I designed a series of illustrations and a report for the Inclusive Growth Network – ‘Culture and creative industries: A catalyst for inclusive growth’.
Culture and creative industries have significant economic heft, contributing £160bn to the economy with 3.2 million jobs. The UK’s status as one of the top 5 exporters of creative services globally is central to its position on the world stage.
Beyond this, culture plays a vital role in our day-to-day lives, shaping who we are as individuals and communities, and contributing to our wellbeing and pride in place.
Yet culture has historically been overlooked as an economic asset for the UK, not least because it can be difficult to measure and quantify its value. The report explores what local and combined authorities can do to harness culture as a key asset for growth, including how to ensure this is done in a fair and equitable way.
The illustrations needed to be dynamic and exciting – exhibiting the vibrant potential of UK culture – whilst adhering to IGN’s branding.
In the summer of 2023, I was the art director of the Greenpeace field at Latitude festival. I devised the creative concept for the field, including the logo, illustrative style and colour palette which harked back to Greenpeace’s 1970s heritage. I then painted signage onsite during the build process, managing a team of volunteers to execute the project and working alongside a build crew to erect the signs in time for the festival.
This project is an example of my multidisciplinary approach to creative work, encompassing both my ability to design print materials and branding, illustrate digital artwork, project manage, and paint physical materials.
I designed a poster to mark the final negotiations for a Global Ocean Treaty at the UN, which was signed and delivered to delegates by Jane Fonda.
After over a decade of campaigning , 193 countries agreed to create the treaty. This is the biggest conservation win in history; the importance of which cannot be overstated.
Our oceans generate half of the oxygen on the planet, sustain crucial species, feed billions of people, and regulate the climate. Thanks to this treaty, we now stand to protect 30% of the global oceans by 2030.
I've worked on this campaign in many guises since 2017, culminating in this joyful poster (which was inspired by the Everything Everywhere All At Once poster). I consider this campaign win to be the highlight of my career as a creative campaigner.
I was commissioned by the Story Of Stuff Project to devise a creative concept for their new Coca-Cola campaign, Bring Back Refill. I delivered a suite of illustrations, social media graphics and a 50-page campaign report.
The concept had to work for a variety of audiences, from social media users to industry experts. As such, the creative had to be adaptable; with a playful tone on social media that was parred down in the report. I was also responsible for picture research, ensuring that the concept showcased Coca-Cola’s long history of refillable bottles alongside its current affinity for single-use plastic.
You can watch a documentary about the campaign here.
I was the designer and art director of the Frack Free Bake Off, a pastiche of the Great British Bake Off that saw Emma Thompson and Sophie Thompson go head-to-head to bake a renewable energy showstopper in the middle of contested fracking site in Lancashire.
My role was extensive, including sourcing the set, commissioning and art directing the illustrations, devising the cake designs and recipes, shooting the title sequence, designing the spoofed Bake Off logos, and dressing and art directing the set on the day of shooting.
The day after this was released, the Guardian released a report saying that support for fracking had hit an all-time low. It was later banned in the UK.
I updated Greenpeace’s supporter action pack – the materials people receive in the post when they sign up to donate to the organisation.
I wrote the copy, provided a suite of 46 illustrations and refreshed the colour palette to ensure the materials aligned with the Greenpeace brand. The pack contains a 12-page brochure, a letter, a postcard, a set of stickers and a bespoke envelope.
As well as print materials, I designed a range of email templates, infographics and icons for use in digital communications.
This project encompasses my multidisciplinary approach to creative work, from delivering digital and print materials, to copywriting, design and illustration.
I was the Creative Lead on a Greenpeace France campaign to get the EU to ban fossil fuel advertising. The campaign targeted Cannes Lions, exposing the advertising agencies who help fossil fuel companies maintain the status quo at a time of climate crisis.
So what better way to tell this story than with the iconic ‘This Is Fine’ meme, featuring a complacent dog who continues business as usual whilst his world burns down?
I led the whole creative process, remotely facilitating workshops to come up with a concept, illustrating the posters, devising the style guide and writing the messaging.
