Freelance senior designer available for hire
I’m a freelance, senior, integrated designer based in London. I also have a background in photography and photo retouching.
I’ve been freelancing since 2010, at agencies like OgilvyOne, Poke, Adam&Eve/King Henry, Proximity, Keko, Squint/Opera, Archibald Ingall Stretton, Firebelly, Redwood, AKA, Banner, Investis, Salterbaxter, and Spinnaker.
In June 2014 I took a permanent role at OgilvyOne after permalancing there for a number of years. I left Ogilvy in April 2017 to return to freelancing.
- Programs Photoshop, Indesign, Illustrator, WordPress, Keynote, Sketch (learning). Also know my way around Premiere.
- Digital and web design Websites, emails, social media, banners, page takeovers, animated GIFs, WordPress (CSS customisation and template setup), basic HTML and CSS.
- Print Ads, publications, stationery, flyers, posters, billboards, magazines, exhibition stands.
- Guidelines Creation of brand guidelines documents with detailed specifications.
- Brand identity Custom creation of logos and brand identity, new business or rebranding, working to understand objectives and strategy.
- Illustration Custom illustration and graphics for web or print, icons, medical illustrations or diagrams.
- Photography and photo retouching
- Agency pitch work
All files and layers labelled and organised with attention to detail. Liaising with developers or printers if required.
Consumer, B2B, food, baby, healthcare, financial, government, technology, aviation, charity, automotive, beauty, fashion, luxury.
Brands I’ve worked with
Nestlé / SMA (brand guardian at OgilvyOne), Bentley, EY, Inmarsat, Blackrock, British Airways, Public Health England / Change4Life, Bakers / Purina, Unilever, Land Rover, The Co-operative, American Express, Barclays, British Gas / Hive, BT, Orange, More Th>n, Monash University (lead designer for Faculty of Medicine, Nursing and Health Science), Drinkaware, British Red Cross, Zurich Insurance, Volkswagen, TFL, Forevermark, Rolls Royce.
I completed a Master of Multimedia Design from Monash University in Melbourne, Australia in 2004. Before that I studied Fine Arts (Photography) at Victorian College of the Arts and even did a semester at Pratt Institute in New York City back in 2001. I moved to London in late 2007.
Style, approach and inspiration
If I had a style it would be clean and organised with attention to detail and user experience in mind. My approach to design is to base it on the individual needs of the project. Rather than using the latest design trends or follow a certain style, I try to put the design in context of potential customers or users, and work with clients to discover what their project is trying to achieve, and come up with designs that help them do that. I try to infuse my designs with the mood that the design needs to invoke in the end user.
My inspiration can come from anywhere, from a detail in things I see around me to films, art, or music. Sometimes a fully formed idea will appear in my mind and I will know exactly what I want to do, other times I will have to spend time sketching and refining something until it is perfect.
Designers aren’t just creative people that can make things pretty because they have software to do so; they are professionals who organise information, lead customers on user experiences, translate arbitrary business goals and ideas into something visual and tangible, and think about many different factors of psychology, mood, technology and context when coming up with design concepts. We work in a field that is constantly changing and expanding, while trying to make work that is stimulating and interesting for our clients and their customers (and hopefully ourselves too!).
I’m a designer who’s opposed to spec work. This means any work done on a speculative basis where a designer is asked to invest time and resources without guarantee of payment (situations such as design contests and ‘test’ work). It is damaging to designers and clients alike and diminishes the value of a proper design process.
Just to note, however, that spec work isn’t the same as pro-bono work, where the designer agrees to work for free (perhaps for a charity or friends and family) or accept another method of payment. Large agencies also regularly pitch for work, and although that can be seen as spec work too, the process of working closely with clients during the pitch and the potential benefits of winning makes pitch work different in my opinion. Larger agencies are also more capable of absorbing the cost of pitch work and integrate that into their business model.