Adib Shukri — Senior / Lead Designer, Malaysia

The project I'm proudest of. Over roughly two years I sat in a creative team of 8 to 10 designers, each of us owning our own campaigns because there were always several running at once.

My core strengths on the account were four things: helping win pitches, motion and video, in-app game UI for the Singapore and Hong Kong markets, and building an AI-assisted tool that sped up how the whole team worked.

A global bank needs a constant, high volume of creative that never drops in polish. SCB's brand is built for trust and precision, not play, so when the brief was a gamified in-app experience, the challenge was making it genuinely fun while staying locked to a strict banking CI. On top of that, handovers for a 20-plus person team were being managed in a fragile shared spreadsheet.

• In-app game UI for Singapore and Hong Kong, including Scratch & Win and Million Reasons to be Happier, playful but locked to the brand system.
• Pitch and motion: elevated decks, designed cover concepts, and produced the motion. One pitch video I made under a tight deadline was praised by leadership, and we won the pitch.
• An AI-built handover tracker: a live dashboard replacing the spreadsheet, letting 20-plus contributors across Hong Kong and Singapore submit files against briefs, with real-time progress and admin controls. Built from scratch, vibe-coded with Claude, adopted by the team.

The pitch with my motion video was won, and the video was praised by leadership under a tight turnaround. The handover tracker replaced a fragile spreadsheet process for a 20-plus person team across two markets, and it's still in use.

The strongest thing a senior designer can do isn't only to make one beautiful asset, it's to improve the system that produces all of them. That systems mindset, plus the ability to hold premium quality under a bank's scrutiny, is what I now bring to leading other designers.

I led a team of three designers producing L'Oréal Paris' Double Digit sale campaigns across four markets and three e-commerce platforms. Equal parts craft and leadership: I set the visual direction, assigned and reviewed work, gave feedback in a fast-moving cycle, and managed clients across markets directly.

Double-date sales run every month. One master KV from the client, adapted across every platform, banner size, and format for four markets, roughly 500-plus assets per cycle on a hard deadline. The harder challenge was leadership: a mixed-experience team across time zones, feedback at pace, and holding quality consistent across everyone's output at once.

• Assigned work, reviewed for consistency, and kept a mixed team unblocked at pace.
• Handled client relationships directly across markets.
• Set the KV direction each cycle and adapted it cleanly across every market and platform.
• Built the systems that made the cadence survivable: repeatable templates, Figma component systems enhanced almost daily, and AI-assisted automation for the adaptation grind.

The client loved the work, every campaign out fast and consistent, month after month. The clearest proof: after I rolled off, my art director still wanted me back on it.

Citibank's creative library, built from the ground up as the sole designer: an asset bank of 100-plus key visuals and an icon bank of 20-plus custom icons. When any team needs a KV, they pull a ready-made, on-brand asset straight from the bank.

A creative library only works if everything in it feels like it belongs together and holds to a bank's exacting brand standard. Producing 100-plus KVs and a family of 20-plus icons that all stayed visually consistent, reusable, and unmistakably Citibank, on my own, was the core of the job. Every piece had to be something another team could pull and deploy with confidence, on-brand every time.

On top of that, every visual came with a tight deadline, and each KV had to be adapted across many sizes. Doing that volume of adaptation by hand, as the only designer, would have been the thing that broke the timeline.

• Produced 100-plus KVs to a consistent system for the asset bank.
• Designed a family of 20-plus custom icons, each built in two tiers: a generic blue and silver set, and a black and gold set for Gold and Affluent clients.
• Held the brand line, and where I saw a stronger option, pushed past the guideline and got it approved.
• Beat the deadlines with my own automation tool: one KV into 10 sizes in a single step instead of rebuilding each by hand. The same tool I first built on Standard Chartered.

Owning a bank-grade brand system solo, end to end, is the clearest proof of how I work: design as infrastructure that other teams depend on. It ties together the systems thinking and the premium craft from the rest of my work, and it's the kind of end-to-end brand responsibility I want more of.