Funnily enough, a colleague overheard someone on the train back from Cannes saying 'Greenpeace must have hired an agency, it was just too good.' Nope. Just me and a fantastic team in France who pulled off some impressive direct communications at the event.
The campaign was covered in PR Week, The Drum, Campaign and Deadline to name a few. Brandingmag called it a ‘highly targeted campaign [which] not only stood out but was the most talked about.’
I designed and illustrated a poster for Tidal Tales Collective, promoting their new show ‘The Hare, The Moon & The River.’
Tidal Tales Collective are a family theatre company exploring local folklore & music, and the connected stories and songs found all around the globe.
I was inspired by the work of animation studio Cartoon Saloon, namely Wolfwalkers and Song of the Sea – two of my favourite animated movies of all time.
I worked with Mother to develop an advertising campaign that took over Westminster tube station and was placed in The Times. The campaign was designed to persuade Conservative ministers that offshore wind should be at the centre of a new energy strategy for the UK from 2020 onwards.
The campaign was backed by a powerful coalition of companies and NGOs, including Siemens and WWF. It was launched in Westminster tube station by Peter Capaldi and achieved widespread mainstream media coverage. Later, Emma Thompson joined the campaign, visiting an offshore wind farm and shooting a film that I directed.
Since launch, the government has announced that it is allocating an additional £550 million of funding to the offshore wind industry.
I was the Communications and Creative Lead on Operation Ocean Witness: a project by Greenpeace UK that is taking to the waves over the summer of 2021 to get ocean protection done.
The UK government is still allowing destructive fishing to take place in Marine Protected Areas, despite calling itself a world leader in marine conservation.
That’s why Greenpeace is sailing into the eye of the storm, patrolling the coast in a brand new boat to witness just how urgently the government needs to level up ocean protection.
I led on the communications strategy and designed the campaign branding, as well as designed and produced the print materials, including banners, flags, stickers and t-shirts.
I collaborated with Quentin Blake to create a digital illustration for social media as part of Greenpeace's campaign to protect the Antarctic.
Quentin provided a hand-drawn sketch which I then digitised and colourised using digital paintbrushes. After approving the artwork, Quentin shared it on his website. Bonnie Wright also shared the illustration on Instagram.
I was an avid Roald Dahl reader growing up so working with Quentin Blake is one of my proudest career moments to date.
Poster designs by me for Organise as part of their campaign calling for urgent action on the cost of living crisis.
With even full time workers struggling to make ends meet, Liz Truss must take decisive steps to help regular people this winter. Sign their open letter.
One day during lockdown, my spouse stepped out of their studio with a miraculous song. A song that is at once hopeful and yet acutely aware of the state of the world. A song called Struggle.
I had this instant vision for the music video and they let me go for it. Luckily, I have some fantastic friends who helped me pull it off.
Creating this video is one of the most life affirming things I’ve ever done. Not only because I feel privileged to have so many wonderful people in my life, but because I know how much we've all struggled this past year. I know how hard it is to find the light. And yet people gave me their vulnerability and their silliness and their strength in spades, and they helped me create something so optimistic, with moments of real, raw humanity, and reminded me of what it's all about.
I'm really proud of it and of Alexander and their immense talent and this opportunity to co-create with my friends.
I designed a report for Covid-19 Bereaved Families for Justice, detailing the critical areas that the upcoming Covid-19 public inquiry must cover. I also designed their logo pro-bono during the pandemic.
Drawing on expert opinion and personal testimony from those bereaved by Covid-19, this report maps out exactly which areas the inquiry should cover.
Coordinated by Covid-19 Bereaved Families for Justice – a group of over 4,000 people who have lost loved ones to the virus, and campaigned successfully for this statutory public inquiry – the report features contributions from a range of major charities, trade unions, and public health experts. Alongside these contributions, the personal stories of the bereaved are spotlighted to ensure that people remain at the heart of our approach to learning lessons from this grim period, in order to save lives in the future.
Read the report here.
This poster for Organise HQ was displayed on digital screens around London to coincide with the 2021 budget announcement.
