Two decades of design practice spanning brand identity, print, digital, campaign, and experiential work. The range is deliberately broad — from logo design and visual identity systems through editorial layout, marketing materials, packaging, exhibition graphics, and digital assets. Working across this breadth means understanding design as problem-solving first and aesthetics second.
The client list spans agency work, technology companies, events and festivals, and cultural brands. Early career was spent in agency environments where the volume and variety of briefs builds the kind of broad literacy that takes years to develop independently. That foundation — understanding print production, typographic systems, colour theory, and grid construction as real disciplines — remains the base from which everything since has been built.
Brand identity work runs deepest. Logo design is the most distilled form of the discipline — reducing an organisation's values, personality, and positioning into a mark that works at any size, in any context, across generations. Getting that right requires understanding a client's business as thoroughly as their own team does. The process is as much research and strategy as it is drawing.
Editorial and campaign work rewards a different skill set: hierarchy, pacing, the relationship between text and image, the way a reader moves through a spread or a screen. These problems don't have optimal solutions — they have better and worse judgements, and the gap between adequate and excellent is pure craft.
The last several years have shifted digital-first, with web and motion assets forming an increasing proportion of the output alongside more traditional print. The tools change; the underlying problems — communication, attention, clarity — don't.
The design workflow has transformed significantly since AI image generation became a practical tool in late 2022. The transformation isn't in the execution of ideas — the craft of layout, typography, and production hasn't changed — but in the speed and breadth of the exploration phase. Concepts that previously required hours of rough sketching or mood board assembly can now be explored in minutes.
Midjourney is the primary tool for rapid concept development. Given a new brand brief, generating fifty visual directions in a single session — different moods, different visual metaphors, different colour approaches — compresses a multi-day exploration process into an afternoon. The goal isn't to use the Midjourney output as finished work; it's to use it as a high-bandwidth sketch pad that finds territory worth developing manually in the actual design tools.
The skill is in the prompting: describing visual concepts in language that produces useful outputs requires exactly the same kind of clear conceptual thinking as briefing a creative team. AI tools reward precise thinking and punish vague thinking, which turns out to be a useful forcing function.
Adobe Firefly integrated into the Creative Suite handles production-level AI tasks: generative fill for extending backgrounds, object removal, image variation for asset resizing across formats. These are not creative decisions; they're production efficiency tools. Hours of mechanical work become minutes of supervised generation. The time saved goes into the decisions that actually require design judgement.
Design projects increasingly require copy — taglines, brand descriptions, website headlines, social captions. Claude is used as a collaborative writing partner throughout: drafting options, refining tone of voice, ensuring brand messaging is consistent across touchpoints. The human role is editorial — judging which direction is right, refining the language, ensuring it sounds like the brand and not like a language model. But having a first draft to react to is far more efficient than starting from a blank page.
The full Adobe Creative Suite remains the production backbone, now augmented with AI-powered tools at every stage of the workflow.