Karl.Works might be a freelancer, but probably not what you’re expecting.

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After working in Melbourne 🇦🇺, Copenhagen 🇩🇰, and Toronto 🇨🇦, creating campaigns for agencies and global brands including:

Air Canada Amnesty Arsenal FC AFL Bang & Olufsen BP British Airways British Army Butlin’s Cadbury Carling Danske Bank DFDS ETM Group Ford Ford Money Hakkasan Honda HSBC Ineos Jaguar Land Rover Kleinwort Hambros M&S Mazda Mercedes-Benz Pandora Puma Radisson Schweppes Sony Telstra Tim Hortons Vodafone

Air Canada Amnesty Arsenal FC AFL Bang & Olufsen BP British Airways British Army Butlin’s Cadbury Carling Danske Bank DFDS ETM Group Ford Ford Money Hakkasan Honda HSBC Ineos Jaguar Land Rover Kleinwort Hambros M&S Mazda Mercedes-Benz Pandora Puma Radisson Schweppes Sony Telstra Tim Hortons Vodafone

What followed was 10+ years of freelance relationships in London 🇬🇧, long-term collaborations and projects that grew beyond their original brief.

Today, Karl.Works sits somewhere between an independent creative and a studio, with a network of partners to create campaigns, content and digital experiences for brands that want to look great online and IRL.

Most projects start with a clear objective: launch something new, improve conversion, refresh a brand, or bring more consistency across channels. Delivery is shaped around focused sprints that combine direction, design and execution.

The goal is simple: Better creative output, with less complexity.

Currently on the Isle of Man 🇮🇲, working across the Islands, the UK and beyond.

Services include: creative direction, concept development, campaign design, visual identity, digital design, motion design, creative code, copy, content systems, social content and generative design.

Today, Karl lives on the Isle of Man 🇮🇲, working directly with clients and teams to define how brands show up and perform across the moments that matter most.

In collaboration with Special Group, I worked across art direction, design and motion on a digital OOH campaign for Uber Eats’ first media placements across several US college stadiums. The campaign promoted tailored student offers in a high-energy live sports environment, where the work needed to feel immediate, legible and unmistakably Uber Eats. A key challenge was the use of Uber green, which risked being confused with individual team colours, so the visual system had to balance brand recognition with compliance and venue context. The result was a suite of minimal, sharp looping digital executions, with selected assets dynamically responding to in-game moments to create timely, contextual interactions with the crowd.

For NSPCC’s A Safer Way to Play campaign with Open Creates, I worked across design and motion on a launch film for the Game Safe Festival. The challenge was to introduce online safeguarding within gaming culture without losing the joy, creativity and connection that make play meaningful for children. The film used a motion-led visual language shaped around energy, immersion and inclusivity, embedding messages of protection and care without becoming fear-based or instructional. The result reframed online safety as something that supports play rather than restricts it, positioning safeguarding as a shared responsibility across parents, platforms and communities.

For Amnesty International’s Rights in Older Age campaign with Distillery, I worked across art direction, identity and motion to help launch Age Loud, a global campaign advocating for a UN convention to protect the rights of older people. The challenge was to move away from narratives of decline and vulnerability, reframing ageing as active resistance and making older voices impossible to ignore. We created a bold, adaptable identity and multilingual logo system designed to work across borders and cultures, supported by a showreel that centred lived experience over pity. The result positioned older people as visible, vocal human rights defenders, uniting them under a clear global call to action.

For Arsenal FC’s Supporter Banners project, delivered directly with the club, I designed and produced over 150 banners and flags representing official supporter groups worldwide. Each piece was individually crafted, drawing on historic football iconography, colour and form, then photographed by hand to capture the movement and texture of real fabric. The result was a unified stadium-wide visual system that honoured Arsenal’s global supporter base while feeling bold, authentic and supporter-led inside the Emirates.

Working directly with Arsenal FC, I designed and produced a collection of 187 banners and flags representing more than 150 official supporter groups across the world. The challenge was to create a unified visual language that could celebrate the diversity of Arsenal’s global fanbase while remaining unmistakably Arsenal — authentic enough to feel supporter-led, yet bold enough to command space throughout the Emirates Stadium. Drawing on historic football iconography, colour and form, each banner was individually crafted and photographed by hand to capture the movement and texture of real fabric. The result was a stadium-wide visual identity that balanced global belonging with local pride, transforming thousands of individual supporter voices into a collective expression of the club.

For BIP.credit with DentsuX, I worked across design, motion and social to help launch the world’s first cardless credit app. The challenge was to translate a sharply defined brand identity into social-first communications that could introduce a new financial behaviour without adding complexity, friction or visual noise. Working within a deliberately restrained visual system, we developed a campaign centred on reduction and focus, using minimal compositions, disciplined motion and high-contrast colour to reinforce the direct relationship between user and product. The result was a distinctive and ownable social presence that reflected the simplicity of the service itself, communicating confidence through clarity rather than explanation.

For Nokia with Grey, I worked across art direction, identity, design, motion and social to support the relaunch of the iconic Nokia 3310 alongside the release of No Time To Die. Following pandemic-related delays that disrupted the original campaign rollout, the challenge was to reintroduce a cultural icon in a way that felt relevant to a contemporary audience while aligning it with the world of Bond. We developed a live, social-first mini-series following Nomi’s mission as it unfolded across four global cities, blending newly captured footage with curated content to create a real-time narrative experience. Rather than focusing on product specifications, the Nokia 3310 was woven naturally into the story as a symbol of resilience and reliability. The result was a launch that connected nostalgia with contemporary storytelling, bringing one of the world’s most recognisable phones back into culture at the pace of social.