Projects I’ve led, made with brilliant people.
The agency launched Ladbrokes’ “World of Play” campaign, tagline “We play together”, with Rocky himself in the TV ad. The catch: we couldn’t use him anywhere else. So we captured our own on-location photography and slow-motion footage, built a distinctive new composition style, and I led the revamp of every TTL touchpoint, from social to shop windows.
Pylon’s brief asked for a graveyard of closed tickets. We pitched something sharper: a torn ticket stub over the subject’s face, saying “Your team is buried in tickets.” Pylon made it the lead concept and expanded the work. For its agentic launch, I led a sizzle reel, Zendesk takeout ads and LED trucks circling Zendesk’s own conference asking, “Do you relate?”
It started with a custom Ai4 booth built around “Your tools. Your rules. Any AI.” and grew into a booth system reused across seven builds, including AWS re:Invent and Gartner IT Symposium. Then it hit the road: a bus wrap for a private C-suite ride to the US Open, designed to feel like part of the experience, not a rolling ad.
Ford Foundation brought veteran leaders together for “Service and Community: Veterans Leading at America’s 250th”. I led an identity that’s patriotic but understated, and small enough to work as an enamel pin, then rolled it out across event slides, printed pages, name tags and name cards for every participant.
Coral’s free Rewards Grabber got a wild makeover: a giant, mischievous claw that bursts into your world. Living room ceilings beware, billboards are easy pickings, and not even your screen is safe. I co-led the creative across a TVC, a bespoke YouTube ad, social cut-downs, OOH and on-site.
Two directions, two very different builds: one in 2D, one in 3D. I set it up with separate creative leads and teams so each style stayed sharp while the campaign stayed tightly aligned, and each film branched into ten variants across formats, durations and platforms.
TelyRx’s rebrand needed an introduction. I led a 60-second brand intro for its homepage, explaining prescriptions delivered to your door with no insurance or appointment needed, built on a custom glassmorphism icon set that extends the brand and can be reused anywhere. Then we pushed the new system into Meta-first social sprints, including one that reframed prescription prep as travel prep.
Digital signage for Salesloft On Tour. I led a system where the event’s grid of geometric shapes became the engine: every module animates as its own self-contained loop while adding up to one big composition across the courtyard’s four screens. Lively enough to keep the space switched on, calm enough not to steal the show.
MediVera, a compounding pharmacy licensed in 49 states, had a website that felt a generation behind. I led a rebuild around an airy, flowing concept: soft sky gradients, generous space and an image library mixing AI-generated and stock photography. Then the labels, every one composited into photoreal, editable mockups so the team can swap in a new formula or SKU themselves.
Memecoins, explained without sounding like a finance lecture. I led a take that treats it like a nature documentary, observing the strange world of memecoins through a calm, Attenborough-inspired lens. Traditional illustration and character animation met a blended AI workflow, moving fast without losing the craft. Educational content that actually holds your attention.
A surprise boxing sponsorship on Channel 5 meant Ladbrokes needed idents, fast. With no time for a shoot, I led a creative concept built around existing footage, and the team turned around a suite of 11 idents, from 15 seconds down to 5, in under a week.
Chartbeat’s annual Chartmeet was heading to Disneyland, and every creative element had to be original, with nothing Disney-owned in sight. I led an identity built on a playful script wordmark, a sunset palette and warm risograph-style illustrations that tap into childhood nostalgia, carried across slides and swag. It passed compliance review cleanly.
AI-driven motion for Thomson Reuters’ Annual Sales Meeting in Las Vegas, across giant event screens and an LED cylinder. The brief: make the brand’s ribbon move like rope, fluid and full of pull. Extreme aspect ratios meant I had to lead a new workflow too, from green-screen generation to slicing assets into quarters to upscale and rebuild them. Then the screens went live.
Amazon Sustainability spotted a drop in quality across its motion work, so I led a rebuild of its videos in four days: AI to regenerate the footage, then tighter type, better pacing and a more considered motion language across two distinct brands. For Amazon Pharmacy, a looping stop-motion-style 3D AutoRefill animation for a prime spot in Amazon’s shopping experience.
Riipen wanted presidents, provosts and deans to see it as a trusted institutional partner, not a student platform. I led an academic sub-brand that feels closer to a respected research organisation: a restrained palette, campus-first photography, clear data and custom academic icons, set out in a 38-page guide. Then we turned it into decks, one-pagers, social and ad templates for their team to run.
An experimental series of CTV ads, made in the very early days of generative AI. Each claymation-style film puts a handmade, toy-box face on Johnson Controls’ building tech and tells a small human story, like Bob, who really doesn’t like surprises. I led the creative across the series, working out what the tools could do while they were still being invented.
I led Coral’s social content, from behind-the-scenes documentaries to quick-fire formats built to be shared. Vox pops, ambassador challenges and fan-first questions gave racing fans something to like, comment on and send to their mates, and kept Coral part of the conversation around the biggest races of the year.
Forter, the identity intelligence platform behind fraud and payments decisions for global brands, needed a website that could keep pace with its product. I led a full atomic design system, from tokens and atoms up to page-level modules, each documented with its own motion and interaction specs. Designed and developed end to end in four months.
Laurel’s first-ever brand animation, introducing its AI-powered timekeeping to leaders at law, accounting and consulting firms. They had strong guidelines but no illustration or motion system, so I led a visual language built from scratch out of their logo, colour and type, aiming for soulful, not zen. The client called it their most creatively ambitious asset to date.
A launch sizzle for Twilio’s RCS messaging, showing the jump from plain SMS to something richer and more interactive. Midway through, the direction shifted from illustrative 3D to real product UI, so I led a redraw of the storyboard against tight deadlines without losing the fun: every transition brings a new rhythm, all inside Twilio’s brand system.