What does a world with a basic income look like to you? For me, it's people doing more of what they love. Playing, planting trees, enjoying nature and a society that enriches them.
Rishi Sunak's big red briefcase holds the potential to unlock this future. Yet time and again the Tories choose business as usual.
The pandemic has stolen lives and livelihoods. That's why the time has come for a basic income that gives all of us an equal opportunity to get our lives back on track and ultimately, to thrive.
Find out more here.
I copy edited and designed a ground-breaking report revealing the results of The Big Plastic Count, using data visualisation to bring the story to life.
A quarter of a million people took part in The Big Plastic Count, tallying over 6 million pieces of plastic household waste in just a week. After crunching the data, Greenpeace found that only 12% of that waste is likely to be recycled in the UK, with the rest being buried in landfill, incinerated or shipped abroad for other people to deal with.
As part of this campaign, I also designed a suite of materials for two events at the Houses of Parliament and a range of educational materials for teachers that helped schools all over the UK take part. All designs were based on an existing style guide.
You can read the report in full here.
I devised a concept for a TikTok value exchange product that I then created—from the copy writing to the design concept, layout and illustration.
This asset was commissioned as part of Greenpeace UK’s paid advertising campaign on TikTok. The strategy behind the concept was to harness an existing TikTok trend (#CleanTok) and reframe it, thereby reaching new audiences and gaining Greenpeace supporters.
You can see the full guide here.
I worked with Paperwolf to design and build ten papercraft penguin sculptures for the launch of Greenpeace's Protect the Antarctic campaign. The penguins were part of a global photo shoot designed to drum up press about the campaign and create a buzz to attract new people to the petition.
The Guardian dedicated an entire picture gallery to the project and BBC Breakfast featured a penguin on their programme.
I wrote a blog for Bored Panda about the project and interviewed Paperwolf for Medium.
I designed a suite of materials for Greenpeace’s Pole to Pole expedition using the creative concept I developed alongside the agency Lovers.
This included a variety of applications including hats, hoodies, flags, banners and maps, all of which were produced according to Greenpeace’s strict environmental procurement policies.
I worked with the flag-maker Liz Cooke to design bespoke flags for each leg of the tour.
The expedition is travelling from the North pole to the South pole to document the state of our oceans in order to convince world leaders of the need for a strong Global Ocean treaty.
Artwork inspired by the toppling of the Edward Colston statue by Black Lives Matter protestors in Bristol.
I designed and directed a campaign film for Police Spies Out of Lives which was projected onto the Royal Courts of Justice to coincide with an inquiry into undercover policing. Images were also projected onto New Scotland Yard and The Garrick Club.
Police Spies Out of Lives are a campaigning support group who are demanding an end to the sexual and psychological abuse of campaigners and others by undercover police officers. Since 1968, the Metropolitan Police has been deploying undercover police officers to form relationships and spy on women involved in political activism.
An allegedly 'public' inquiry into this operation has begun, though the public is not allowed to attend, the media is not allowed access to footage or audio recordings and the hearings aren't being live streamed. As such, this video is designed to speak truth to power and shine a light on this story in a bid to ensure that these abuses never happen again.
I commissioned and art directed design agency D8 to develop an illustration for Greenpeace India.
At the time, the organisation was facing a government sanctioned shut down and attacks on their freedom of speech. The artwork needed to be empowering, inspiring and driven by justice. It also had to be turned around in one week!
I designed banners and billboards for Greenpeace UK in response to the Amazon forest fires.
These materials needed to highlight the fact that major fast food companies are still sourcing meat and animal feed from Brazil, despite the forest fires, spurring Bolsonaro to continue clearing the rainforest for agriculture.
The billboards were pasted up all over the country and the banners were dropped at Burger King's flagship store in London as part of a peaceful protest.
I designed a logo and a series of illustrations for #WaterSavingWeek, a campaign by Waterwise to spread the word about how important saving water is for coping with climate change, keeping our environment healthy, and helping our communities to thrive. For more info head to the Waterwise website.
