, and it’s tricky to remember which bits of the frame I’ve done and which bits I’ve missed and the colour’s similarity to the primer makes this hard to differentiate. Bex takes over and covers up my mistakes by going over the frame with an easy fluidity and deftness that comes with doing this sort of thing all day every day. Then it’s onto the more complicated graphics and masking. None of the bikes that come out of Fatcreations have stickers on them as it’s all done with paint – run your finger over any lettering, logo or pattern and you won’t feel any ridges. That means a lot of masking and painting, and masking again, and again, and a lot of skill and time. A reverse sticker of the Kinesis logo is expertly applied to the frame, tricky when the downtube is tapered and everything that doesn’t need to be painted pink is masked off, they get through a lot of masking tape and brown paper here, and it’s back into the spray booth for the sparkly magenta to go on – and once again a smooth but swift hand is required to get an even and non-drippy coating of colour.

Now it’s time for me to get all creative

This is an anxious moment but after 40-odd years of colouring-in, it’s nice to be challenged and hopefully brain-hand-eye coordination and a feel for paint will see me through. I use some paintbrushes that Bex has hanging around, and while these aren’t the 0 and 00 Pro brushes I’m used to, the rough and bristly cheap supermarket jobs work in my favour as the organic chalk effect I’m going for doesn’t require any precision and benefits from randomness. With a palette of chalk and off-road beige colours, I splodge and stipple away, mixing paints and fudging as I go, and it takes time, all the while making sure I don’t miss any bits and making doubly sure I don’t mess up. The paintbrushes aren’t really used to this kind of work and they get clogged and even more scraggly, which actually helps with the organic feel of the painting even further, and I happily daub away. To add a bit of nuance and to knock back some of the areas I may have overdone it a bit, Bex suggests that I use the airbrush to overpaint certain bits and I agree that it will definitely help. I’ve never used an airbrush before and immediately manage to spill a load of paint on the floor. Ooops.

I’ve done enough colouring-in over the years to trust the process and know that it can take a while for things to develop and there is usually a dark stretch of self-doubt to wade through at some point, but any concerns I may have had about the whole concept finally make sense when I step away from the frame for a while and when I look back the small voice in my head says “That looks like chalk.” Well, that’s a bloody relief.

I proclaim that I think I’m done at least three times before I actually am, which is a fair reflection of my working life in general, as I’ll often spend an extra few hours on something that was considered finished. Then I almost derail the whole project in the finishing straight by asking if I can have a representation of a lump of flint under the down tube by the bottom bracket, almost as a talisman to protect that area from the inevitable rock strike. Bex agrees and, using one of the lumps I’ve brought with me as reference, marks off a shape and starts to spray a black hue. She’s doing a good job, but I can tell that it’s not up to her standards and it’s starting to make her incredibly anxious. She stops, and as it’s not looking quite right, we discuss what to do and she goes in again. There’s a moment where she renders the subtle wavey texture of a flint perfectly, but there’s still an issue with it and she hands it over to me to take responsibility and with a few concentrated and considered fiddles with a paint brush I take it to the “That’ll do” stage and we agree that it’s actually finally finally all done.

It has been a pleasure to spend a day in their company

Bex and Ali work hard, efficiently, and with an impressive amount of skill. It’s no wonder that their order books are full for months in advance and their list of clients is a Who’s Who of cycling brands and riders, because their finished product is exquisite, outstanding, and impeccable. In these days when it’s too easy to press a few buttons and come up with something that’s just good enough and get away with it because people’s attention spans are disturbingly short and any extra effort is wasted because no-one really cares that much, mediocrity is wilfully accepted and we giggle like kindergarteners at slop, it’s an absolute joy to be with people who show skill, dedication and a flawless eye for detail to deliver a finished product of the highest quality. They take immense pride in their work, and so they should. I can’t thank them enough for taking the risk of me jeopardising their reputation by letting me loose on a bicycle frame.

Ali takes the frame and fork into the booth and gives them their first coat of lacquer, which changes the look of the thing completely. My, ahem, artistic finish is quite textured, with thick lumps of paint all over it, and an initial shiny layer literally glosses everything over, mutes the colours elegantly and gives it a uniformity. But it’s still not done, as Ali lacquers and flats back the frame multiple times to give it its final polished finish. And it looks outstanding. After a lifetime of artistic endeavours it’s incredibly rare that the final result looks exactly like the image that was born in my head, but in this case, it does. If not better. Which is lovely.

The thought, emotion and time invested in this is worth a lot more than any monetary cost, and well over and above the joy of a new bike. It’s still my bike, but prettier, and while I might fret about dropping an Allen key on the top-tube when I’m building it, I won’t be bothered about putting the first scratch in it, as that will just be part of the next chapter.

For more about Jo Burt, head to his Ambassador Page here.

Back to top