ICEPOP
More than twenty client accounts and not a single piece I can show you.
This is the only case in this portfolio that shows no work, and the reason is not that there is none. It is a contract.
What I do here
Since April 2026 I have been a Performance Creative Designer at ICEPOP, an agency in Beverly Hills, working remotely from Madrid. I design the Meta statics: the concept, the ad copy and the final piece, in 1:1 and 9:16, in batches of 8 to 20 per account. More than twenty different accounts have gone through my hands, from law firms to kitchenware, children's products, aesthetic medicine, home renovation and fashion.
Clause 10 of my contract protects the identity of those clients. So I can tell you how I work, but I cannot show you what comes out. If you hire someone who shows you the work of the agency they are at, ask yourself what they will show of yours.
The only account I can show is the agency's own
When the client is the agency itself there is no one to protect. I made these pieces for ICEPOP's own channels, vertical and a minute long: ad rules told the way the feed tells them. A playbook on the landing page that gets the click. A chat story about what happens when a law firm takes ten hours to answer a lead. And sixty seconds on what the ads that work have in common.
It is the only ICEPOP work you can watch in full on this page, and the only time in this whole case where the brand you see is the real one.
One system per account, written down, before the first piece
Every account starts the same way: its own palette, typefaces and rules, documented by me. It is not bureaucracy, it is the only thing that keeps piece number eighteen looking like the first one when you are three weeks and two rounds of changes in.
A set that does not look like itself is not a set, it is eighteen loose ads.
A bank of claims checked against the client's website
Before I write a headline, I check what the brand can actually say, against its own live website. It sounds like overkill until you get a regulated sector and understand that one adjective too many is a rejected ad, or worse.
What I do not do
I do not buy media or manage the spend. I do not edit in After Effects. My kit is Figma and Photoshop, with Illustrator and Premiere alongside, and generative AI inside production rather than as a demo: Gemini and Midjourney for images, and generative fill to extend backgrounds.
The detail
I run the review rounds directly with the client, in Frame.io. That means the comment arrives untranslated and the correction goes in the same day. Half of what you learn about an ad is not in the brief, it is in what the client crosses out.