I worked across some of MINI's biggest campaign moments, and this is where my campaign KV craft was forged. MINI is a brand with a strong, unmistakable character, and the challenge every time was keeping that character intact while making each campaign feel fresh. I had genuine ownership, taking pieces from concept to finish and presenting to my art director.

• Quarterly campaign KVs, the recurring big-moment visuals that set the tone for each period, plus the festive work including Raya.
• Miniscape, MINI's lifestyle and merchandise line, alongside branded collateral.
• Website UI, EDMs and digital ads across every campaign.
• On-ground event and roadshow visuals, and pitch work including the EV launch.

The pieces above are a selection. Across my time on the account the volume was far larger than this, with a new quarterly campaign and its full rollout every cycle.

MINI is where my campaign instincts were formed. A brand with a character this specific leaves nowhere to hide: it either feels like MINI or it doesn't. Working to that standard every quarter taught me to hold a brand's voice steady while still making each campaign feel new, and to take a single idea all the way from KV through to web, social, collateral and on-ground.

It also gave me my first taste of carrying a major pitch. Future Can't Wait is the moment campaign design clicked for me, and the craft foundation under everything I've done since traces back to this account.

I worked on BMW alongside my MINI work, but this was its own world: a different creative lead and a step up in who I reported to. I worked directly with the Creative Director, which raised the bar on how tightly the work had to land. BMW is precision, performance and premium restraint, a different flavour of automotive from MINI's playfulness.

• Campaign KVs, launches and web UI.
• Print, digital and social ads.
• EDMs and festive (Hari Raya) work.
• Motion video, bringing the campaigns to life beyond static.

BMW added premium automotive range to my craft and, working directly with a Creative Director, sharpened how precisely I execute against senior direction. It's also an early proof point for the motion work that's now a core part of how I design, a reminder that the motion edge I bring didn't come from nowhere, it was built brand by brand.

A full Raya campaign pitch for Lazada, spanning a TVC, in-app games, the key visual, digital ads, and supporting initiatives. On the creative side the pitch had a Creative Group Head, a Senior Art Director, and me. With the seniors tied up elsewhere, I crafted the visual work almost entirely on my own, guided by the group head and presenting to the CD.

Built for a Malaysian audience, rooted in the heart of what Raya means: family tradition, and the spirit of giving to those in need. The creative carried that warmth through every touchpoint so it felt authentically Raya rather than a sale dressed in festive colours.

I crafted the KV and the wider campaign visuals almost single-handedly, from ideation through execution, all under a tight pitch deadline, then presented the thinking to the CD with the group head's guidance.

Proof I could carry the creative execution of a full, culturally rooted campaign on my own while still early in my career, and do it at pace. It's also where I learned to design for meaning, not just for a sale: grounding a big commercial campaign in something true to the audience is what makes festive work actually connect.

A campaign pitch for the collaboration between Nescafé Dolce Gusto and Starbucks, proposing a creative advertising strategy to promote the partnership. A premium, lifestyle-led piece, and a change of pace from the banking work.

I crafted the KV and logo, built the deck into something that sold the idea, and refined the visuals throughout. The piece I'm proudest of is a mockup of a moving barista house, a 3D touch that gave the pitch a sense of place beyond flat visuals.

Range: premium, lifestyle brand craft with a strong aesthetic sensibility, plus the willingness to go beyond flat design into 3D mockups to make a pitch feel real. Proof that the systems and campaign work isn't the whole picture.

My first account, working on Dashing, Wipro's men's grooming and fragrance line. I designed campaign visuals across print, POSM, social and digital, working closely with the Creative Group Head and Copywriter. It's where I learned how a campaign actually comes together.

I created the campaign visuals across the Wipro brands: KVs, print ads, digital ads, social assets and POSM, all focused on the products and kept consistent across every channel they appeared in.

The foundation piece: my first account, where I learned campaign craft end to end under a Creative Group Head as a fresh graduate. It also adds FMCG personal-care range to the mix, product-led consumer work, a different discipline from the banking systems and lifestyle pitches. Everything I do now traces back to what this account taught me.