Delivered cleaner briefs and sharper assets that cut production back-and-forth and sped up iteration. The creatives I managed launched with fewer moderation issues and left more room for testing meaningful variants. Bottom line: less firefighting, clearer creative, and faster cycles.
これは:
X -pression
仕事
チャンネルファクトリー
ブランディング、ソーシャル、イベント、デッキ、デバイス。これらはすべて、Channel Factory がブランドが広告費をより有効に活用するためのギャップを埋めるのに役立つ方法と、より「意識的な」広告分野に移行している理由を物語っています。私たちは毎日、絶えず広告にさらされています。そこで、どうすれば目立つことができるのか、どうすればブランドがオーディエンスとよりうまく連携できるのか、という疑問が生じます。
To bring strategy into day-to-day creative so client campaigns would perform better. The reality: we were cranking out large volumes of ads, but a lot of the creative wasn’t grounded in recent performance data or tailored to the markets we were running in. That made it hard to predict what would click, and it meant I was constantly balancing speed with the need for smarter creative choices.
We also faced regional and moderation friction-assets that worked in one market would trip in another, or get pushed back by policy. My role was to reduce that friction at the creative level: make smarter briefs, run faster tests, and deliver work that had a better chance of passing approval and resonating in-market.
これは:
X -pression
これは:
X -pression
I leaned into active, hands-on research: parsing ad performance, spotting what creatives and headlines actually moved clicks, and testing variations quickly. I worked directly with R&D, account teams and managers to shape briefs that tied a creative idea to the metric we wanted - not theory, but CTR and approval rate in market.
For client work I built tight decks and moodboards that set a creative direction before production - small, focused frameworks for each brief rather than company-level rules. I handled a high volume of ads across verticals and regions, so the approach had to be practical: fast testing, fast refinement, and close feedback loops with the teams who owned performance and moderation.
Visually I aimed for clarity and intent: work that answers the user in one glance. That meant dialing in imagery, cropping, and headlines that communicated benefit immediately - whether the creative needed to look polished and professional or raw and everyday for performance reasons. On shoots and builds I called the frames, lighting, and usage shots that gave us maximum utility for different placements.
I also shaped the tone and brand approach for specific briefs: defining audience, values, and emotional hooks first so every asset had a clear “why.” For animated ads, I built to make sure motion and timing supported the headline and drove attention to the click.
これは:
X -pression
手紙
– Creative diretion for high-volume performance campaigns, hands-on design and art direction across static & animated ads (US, APAC, EMEA)
- Turn data + trends into action, review ad performance, run quick A/B creative iterations, and prioritize the headline/image combos that earn the best CTR
- Cut production headaches, tighten briefs, check specs up front, and flag moderation or technical issues before build
- Researched and pitched “Cycling Ads”, built a concept deck with examples showing how AI-driven title/visual swaps could personalize creative based on viewer behavior + data
- Coordinate with stakeholders, clear up policy issues fast and keep creative focused on campaign goals
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