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Supporting a series of TVCs, this large D/OOH campaign targeted older potential users and encouraged them to use TikTok as a way into new hobbies or experiences. As design lead on the project at Lucky Generals London, I had to thread the needle of staying on-brand while pulling out any frenetic elements that might turn off an older demographic. I worked especially closely with clients and creatives on the layout and motion design, supporting on the shoot days, and getting everything across the line to the highest standard possible. A huge ad buy saw this work at Old Street Roundabout, the ultrawide Motion@Waterloo motion screen, Storm Cromination roadside digital, and similar sites across the country.

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Including a TVC, DOOH, OOH, Social, Digital Banners, Online video, App content and more – all of which had to be designed and supplied to European markets with a comprehensive guideline document for localisation – this integrated Coca-Cola summer campaign required me to not just input into the design work itself but included the management of multiple designers across dozens of assets.

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Netflix’s UK and Nordic always-on social media strategy included lots of relevant, timely and engaging content. This included everything from memes turned around in minutes; fun, often interactive Instagram Stories; all the way to snappy, locally-relevant press junkets.

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Alongside social and other mediums of advertising, I’ve also taken on branding and design strategy work. From simple logos for small businesses to comprehensive brand guidelines, this work involves deep investigation, exploration and understanding of brands and their goals.

Whether working independently or in agencies with colleagues from R&I, Strategy, Creative, and Editorial teams, my design strategy work often produced detailed documents offering insights and roadmaps for brands’ marketing and advertising, with my involvement naturally focusing specifically on design.

Created as slide presentations, handbooks, guidelines docs or PDFs, this work is hard to present in a portfolio – moreover, a lot of it is proprietary and internally-facing and cannot be shared widely. However, I can mention clients names and the work created for them, including a social design approach for Talisker whisky, Zurich social media guidelines, McCain social strategy, Netflix Nordics design guide, Aesop art direction and design social strategy, and notably comprehensive design recommendations for Instagram – helping Instagram run their Instagram.

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For the 2025 Cheltenham Festival held on March 11–14, I worked with Coral via Entain London to completely take over Cheltenham station and surrounds for the lead up to and weekend of the races. Starting on the project from creative conception to the full rollout, we created OOH and Digital OOH 6- and 48-sheets, bus sides, banners, website and app skins, a suite of digital ads, Tube ticket gate barriers, digivans, lamppost banners, gazebos and more.

Working within a tight-knit creative team, we utilised 3D text and photography of punters captured at the races leading up to Cheltenham to create an adaptable system designed to flex across the 100s of assets required. As copy changes or new media requirements arose, these designs could quickly and efficiently be adapted to suit any need.

Coral was undeniably a huge presence Cheltenham Festival 2025, and this campaign made sure they lived up to their We Here’s For It tagline.