The Work
Fitbit’s campaign calendar was continuous, with each product line, like the Versa, Charge, Sense, and Inspire, having its own launch cycle, overlaid with frequent seasonal promotions such as New Year’s, Valentine’s Day, Easter, and Black Friday. Seasonal dates varied by market, and campaigns had multiple routes by product colourway and target audience, increasing their complexity. At its peak, a single campaign produced dozens of banner variants controlled by a custom scheduling spreadsheet mapping go-live times to each banner in DoubleClick Studio.
HTML Campaigns
HTML banners were central to my work. Built with HTML, CSS, JavaScript, and GSAP, they featured smooth, brand-consistent motion across all formats and markets. The banners were structured for reuse, allowing configuration for different copy, images, and colours without rebuilding, reducing turnaround as the number of live banners grew. All scheduling and management took place in DoubleClick Studio with automated market-by-market go-live logic.
You can see more of the banners I created on my Showcase section.
Content Management Improvements
Within DoubleClick Studio, there was a master spreadsheet which managed all the banners, their links, campaign/animation route, etc. The spreadsheet mainly involved choosing which route the animation would follow, calling in all the different assets required and then additional content such as click-through tracking links, start/end dates and market/language. As it grew more robust and complex, I reorganised the content within DoubleClick to make it more manageable and scalable, separating some of the content by year (to avoid overlap with regular seasonal sales such as Easter), and the devices had their own folder, as we could call on these and reuse them across multiple campaigns.
Previously, we had a long list of content all in one folder, which meant it was easy to make mistakes, the wrong language could be triggered, the wrong year could be used in the campaign, etc. It also meant we were rebuilding assets that already existed multiple times. For example, if we had a watch in a specific colourway, on a particular screen (e.g. active zone minutes), we would export that asset every time it was used across different campaigns, stack that across all the different markets, and this was a lot of assets being produced unnecessarily.
Restructuring the content by year avoided overlap with recurring seasonal campaigns, and moving devices into their own dedicated folder meant we could call on them and reuse them across multiple campaigns without reproducing anything. Paired with a consistent, clear file naming convention, it became straightforward to swap devices, screens, colourways and languages quickly and accurately. This effectively transformed one of our biggest pain points into a robust and scalable system that we could utilise more efficiently.
UI Localisation
As our work involved covering markets across the globe, we also had to do some UI work and localised screens for the watches and the Fitbit app. This was done in Sketch initially, and then we moved over to Figma, where we would be given files and have to localise the screens, ensuring that the translations were as accurate as possible and even the smallest details, such as the units of measurement, the decimal separator, and even break points in the text were correct. To do this, we collaborated closely with our localisation teams and used platforms and plugins such as Smartling with various checks from real translators to ensure that the phrases and words still made sense within the context of the screen.
The most difficult part of this was when we had Asian languages (Chinese, Japanese, Korean, etc) and we did not know where exactly to put the line breaks, as this could have caused the meaning of the sentence to be wildly different if they were put in the wrong place. We eventually adopted a system with the localisation team where they would provide us with all possible line breaks and we would pick the best depending on the space available.
Video & Motion Graphics
For Fitbit’s social channels, I produced motion assets for Instagram posts and stories timed to the active campaign, whether a seasonal promotion or a new product launch. Most assets were produced in After Effects, with some shorter formats handled directly in Photoshop. GIF formats were also produced for specific campaigns, such as Pride Month, where file size constraints ruled out video.
Illustrations
On select campaigns, I created bespoke illustrations such as people exercising, product close-ups, device diagrams and anatomical references such as arms and wrists. These were built in Illustrator and used across formats, including infographics and explainer videos, maintaining visual consistency whether the final asset was a digital banner, a social post or a printed document.
Although less frequent than digital, print was occasionally in scope. This involved producing press-ready files with correct colour profiles, bleed settings and output specs, packaged and supplied to production without issue.
Amazon & Web Content
For new product launches, we would also be given the tasks of adapting and localising the Amazon A+ content, and occasionally some content for their website. The A+ pages were incredibly large and detailed files, where we would have to use the screens we had localised previously and place them in the working files, and then resupply them to the client, ensuring everything was accurate and market-ready before submission.
