Sample OneFive years · Brand & digital
Work is described by what it did, not what it looked like. A creative director can see the aesthetic in the portfolio; what they cannot see is whether it performed.
Areeba Nasir
Graphic Designer — Brand & Digital
[email protected] · +92 300 3391 774 · Karachi, Pakistan · areebanasir.design · behance.net/areebanasir
Profile
Brand and digital designer with five years across FMCG and fintech. Rebuilt a packaging range that lifted shelf conversion 24%, and produced a design system that cut campaign asset production from four days to one.
Experience
Senior Designer, Ogilvy Pakistan
Jun 2023 — Present
- Lead brand design on four retained FMCG accounts, from concept to print-ready artwork
- Rebuilt a packaging range that lifted in-store conversion 24% across 1,200 outlets
- Built a component-based design system, cutting campaign asset production 4 days to 1
- Present concepts directly to clients and take feedback through to final delivery
Graphic Designer, Digitz
Mar 2021 — May 2023
- Produced social and display assets for eleven brands at roughly 60 pieces a month
- Redesigned a fintech onboarding flow that reduced drop-off at step two by 31%
Education
BDes — Communication Design
Indus Valley School of Art · 2020
Portfolio
Portfolio
areebanasir.design · 14 case studies
Behance
behance.net/areebanasir · 22k views
Skills
Brand IdentityPackaging DesignDesign SystemsFigmaAdobe IllustratorAdobe PhotoshopInDesignPrint ProductionClient Presentation
Why this one works
- Two links in the header, both live. Portfolio and Behance. For a designer these are more important than the phone number, and they belong where the eye lands first.
- Design outcomes are commercial. 24% shelf conversion, 31% less drop-off. Every designer can show pretty work; very few can show what it did to a number.
- The design system bullet is about speed. Four days to one is the sentence an agency operations lead will remember, because it is their problem, not the client's.
- "Print-ready artwork" appears. It sounds mundane and it is a genuine filter — a designer who can take work all the way to press saves an agency a specialist.
Sample TwoFour years · Social & video
Social work has more numbers attached than almost any creative field, and most creator resumes use none of them. This one is built from the analytics tab.
Danish Iqbal
Content Creator — Social & Video
[email protected] · +92 345 7712 909 · Lahore, Pakistan · danishiqbal.tv · youtube.com/@danishiqbal
Profile
Content creator with four years producing short-form video for brands and one owned channel. Grew a client TikTok account from 4,000 to 210,000 followers in fourteen months, and produce 20 to 25 finished videos a month end to end.
Experience
Content Lead, Cheetay
Sep 2023 — Present
- Grew the brand TikTok account from 4,000 to 210,000 followers in 14 months
- Produce 20-25 finished short-form videos monthly: script, shoot, edit, publish
- Raised average watch-through from 31% to 58% by restructuring the first three seconds
- Manage a two-person crew and a monthly production budget of PKR 900,000
Freelance Video Editor, Self-employed
Jan 2022 — Aug 2023
- Edited 400+ videos for fourteen clients across fitness, food and education
- Built an owned YouTube channel to 38,000 subscribers with no paid promotion
Education
BS — Mass Communication
University of Central Punjab · 2021
Channels
Owned channel
youtube.com/@danishiqbal · 38k subscribers
Showreel
danishiqbal.tv · updated 2026
Skills
Short-Form VideoPremiere ProAfter EffectsDaVinci ResolveScriptwritingLighting & SoundTikTok & Reels StrategyAnalyticsCrew Management
Why this one works
- Watch-through rate is the strongest line. Follower counts can be bought; 31% to 58% watch-through cannot, and any marketing lead who works in video knows it.
- Output volume is stated. "20-25 finished videos monthly" answers the question every brand actually has: can you keep up with the feed?
- The owned channel counts as evidence. 38,000 subscribers with no paid promotion proves the skill is his rather than the budget's.
- Budget managed is included. PKR 900,000 a month moves him from creator to someone who can be trusted with money — a different and better-paid category.
Sample ThreeSeven years · Brand designer · Toronto
A different build entirely: two columns split by a hairline rather than a filled panel, contact marked with glyphs, and the career shown on a dated rail so the sequence reads at a glance, with a portrait slot at the top. Set in sans throughout — a modern resume and an editorial page are not the same document and should not share a typeface.
Mariam Haddad
Senior Brand Designer
Skills
Brand IdentityArt DirectionDesign SystemsPackagingFigmaAdobe CCType DesignClient Pitching
Education
BDes Graphic DesignOCAD University · 2017
Certification
Applied Arts AwardBrand Identity · 2021
Profile
Brand designer with seven years across agency and in-house. Rebuilt a national retailer’s identity system across 240 stores and cut new-campaign artwork time from nine days to two by making the system usable without me.
