Campaign assets overview, publications, digital reports, event branding, and microsite design
Lane Clark & Peacock had an established creative team when I joined as Senior Designer. My role was to push the quality ceiling, bringing a more strategic and elevated approach to how one of the UK's leading actuarial consultancies presented itself to clients and new business prospects. Working closely with Senior Consultants and Partners, I produced campaign materials that directly supported client acquisition at the highest level, while mentoring junior designers to raise the overall standard across the team.
A significant part of my contribution was modernising how the firm delivered thought leadership. I introduced Foleon as the platform for interactive, web-ready publications, replacing static PDFs with engaging digital experiences across reports, microsites, and event collateral. The measurable uplift in audience engagement on key publications proved the commercial case for design investment at this level.
Campaign assets overview, publications, digital reports, event branding, and microsite design
As the only person at Lane Clark & Peacock with video editing and motion graphics capability, I became the firm's sole resource for every animated and video asset it produced. LCP leaned heavily into motion as a communication tool, and every piece came through me: animated data visualisations for pension scheme reports, event intro reels, social content, and client-facing campaign films. I developed a fast, repeatable production approach that maintained quality at volume, adapting tone and style across authoritative thought leadership and high-energy event content alike. In a firm where motion was not the norm, I made it central.
At LCP the creative team already existed. The opportunity was to push what it was capable of. Over nearly three years I raised the quality ceiling across campaign design, thought leadership, motion, and client-facing communications, working directly alongside Senior Consultants and Partners to produce materials that made a tangible difference to how the firm positioned itself in front of clients and prospects.
As the only person in the business with motion graphics and video editing capability, I built an entire output category from within an existing team. Every animated asset LCP produced in that period came from me. That kind of contribution is hard to quantify in a single metric, but its impact was visible across campaigns, events, and publications that set a new benchmark for how a UK actuarial consultancy could communicate. I also mentored junior designers through that period, leaving the team stronger and more capable than I found it.