I art directed award-winning illustrator Noma Bar to develop artwork for Greenpeace UK’s sustainable fishing campaign.
Noma’s distinctive illustrative style allowed us to tell the story of industrial vs. small scale fishing using negative space and duality.
The campaign was enormously successful, with the issue being included in every political party election manifesto in 2015, 75,000 signatures sent to DEFRA, 3,000 letters to Environment Minister George Eustice and 120 MPs signing up to become 'Coastal Champions'.
The illustration was featured in Stuart Tolley's book 'The New Simplicity in Graphic Design'.
I commissioned and produced a suite of materials for the launch of Greenpeace’s groundbreaking new report, 30x30: A Blueprint for Ocean Protection.
The materials were used at an event at City Hall in London and at the UN in New York as part of the second session of the Intergovernmental Conference on the conservation and sustainable use of marine areas beyond national jurisdiction.
The report is the result of a year-long collaboration between leading academics at the University of York, University of Oxford and Greenpeace, mapping out how to protect 30% of the world’s oceans by 2030.
Throughout 2020, I designed a series of guides for young people to teach them about Greenpeace campaigns and how they can get involved.
The guides are aimed at different age groups, from 7-11 year olds, 11-14 year olds and 14-18 year olds. I also designed a range of teacher resources and lesson plans to bring the resources into the classroom, alongside a fully-illustrated guide on how to manage anxiety about the challenges our world is facing.
All of these resources can be found here.
I wrote the web copy for the Greenpeace Action All Areas website – a digital festival bringing together musicians, artists and activists to raise their voices for planet earth at a time of isolation. You can take a look at the website here.
Working alongside a web developer, I designed a new website for Green New Deal UK and produced a suite of assets for the launch of their new ‘green jobs now’ campaign.
I designed the branding for Build Back Better, the campaign for a coronavirus recovery plan that puts people, not profits, first. I devised the concept and delivered all of the assets, including the website copy and design, in just two weeks.
I designed and produced all of the materials for Antarctic 360, an immersive film experience and press conference held in Cambridge that was part of Greenpeace’s campaign to protect the Antarctic.
The creative identity was a continuation on the Protect the Antarctic campaign which was developed by Lovers.
I copy edited and designed a report for The Toxic Bonds initiative, exposing how banks have underwritten a staggering $2.7 trillion of fossil fuel bonds since the 2015 Paris Climate Agreement – in direct contradiction to their own Net Zero pledges.
The report was very technical and required data visualisation and graphic design to bring the findings to life. You can read it in full here.
I copy edited and designed a Greenpeace report exploring the EU fishing fleets fuelling the global shark trade. This is one in a series of reports I have worked on as part of Greenpeace’s Protect The Oceans campaign, including In Hot Water and Fishy Business.
This report reveals the failure of policy makers to act responsibly, exposing their unwillingness to prioritise ocean health and the communities who depend on it, whilst disclosing the extent to which industry dominates decision-making in pursuit of profit.
It examines the industry’s ever-more efficient and destructive approach to fishing, including the targeting of juvenile sharks and the increasing efficiency of fishing gear.
Read it in full here.
I designed a series of posters for the 2019 Climate Strike. The posters are a pop art homage to Greta Thunberg and the entire #schoolstrike4climate #Fridays4Future movement.
After a number of requests, I began selling prints of the poster and raised over £500 for the UK Student Climate Network.
An illustration of Phoebe Waller-Bridge, inspired by the season two poster for Fleabag
A portrait of the one and only Alexandria Ocasio-Cortez whose dedication to justice inspires me every single day.
I was commissioned to illustrate a portrait of the singer Duffy.
I designed and illustrated a poster for Tidal Tales Collective, promoting their new show ‘The Winter’s Walk.’
Tidal Tales Collective are a family theatre company exploring local folklore & music, and the connected stories and songs found all around the globe.
This is part of a series of posters I have designed for this collective, including The Hare, The Moon & The River.
