Turning design into motion.
My formal training was in cinematography back when we loaded film into cameras and used giant editing decks post-production. Adobe After Effects and Premiere Pro are nothing short of magical.

Websites are ephemeral, and technology changes rapidly. A site that might have given me pride ten years ago – should it be unchanged  – is bound to be a source of embarrassment today.
Having begun hand-coding HTML in tables in the early 2000s, I have now embraced Webflow, with its conventional naming regime and powerful features (especially animation).

Illustration is the bedrock upon which all creative arts are built. From logo icons to web icons,  brochure covers to giant murals.

I don't apologise for the number of logos here. I've been doing this for almost 40 years and lost more data than I've managed to retain. But every logo is special, from About Kids, who had a very small budget, allowing me to utilise a royalty-free image of pink gumboots that I'd had knocking around for a while, to Wedgelock, which came with a long list of requirements, and has now been spread around the world.

Most designers are in the business for the challenges it can offer. Nothing gets you out of bed faster than the prospect of doing something you've never done before: from designing the livery for the new Auckland Britomart trains to creating wine labels, from laying out new pubs to illustrating six-metre murals and display stands for Foodstuffs.