Creative jack of all trades

Farm to People needed a Connected TV spot built from their existing footage library, distinct in feel from the ads already working for them. The strongest material was the farm footage, so I built the spot around "Know your farmer. Know your food." and took it emotional rather than informational.

Any competitor can claim freshness. Knowing the person who grew your food is harder to copy, so that became the spine of the script. Performance decisions sat underneath the story: brand and CTA land in the first five seconds, and the core message carries in the audio as well as on screen, so the ad still works for someone half-watching with a phone in hand.

Delivered: creative concept, script and voiceover, 30-second edit, 15-second cutdown.

Innovation agency Wildbytes brought me in to cover CUPRA's launch of their metaverse environment, built around a set of interactive screen installations.

Event work gives you one shot. Low light, a moving crowd, and installations that only look like anything when someone is using them. The edit needed to sell the tech and the atmosphere at once, so the cut alternates between the screens themselves and the faces reacting to them.

A brand film for NeuralJam's launch event, telling the story of how the platform came together.

The film lives or dies on the script. I wrote it as a founding story with a clear arc rather than a list of milestones, then built the visual layer around it, cutting interview footage together with stock b-roll to carry the parts of the story that were never filmed. Written to hold a room full of people who had just walked through the door.

A product announcement for Kelea, a psychometric assessment tool. Features, benefits and use cases in under two minutes, without it turning into a demo video. The challenge with product film is holding attention past the point where you have said the useful thing.

A fast-paced motion piece walking through the key features of a learning and self-improvement platform. Screen recordings, kinetic type and a tight cut. Built to work on social with the sound off.

A human-centered explanatory video introducing a new feature on a digital education and self-improvement platform.

Feature announcements usually get made from the inside out: here is the thing, here is what it does. This one starts with the person using it and works back to the feature, which is a harder script to write and a much easier one to watch.

Running around a track is a lot like how my twenties have felt: constantly going in circles, seemingly ending up where I started, and needing a nap.

A short film about progress that doesn't look like progress. Honest, funny, and cut for social. The hook does the work in the first three seconds and the metaphor holds for the whole runtime, which is harder than it sounds when the joke and the point are the same thing.

Personal work is where I test whether something can carry real feeling at thirty seconds before I try it on a client.

A birthday post, dramatised. Made for the pleasure of it.

SCF had a small, engaged following and no strategy connecting it to sales. I built one around the farm's actual business goals: raise awareness, drive acquisition.

That meant a content calendar with a purpose behind every post rather than a feed that reacted to whatever happened on the farm that week. Four pillars, each with a job:

Happy Food

Products shown through emotionally led content rather than product shots

Farm Life

Connecting people to where their food comes from

Community Building

The social case for volunteering

Food Systems Education

Establishing trust and positioning SCF as a voice worth listening to

Alongside the organic work I planned and ran the paid social strategy through Meta Ads, within a fixed budget.

The feed before and after.

A B2B solar analytics company selling to utilities and asset owners. LinkedIn was the channel, and the audience were engineers and operations teams who don't respond to marketing.

The strategy was to earn attention by being useful. Content built around faults and malfunctions in large-scale solar farms: what causes them, how they're detected, what they cost when they're missed. Genuinely valuable to someone managing a plant, whether or not they ever bought anything.

The work was in the translation. Taking research from the engineering team on failure modes most people have never heard of and making it digestible without flattening the technical substance, because this audience notices immediately when you have.

A festival of transcultural cinema mid-rebrand. I took the developed design and applied it across all assets, then kept it consistent through a festival programme running daily screenings, panels and live Q&As.

Designed the graphics and wrote the copy: programme announcements, film introductions, campaign visuals for #JunctionsNairobi and the @home edition. Festival social is a scheduling problem as much as a creative one. Everything has to land before the thing it's promoting starts.

I built SCF's marketing function from nothing. Strategy, budgeting, campaign planning and channel prioritisation, all of it grounded in customer research rather than assumption.

The research came first. I took surveys from current customers, long-termers and people who had left, and the finding that shaped everything was emotional rather than practical: customers weren't buying vegetables, they were buying relief from feeling complicit every time they shopped at a supermarket. Price was never the lever. That persona informed every decision afterwards, from ad targeting to the words on the homepage.

In addition to a strong, revamped social media presence, the highest-return piece was email. An automated flow for people who created an account but never ordered, three emails over two weeks, each addressing a different reason someone hesitates. No discounts. It returned 3× on all email marketing spend. I also built a welcome sequence for new subscribers and a light-touch win-back flow for lapsed customers.

Paid ran across Meta and Google against local high-intent search terms, within a fixed budget, feeding traffic to a site I'd rebuilt to convert.

A tiered marketing system for organic farms, but applicable to any industry. Built from the SCF research and sold as a standalone product.

Four tiers, foundations before growth, with time and cost estimates against every action so a founder can see what they're committing to before they start. Writing it forced me to be honest about sequencing: most small businesses are told to do everything at once, and the useful advice is usually about what to skip.

SCF had a logo and a colour or two, and nothing holding them together. Every flyer, post, email and page looked like it came from somewhere slightly different.

I built full guidelines: palette, typography, logo usage, voice and tone. Not a rebrand. The brand was already right, it just wasn't consistent. Five brand codes, with the rule that any piece of work carries at least two. Then the assets: social templates, flyers, box inserts, recipe cards and the More Veg guide, all built in Canva against a brand kit so the team could keep making on-brand work without a designer in the room.

The website was the touchpoint that mattered commercially and the weakest one. It looked fine and it didn't sell anything. I rebuilt the content layout in Growing Good around a single goal: make it obvious what's for sale and make ordering easy. Value proposition above the fold, shop button impossible to miss, product cards high on the homepage, checkout stripped of every step that wasn't load-bearing. Plus SEO fundamentals targeting local search terms like "organic veg box delivery South London".

SmartHelio sells AI-powered fault detection for large-scale solar farms. The buyers are utilities, asset owners and O&M teams, and everything the company puts in front of them has to look like it came from somewhere worth trusting with a solar portfolio.

I designed the long-form material: fault analysis reports, performance summaries, white papers and investor decks. Data-heavy work where the design job is hierarchy, getting a reader through a page of loss distribution charts without losing what the page is actually telling them.

The website had the opposite problem. It told you the company existed without telling you what it did or who for. I worked with the design and marketing teams on a landing page redesign that was more illustrative and more direct: what the software does, what it catches, who's already using it. Doing the content layout and the copy together meant the structure and the message got built at the same time, rather than one being fitted around the other afterwards.