I was the copywriter, editor, illustrator and graphic designer of the Greenpeace Guide to the Festive Season. This resource was created following the success of the Greenpeace Guide to Life – a fully illustrated, step-by-step plan to living a greener life.
Download your guide to the festive season here.
I was the copy writer, editor, illustrator and graphic designer of The Greenpeace Guide to Life – a fully illustrated resource that includes 101 ways to live a greener life. You can download your guide here.
I designed the creative identity for a campaign to stop HSBC from funding destructive palm oil companies, including the logo and all of the print and digital assets. This required me to really get inside HSBC's brand and to learn their visual language in order to disrupt their marketing as much as possible. The creatives I developed were used by Greenpeace offices around the world.
The campaign was a huge success and after 3 weeks, HSBC announced that they would strengthen their deforestation policy and stop funding palm oil companies involved in deforestation.
I designed a report for Ten Years’ Time, an organisation that connects philanthropists to important causes.
The report sets out how funders can support work that not only addresses the climate crisis but crucially, its impact on society's most vulnerable people.
Ten Years’ Time wanted the design to be playful and bold, focusing on solutions rather than problems. I used illustration to tell a story about the kind of world we’re working towards, where people live in harmony with nature and do their best to support each other.
You can read the report in full here.
I copyedited, designed and illustrated Eat, Grow, Upcycle, a guide full of cheap and cheerful ways to keep busy during lockdown. I designed the logo and all of the illustrations, and devised the ‘Eat, Grow, Upcycle’ framing. Download your guide here.
I designed a logo for Covid-19 Bereaved Families for Justice, a campaign calling for a Statutory Public Inquiry into why the UK has the highest death toll in Europe, and how the government can ensure it never happens again. The campaign is run by bereaved families who have been brought together by grief and a desire to save lives. Show your support by signing their petition and donating to their crowd-funder.
I was the copy editor, designer and picture researcher of Greenpeace’s comprehensive report: ‘In Hot Water: The Climate Crisis and The Urgent Need for Ocean Protection.’
I always relish the opportunity to get behind the words and visuals of a project and to use my multidisciplinary skills to their fullest.
The report highlights the fact that our oceans are facing an ecological tipping point, with fossil fuels, destructive fishing, deep-sea mining and pollution causing biodiversity loss and habitat destruction at an unprecedented rate—all of which is exacerbated by climate change. But it maps out solutions too. Next year, there's a historic opportunity to do something about it and Greenpeace is urging the UN to agree a robust Global Oceans Treaty to safeguard these ecosystems and the marine life who depend on them.
You can read the report in full here.
I edited and designed ‘Deep Trouble,’ an investigative report by Greenpeace that uncovers the murky world of the deep sea mining industry.
The investigation demonstrates how mineral exploration of the deep sea, a global commons, has become monopolised by a small number of corporations headquartered in the Global North, working through subsidiaries, partners and subcontractors in an effort to maintain the illusion that deep sea mining can be a public good.
Yet scientists warn that deep sea mining could lead to inevitable and irreparable harm in our oceans, including damage to the natural processes that store carbon.
The report makes the case, therefore, that to protect against the environmental and social harm of deep sea mining, governments must ensure that the deep ocean remains off-limits to mining and instead agree a Global Ocean Treaty that can put protection at the heart of ocean governance.
Read the full report here.
I copyedited, named and designed this report, including all of the maps and graphics. It was a mammoth project—especially when it came to mapping the complex ownership structures that fishing powers hide behind to get away with illegal activity at sea. I used ArcGIS to process the fishing data and create the maps, and did all of the picture research.
You can read the report in full here.
I designed a 52 page science report and logo for Greenpeace Japan and Greenpeace South East Asia using data visualisation to present graphs, tables and infographics in a clear and coherent way.
The report reveals that whilst Japan is making efforts to protect its own citizens from air pollution, it is financing coal power plants overseas that are causing hundreds of thousands of premature deaths.
I ensured that photographs were front and centre in the design, depicting the dirtiness of coal and its impact on people.
The report was covered by a number of international news outlets including Bangladesh's The Daily Star and The Japan Times.
You can read it in full here.