About · 01
02 · Positioning
I turn complex ideas into clear visual stories.
Strong concepts. Thoughtful craft. Design that performs.
Page 1 of 10
Available for work
Senior Visual Designer. Brand, campaigns, and systems built to last.
02The Problem
Too many ideas.
Too many opinions.
Too little focus.
Most design problems aren’t design problems. They’re clarity problems. Solved upstream, before anyone opens Figma.
Good design cuts through that.
03Peter Sijtsma
I help companies turn complex ideas into clear visual stories.
Senior Visual Designer working across brand, campaigns, and design systems , for products, platforms, and audiences at scale.
Strong concepts. Thoughtful craft. Design that performs.
04How I work
Concept first. Craft second. Systems so it scales.
Three pillars I bring to every brief, from a single launch asset to a full brand ecosystem.
01
Concept
Find the one idea worth defending. The strategic spike that makes work memorable.
02
Craft
Type, composition, motion, detail, tuned so the concept actually sticks.
03
Systems
Tokens, templates, rules. So the next person can ship it on-brand without me.
05Fit
A good fit starts with how we make decisions.
Those are the lines every designer laughs at. The working relationship is the part that actually matters.
01
Don’t hire me if you want the logo bigger.
02
Don’t hire me if the strategy is “make it pop.”
03
Don’t hire me if design is expected to fix a bad idea.
WHAT I BRING
I start with what the work needs to change.
Attention, understanding, action—the measure depends on the job. I agree it before we design, then use what we learn to sharpen the next decision.
I have a position on AI, and it has two halves.
I use generative tools for environments, visual variation and image transformation. On fair:dient, I turned stock photography into one on-brand campaign world. AI is a tool with a scope, and knowing where its edge sits is the actual skill.
I build the thing that keeps working after I leave.
Illustration libraries, component systems and campaign templates that move routine production in-house. My test for a system is simple: the next person can ship on-brand without me.
My first move is removal.
On BITEG, the brief was tight. I audited the highest-impact moments and left everything else alone. Bad design is almost always a decision problem, not a craft problem, so I go and fix the decision.
NOT THE RIGHT FIT
I won't put an AI-generated human in your advertising.
I use AI where it multiplies craft: environments, colour grading, exploration. I stop at people. If the plan is a synthetic cast or a generated testimonial, I'm not your designer.
I won't take a brief where design is consulted last.
If the strategy is locked, the copy is signed off and the layout is already drawn, what's left is production. Design is a decision-making function or it's decoration.
Stakeholders yes. Committees no.
Aligning business goals and stakeholder vision is what I do on every rebrand. But tell me who signs it off. If the answer is "we all do", the work ends up as the average of everyone's second choice.
I won't sell you a logo on its own.
Every rebrand I've run shipped the system behind it: type, colour, photo direction, templates a team can actually use. Small budgets are fine. Small scope isn't.
“He has already built the solution before the rest of us wake up to the problem.”
06Q&A
Things you might want to know.
01, Pillar
Design Philosophy
What frustrates you most about bad design?
Noise pretending to be nuance. Too many ideas stacked on top of each other because no one had the nerve to cut. Bad design is almost always a decision problem, not a craft problem.
What are your non-negotiables when designing?
Hierarchy, intent, and honesty. Every element earns its place, every decision points somewhere, and the work doesn't pretend to be more than it is.
How do you balance intuition and strategy?
Strategy sets the frame; intuition fills it. I use data to narrow the field of possibilities, then I trust the gut to choose between the good ones.
What makes design feel alive?
Tension. A confident type choice next to negative space. A still image that implies movement. The sense that a human made a decision, not a template.
What is the core purpose of design?
To make complex things feel obvious, and obvious things feel worth caring about.
02, Pillar
Mission
What kind of work excites you most?
Briefs with real stakes. Brand systems, campaigns, and products where the decisions actually move a number, change a behaviour, or reshape how a company sees itself.
Who do you design for?
The person on the other end of the screen who's busy, sceptical, and not paid to care. If it works for them, it works for everyone upstream.
What should design achieve beyond aesthetics?
Clarity, trust, and momentum. Aesthetics get you in the door, structure and meaning are what make people stay.
03, Pillar
Vision
What change would you like to see in the design industry?
Less performance, more substance. Fewer trend cycles, more long-form thinking. Designers treated as decision-makers, not decorators.
What defines a successful design?
It survives contact with the real world. People use it, share it, build on top of it, and a year later it still feels like it belongs.
What idea sits at the core of your work?
Cut through the noise. Make one clear point, beautifully, and let everything else fall away.
07What I do
Full-stack creative.
Brand IdentityCampaign DirectionDesign SystemsArt DirectionVisual StorytellingTypographyIllustrationDesign LeadershipDesign Ops
08Next
That’s how I think. Now see the work.
The selected case studies show how the thinking becomes campaigns, systems and shipped experiences.