Experience
2022 — Present
Senior Brand Designer
Sid Lee · Toronto
- Lead brand work for three retained accounts billing CAD 1.8M a year
- Rebuilt a national retailer’s identity across 240 stores, packaging and app
- Cut campaign artwork turnaround from 9 days to 2 with a component system the client’s own team now runs
2019 — 2022
Brand Designer
Rethink · Montreal
- Designed identity and launch campaigns for 11 clients across food, fintech and culture
- Two projects picked up by Applied Arts; one shortlisted at The One Show
2017 — 2019
Junior Designer
Freelance · Beirut
- Built a client base of 20 small businesses from nothing in under two years
- Ran the work end to end: pitch, design, print liaison and invoicing
Why this one works
- The glyphs are not decoration. A contact block is scanned, not read. A small mail shape is found faster than the word “Email”, and it costs no line of text.
- The rail makes chronology visible. Dates sit above each role with a dot on a line, so a reader sees the shape of the career before reading a word of it.
- A hairline instead of a filled panel. Two columns are separated without spending a solid block of ink, which keeps the sheet light and prints cleanly on a cheap printer.
- Sans throughout, and a different accent. A serif reads as editorial. A designer applying for design work is judged on this choice before a single bullet is read.
- The portrait is optional, and this is the honest position on it. A photo is expected across much of Asia, the Gulf and continental Europe, and unusual in the US, UK and Canada, where recruiters are often told to set those applications aside. Use it where it is normal; delete it where it is not. The slot takes one click either way.
- Still no skill ratings. “Figma ●●●●○” claims a precision nobody can verify, and recruiters discount it. The work does that job.
The resume is not the portfolio
Creative applicants often spend their effort making the resume itself a design piece — unusual grids, custom type, colour blocks. It is understandable and it is usually a mistake, because the document is being judged on a different axis than the work.
The portfolio answers "can they design?". The resume answers everything a portfolio cannot: did this work achieve anything commercially, was it delivered on time, how much did it cost, how many people were managed, and can this person be left in a room with a client.
A creative director will forgive a plain resume from someone whose portfolio is strong. They will not forgive a beautiful resume that never explains whether the work sold anything.
The numbers creative work has
- Commercial outcome. Conversion lift, drop-off reduction, sales change after a rebrand, click-through on a campaign.
- Volume. Assets per month, commissions per year, videos produced, pages designed.
- Speed. Turnaround time, production cycle before and after, delivery guarantees.
- Audience. Followers gained, watch-through rate, subscribers, portfolio views.
- Money. Budgets managed, client billings, cost saved through systems or templates.
- Clients. Accounts held, repeat rate, retention, named brands where permitted.
Watch-through, repeat rate and turnaround are the three most persuasive and the three most commonly missing. All of them sit in an analytics tab or an invoicing folder you already have.
Making freelance look stable
Freelance experience triggers one specific worry in an employer: that you have never had to meet somebody else's standard, on somebody else's schedule, repeatedly. Everything in the freelance section should address that.
- Give it a title and dates like a job. "Commercial Photographer, Self-employed, 2018 — Present" is a seven-year tenure. A scatter of individual projects is not.
- Lead with retention. Repeat clients prove other people's standards were met more than once.
- State volume annually. It shows a sustained workload rather than occasional jobs.
- Name the business functions. Quoting, contracts, invoicing — proof you have run something, not just made things.
- Keep any employed role, however old. It answers the doubt directly.
Three rewrites for creatives
Weak
Designed eye-catching packaging for a range of consumer products.
Strong
Rebuilt a packaging range that lifted in-store conversion 24% across 1,200 outlets.
"Eye-catching" is a judgement about your own work. Conversion is a judgement the market made.
Weak
Created engaging social media content for various clients.
Strong
Grew a brand TikTok account from 4,000 to 210,000 followers in 14 months.
Engaging is the intention. The follower trajectory is the evidence that it worked.
Weak
Freelance photographer working with a variety of clients since 2018.
Strong
Deliver 120+ commissions annually for a client base of forty, 70% of whom book again.
The first sentence could describe someone with four jobs a year. The second is a business.
Let the work speak, and make the resume open the door.
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The people above are illustrative examples written for teaching purposes.
Names, employers, registration numbers and figures are invented and should not be copied
into a real application — use them as a shape to pour your own verified numbers into.