Studio
Design that explains, when it matters most
Digital Women Awards — Graphic Designer of the Year
I started in‑house at UBS, then moved into agency life at Wardour and blue goose, working on reports and campaigns for clients like the Bank of England, BNP Paribas and British Airways. Later I led visual design at Black Swan Data, and in 2018 I set up Designpip. I start every project by asking who it’s for and what they need to take away. Sometimes the answer is an investor deck that has to survive a room of sceptics, or a report people read past the first page. Sometimes it’s an identity or a website that has to say who a company is in a few seconds. I care about the detail, and about work that keeps doing its job long after it’s launched. When you work with me, you work with me directly, from the first conversation to the finished piece. I’ll ask plenty of questions at the start and keep you in the loop throughout. Afterwards, your team can run things themselves, or I can look after them for you.
Before the studio
Awards
Questions
With a short call or a few lines by email about what you need and when. I’ll come back with a scope, a fixed price and a timeline, along with my short terms of business. Once you’re happy with both, we can start.
Most projects are a fixed fee, agreed from the scope before anything starts, so there are no surprises. Ongoing work can be a monthly fee over a set period instead. Tell me what you need and I’ll come back with a price.
It depends on the scope, but as a guide: a pitch deck takes one to two weeks, a brand identity four to six, and an annual report six to ten from first content to print. You’ll have a timeline with the quote, and I keep to it.
Yes. Results days and raises run to fixed dates, and I’m used to working to them. Tell me the deadline first and I’ll tell you honestly what’s possible.
Yes. Much of my investor work sits inside an existing identity. If parts are missing, such as a document style or a set of templates, I build them to fit what’s already there.
Mostly I work with your words: editing, restructuring and organising them so they read clearly on the page. I can write smaller pieces, such as headlines and short sections, but for a full writing job it’s best to bring in a copywriter alongside me.
Yes. Whatever is made is yours: identity, templates and working files, handed over at the end, including any imagery created for the project.
Yes. Templates and websites are built in the tools your team already uses, so you can keep them up to date, or leave that to me if you’d rather.
Yes. AI tools are part of how I run the studio, from planning and research to production and code. They make me faster; they don’t make the decisions. When I use AI for imagery, I direct it the way I’d direct a shoot: the idea, the look and the final edit are mine. Confidential and price-sensitive material doesn’t go into AI tools without your agreement.
Unpublished and price-sensitive documents stay on my own secure systems and are shared only with the people you name.
Yes. I hold professional indemnity insurance and I’m happy to sign an NDA before we start. Personal data is handled in line with UK GDPR, as set out in the privacy notice. On the rare occasion I’m unavailable, a trusted senior designer I work with can step in, fully briefed by me, so deadlines are still kept.
Yes. I work with clients across the UK and abroad by video call and email, and meet in person in London or Essex when it helps.
Yes, as a freelance art director inside your team and your clients’ brand systems, by the day or by the project. I never approach your clients, and agency work only appears here with your permission and full credit.
Adobe Creative Cloud, Figma, PowerPoint, Webflow and Squarespace, plus reporting software, Claude and other AI tools.