HOW: He says: "ITV's drama offering this season is so broad, and that presented challenges. I had to create something that was as comfortable sitting next to trailers for Downton Abbey as it was alongside a gritty thriller. Living on screen and online at various sizes, legibility was a priority. We physically built the logo - it was laser-cut from wood. I run a pretty small ship, so I had to act as producer, director, cameraman and lighting grip at times."
How did you get into art directing? I graduated in 2003 and spent the next six or seven years working at advertising agencies in London, before moving to New York in 2009 for a job at Grey. I stayed there for a little over two years before deciding to set up my own studio on my 30th birthday. I don't think you should be in charge of anything until you're at least 30.
What are you most proud of? Tough to say! Creating the Annual cover for Creative Review in 2010 was pretty amazing and, this year, I created the identity for Macy's 4 July fireworks in New York, which is probably as high-profile as it gets over there. Being asked to work with the V&A for most of last year was a similarly big deal.
What inspires you? Passion about anything. If your thing is, say, frozen peas and that's what you're passionate about, then I would happily listen to you wax lyrical about them. Outside of that, I'm a massive theoretical physics nerd.
What would you most like to rebrand/redesign? Film and TV titles are something I've only flirted with so far, so I'm hoping I'll get a proper go at something in that area. Patience.
Tell us something unusual about you. I grew up living with my grandparents in a retirement village in Lincolnshire. Is that unusual? Maybe not.