I'm a lead designer with ten years experience in the big smoke (aka London) where I currently reside. Although my background has been in the arts, I have a strong background in code which hopefully translates to a logical method I employ into my work.
Get in touch! info[at]liamdevereux.co.uk
Until recently I've been the Head of Design at 360i; a role that has had me overseeing the digital output of a large creative agency here in London. Prior to that was extensive work with Burberry, Poke and Digit amongst others. I'm still heavily involved in production, mainly with Photoshop, Sketch and Illustrator.
I'm usually involved from UX through to the final design these days. I have delegated numerous examples of responsive design including Carphone Warehouse, Thomson and Liverpool Victoria, often building prototype versions of sites so clients don't get false hopes with static design.
I have worked with branding, most recently for Royal London Watches: Everything from logo design to visual identity workshops and social tone of voice sessions, with clients such as Land Rover, Thomson and First Choice.
Pitches provide the opportunity to show the kind of work you could do for someone, given the chance. A chance to express real innovation.
I've been heavily involved in successful pitches for Land Rover, Manchester City, Royal Caribbean, Beck's and numerous others.
There's been some pretty ground breaking work I've been fortunate enough to work on. Notably at Poke on projects for Orange, Manchester City and also at Burberry who are constantly pushing the boundaries in the ways in which we use technology. This has included numerous concepting ideas for wearable technology and social integration.
NetJets is Europe's largest private jet company, flying the richer and the more famous all around the world. They wanted to reflect the culture and class of their clientele with an online magazine. The content would be gathered from premium sources: The world's top journalists, restaurants, locations, photographers, illustrators... an online version of The New Yorker or Esquire was what was required, and the design had to reflect these values.
I was actually brought in to tidy up what had already been created by the UX team.
It was apparent to me that the grid system was going to have problems between devices. My initial thoughts were to have a slightly more rigid, and hopefully cleaner design that would work responsively.
The colour palette was designed not only to show what colours we would use, but also the heirarchy: A softer palette would be used holistically, allowing bolder colours to define categories.
I also created a set of SVG icons for the site.
I also wanted to look at how we could adapt online text, and bring it closer to the look and feel of premium magazines. I looked at how we could use vetical parallax scrolling as a means to overcome 'text vs. image' battles sometimes presented by landscape formats.
I'm not sure I need to do much more of an introduction to this other than saying that I enjoy illustrating and I think I'm not too bad at it. I change my styles quite a bit depending on the brief, and you can see much more of this on my Tumblr account.
The majority of illustration has happened at WCRS, notably for Sky on the different campaigns they have run. The work on this page is a snapshot of work from Cirque de Celebrité, a microsite I did no less that 40 illustrations for.
I'm well versed in Illustrator, but I don't think too much about swapping my mouse for a pen. This series of sketches are taken from a live session I did for a Unilever focus group.
I've done bespoke illustration for Orange, NBC and Glenmorangie but it's something I maintain as a personal hobby outside of that, particularly my own prints that I make.
I received my BA in Animation many moons ago and it's something that I enjoy rolling my sleeves up for now. Even if it's out of fashion I'll still use Flash if needed, but often jump into a After Effects and even JS animation depending on the brief.
Glenmorangie had been working with Digit for some time (which I'd been part of myself) when they asked for something to inject a bit of fun into their site.
The idea was a Wonka inspired 'Water to Whiskey' factory; an outlandish visual show on how whiskey is made.
Myself and the Creative Director put our brain boxes together to come up with something slightly mad, but technically kinda accurate!
Not to ignore old fashioned methods I still do a bit of stop motion animation. For example this internal project I animated on The Future of Water for Unilever.
Valentine's Day was coming up and Thomson wanted a social post allowinng lovers to smooch each other across security authenticated networks that allowed users to integrate their Facebook photos.
My job of course was to make that experience fun! Time dictated style, so I concepted and completed this little ditty!
Code is something I would say I'm semi-retired from but I still muck around with it. This site I built in HTML, SCSS and a couple of JS libraries.
I'm well versed in Object Oriented Programming. It's not something I work with so much now but I've built a few data driven that I had built in AS3 in previous jobs. And I still dabble: I've been involved with numerous Wordpress sites (my previous portfolio I built from that ) and I'd worked with physical technologies such as Arduino at Poke around the time we built BakerTweet.
That knowledge helps hugely however when it comes to IA and UX design. I have a solid in understanding how pages will be altered through both responsive design and changing content, and my history in coding is why. As mentioned before, I will often build prototype versions of sites so clients aren't false hopes with static design.
My last 8 years has been spent at Poke London, Burberry, Brand Union, WCRS, Clinic and Digit amongst others. I've worked on more brands than I can remember; right across the board from banks to beers. Here are some of the clients I have produced work for.