• Creative and communication strategy. Own the messaging and visual system for every site and campaign. That covers positioning, page structure, headlines, body copy, the design language, and the design tokens that encode it. You write copy yourself and edit everything that ships, so the words and pictures come from one point of view.
• Interactive experience design. Design how every page moves and responds, including SVG and CSS animation, scroll-driven storytelling, micro-interactions, and real-time 3D. You storyboard it, prototype it, and direct the build. When getting into the timeline yourself is faster than explaining, you do that.
• 3D and real-time scenes. Model, light, and art-direct scenes in Blender, then bring them to the browser with Three.js and WebGL. You set the bar for when a page earns real-time 3D and when a lighter technique tells the story better.
• Generated photography and illustration. Build and run the image pipeline. You'll art-direct photography and illustration with image models, keep one style consistent across a whole site or campaign, and retouch what the model gets wrong. You'll also animate stills with video models. You set the house rules on style, consistency, and licensing.
• Video and motion graphics. Produce product films, launch and explainer videos, social cuts, and motion graphics. Use generative video, compositing, and traditional motion tools in whatever mix gets the best result.
• Campaign creative. Own launches and email campaigns end to end: concept, copy, landing pages, imagery, and video. A campaign should read as one idea from the inbox to the page.
• New products, services, and brands. Lead the creative for every launch we incubate: the name and identity, the positioning and story, and the site and campaign it goes to market with.
• Creative oversight on every engagement. You review and sign off on all creative the agency ships. You're the reason a Lynton site looks and reads like one, and the reason no client site looks like a template.
• Performance and accessibility as part of the craft. We hold every page to a mobile Lighthouse score of 90 or above and to WCAG AA contrast. Motion respects reduced-motion settings. 3D loads after the headline, so it never delays the first thing a visitor reads. Copy lives in the page, where both people and AI assistants can read it.
• AI-first production. Direct our agent fleet through the production work: coding agents for prototypes and builds, image and video models for assets, and language models for first drafts and variants. Manage each engagement's inference and render budget like any other resource. Build reusable pipelines so every project starts further ahead than the last.

• 8+ years in digital creative, with at least three leading it. You've been a creative director, associate CD, or design lead at an interactive studio, an agency, or an in-house brand team. You've answered for the work across many projects at once.
• A portfolio of interactive work you directed and helped build. Your sites use motion to carry the story rather than to decorate it. Awards are nice. Work we can click through and feel is what counts.
• You write. You can turn a positioning brief into a homepage headline and the three paragraphs under it. You can edit someone else's copy until it sounds like a person. To you, words and pictures are one job.
• Hands-on across the motion stack. You're fluent in CSS and SVG animation, GSAP or an equivalent, and scroll-driven sequencing. You've shipped real-time 3D in the browser with Three.js, React Three Fiber, or similar, and built or lit scenes in Blender, Cinema 4D, or Houdini. You don't need to be the strongest engineer in the room, but you can read the code, prototype with a coding agent, and tell when a build is wrong.
• Deep, current practice with image and video models. You use them every day and have opinions about which to use for what. You know how to keep a character, a product, or an illustration style consistent across dozens of outputs. You also know where the models still fail.
• Motion and video craft. You can cut a film, design motion graphics, and finish in After Effects, Premiere, DaVinci Resolve, or their equivalents, alongside generative tools.
• Taste you can explain. You can say why a typeface, a cut, or a camera move is right, in terms a client or an engineer can act on.
• Honest with the medium. You'd never present a generated person as a real customer. You know the commercial terms of the models you use. You'd rather ship an honest illustration than a misleading photograph.
• Performance-minded. You've traded a heavier scene for a faster page and can explain the call. Texture budgets, draw calls, and Core Web Vitals are part of your craft vocabulary.
• AI-first in practice. You already direct agents across design, code, and copy. You can spec a task, judge the output, and improve the loop. For you, directing agents is the appeal rather than the threat.
• Ready to build. You're comfortable with a blank page, a small team, and a leadership group that builds alongside you.

Bonus

• Shaders, GLSL, or generative art
• Rive, Lottie, or Spline for lightweight interactive motion
• Sound design for web and film
• Brand identity systems built from scratch
• Training or fine-tuning image models on a brand's style
• B2B or professional-services clients

Why this role

• Ground floor with credibility. We have 27 years in business, 16 years of enterprise relationships, and a client base that generates revenue. You'll build the creative function of a new kind of agency on a real foundation.
• The whole creative surface. Strategy, words, design, interaction, 3D, image, and video all sit with one person. There's no handoff between a copy team, a design team, and a motion vendor.
• The new tools are the daily workflow here. The models and agents most studios are still piloting are a budget line and an everyday habit at Lynton.
• Direct to leadership. You work directly with the CMO and the founder, with no creative committee in between, and your work ships to real clients.