I’ve been reflecting on the range of work I’ve had the opportunity to create with Adobe, and how naturally it’s moved across art direction, design, events, community and education. I created the visual identity and environmental work for the Adobe Winter Party in Manchester, approaching it as more than graphics or branding. The intention was to create atmosphere, something people could feel as they entered the space, with contrast, warmth and visual energy shaping the experience. I also designed merchandise for Adobe Create Now, where I had the opportunity to speak at Tate Modern in London, as well as creating merchandise for the Adobe Video VIP Community Summit. Beyond design, I organised my first London graffiti walk with the Adobe Creative Club, bringing people together around street art, creativity and the city. I’m also continuing to mentor and provide art direction for the Adobe Apprenticeship Programme, supporting emerging creatives as they develop their ideas, confidence and visual direction. What I value most about this work is the variety. It moves between physical spaces, merchandise, speaking, culture, community and mentorship, but the intention stays the same: creating work that connects people and gives creativity a space to be experienced.

Eyecon is my latest creation, brought to life in collaboration with the incredible team at Mr Jones Watches. From the beginning, I wanted to create something that felt like more than an object designed to tell the time. Eyecon is a piece of wearable art, a small world for the wrist, built around colour, character, movement and emotion. For me, time has always been more interesting as a feeling than as a number. We measure our days in hours and minutes, but the moments we actually remember rarely work like that. Some pass in an instant, others seem to stretch forever. Certain memories stay with us for years, while entire days disappear almost without us noticing. Eyecon grew from that idea: what if a watch could reflect the emotional experience of time rather than simply counting it? The design invites you to look again. At its centre is the eye, a symbol of awareness, curiosity and presence. Around it, colour, hearts, celestial references and playful graphic forms create a visual language that feels alive. It is bold and expressive, but there is also something reflective underneath it.

I had the opportunity to create a full merchandise collection for SK Gaming at Gamescom, including T-shirts, hoodies, mugs and bags, all built around one visual direction. The concept was inspired by the energy of Cologne during gamescom and translated through an anime-influenced graphic style. I wanted the artwork to feel fast, expressive and full of movement, reflecting the intensity of gaming culture while still working naturally across different products and formats. Rather than treating each item separately, I approached the collection as one connected visual system. The graphics needed to feel strong on a T-shirt, bold enough for a hoodie, clear on a mug, and still distinctive when carried across a bag. That balance between impact and adaptability became a big part of the design process. Cologne itself was an important influence. During Gamescom, the city takes on a completely different atmosphere, crowded streets, fans, teams, creators, late nights, lights and constant movement. I wanted the collection to capture some of that feeling without becoming too literal. The anime influence helped bring character and emotion into the work. Strong silhouettes, dynamic composition, exaggerated movement and bold colour gave the collection a sense of storytelling and energy, while still keeping it rooted in SK Gaming’s identity.

The H Lab Project with Hogan was an immersive experience that brought together art, fashion, technology and live interaction. As the main artist for the project, I created four original bandana designs conceived as exclusive guest giveaways, extending my visual language into a wearable format. During the event, I also customised Hogan sneakers live, creating one-off pieces in real time and interacting directly with guests throughout the process. A MetaHuman accompanied the experience, offering creative suggestions and engaging with visitors, adding a digital layer to the live performance. The project also featured an interactive exhibition and virtual tour of my artworks, allowing guests to explore my work beyond the physical space and experience it through a new digital dimension. Blending physical craftsmanship with virtual interaction made the H Lab Project a particularly exciting collaboration, creating a dialogue between illustration, fashion and emerging technology. Following the first event, the project continued with further activations in Florence and Cagliari, bringing the experience to new audiences across Italy.

I’m proud to have contributed to the WWF “Umbrella Species” campaign, which was recognised across several major international award shows. The campaign received:

• D&AD Awards — Wood Pencil, Illustration / Collaboration Integrated.
• D&AD Awards — Wood Pencil, Digital & Social / Physical & Digital.
• Cannes Lions — Gold Lion, Design / Communication Design.
• Grand Prix Stratégies de la Publicité — Silver, Grandes Causes.
• ADC Awards & Club — Bronze, Illustration / Packaging.

It was incredibly rewarding to see the work recognised at this level. For me, the strength of the project came from the way design, illustration and conservation were brought together around one clear idea: highlighting the importance of protecting umbrella species and, through them, the wider ecosystems that depend on their survival.I’m especially proud to have played a part in work that used creativity not just to communicate, but to bring attention to something with real environmental importance. A meaningful project, a strong collaboration, and a great reminder of what thoughtful creative work can achieve.

I’m proud to have worked with PepsiCo on two separate HBCU campaigns, each giving me the opportunity to celebrate the culture, history and energy of Historically Black Colleges and Universities through my own visual language. Across both campaigns, I created artwork designed to feel bold, joyful and full of movement, celebrating Black excellence, education, community and the traditions that make HBCU culture so distinctive. What made the projects especially rewarding was seeing the illustrations move beyond the original artwork and become part of real experiences. My designs were translated across tour buses, merchandise, posters, stickers and wider campaign assets, allowing the work to live in different spaces and connect directly with students and communities. Returning for a second campaign was particularly meaningful. It gave me the chance to build on the visual world I had already created while developing a new piece of work with its own identity, energy and story. For me, both projects were about more than creating illustrations for a brand. They were opportunities to use creativity to celebrate heritage, ambition, education and Black culture, while contributing to campaigns designed to support and uplift HBCU communities.

I’m proud to have worked on two very different Mercedes-Benz projects, both giving me the chance to use illustration in unexpected ways. For one, I created artwork after a workshop with Team Avarosa of SK Gaming, which was then app and empowerment in esports, bringing together gaming culture, automotive design and illustration. I also collaborated with TBWA\Paris on Mercedes-Benz France , “The Iconic Playlist,” creating the illustration for the vinyl cover and record label. It was a great opportunity to explore the connection between music, culture and visual storytelling. That project was recognised by The One Club for Creativity with a One Show Merit in Creative Effectiveness, where I was credited as Illustrator. I was also ranked #4 Illustrator in France, with 12 One Show points. It means a lot to see illustration recognised not just as decoration, but as an important part of storytelling, identity and integrated creative work.

I’m proud to have created the artwork for the WIT x Under Armour Tribase Reign 3, a collaboration inspired by the strength, resilience and relentless energy of London. The visual direction was built around the city itself,its architecture, movement, grit and unmistakable character. I wanted the artwork to feel bold and determined, reflecting the same mindset behind the shoe: pushing forward, staying grounded and constantly striving for more. Working on this project gave me the opportunity to translate that energy into a visual identity that could sit naturally alongside both WIT and Under Armour. The design became about more than performance. It was about attitude, community and the idea of showing up with purpose. The collaboration also connected with the story of Tom Bliss, former professional rugby player, Under Armour athlete and one of the original members of Team WIT, bringing another layer of authenticity to the project. For me, this was never just about creating graphics around a trainer. It was about building a visual world that represented London, movement, resilience and ambition. A project that brought together sport, culture, design and performance and one I’m really proud to have helped shape.