Michael Pollard’s path into the creative industry wasn’t straightforward. After setbacks in graphic design studies and discouraging words from a tutor, he discovered advertising design, a field where his energy and conceptual thinking quickly flourished. With guidance from inspiring mentors and early recognition through D&AD student awards, Mick carved out a career that’s taken him across continents and into award-winning projects.

Now based in Sydney, Mick has worked with global brands, created campaigns that blur the lines between art and experience, and remained refreshingly candid about the challenges of the industry. From travelling to Japan to sell a bold snowboard boarding-pass concept, to adapting to the rise of AI while staying true to craft, his story reflects both the grit and the playfulness that set exceptional creatives apart.

How did you first get into the industry?

Completely by accident, sort of. I originally tried to study Graphic Design at uni, but so did about 100 other people, which made it hard to get any decent tutor time or value from the degree. I ended up failing, not once but twice, and one of the tutors told me I’d never amount to anything. Cheers, Charlotte.

Luckily, a couple of mates were studying Advertising Design and thought I’d be into it. They were right. The course was led by Chris Morris and John Rooney at the time, both brilliant mentors. I thrived. D&AD student awards and placements at London agencies came quickly after I graduated.

Where are you based now and who do you work for?

I’ve been living in Sydney for the past 10 years. Right now, I’m freelancing, in between jobs, and occasionally crying in the shower. The market’s pretty cooked, right?

What is your personal background and what role did it play in your career?

I’m from Colne, a small working-class town in the northwest of England. Burnley’s the closest big town. Not a lot of creative opportunities there, so I worked hard and got out as soon as I could. That attitude has stuck with me. Work hard, push through, and eventually good things happen.

If you weren’t in your current industry, what would you be doing?

Probably something creative, I hope. But I haven’t thought about it too much. If things keep going the way they are, maybe I’ll need to. I’ve had part-time jobs since I was 14, so worst-case, I could go back to Nando’s or bar work.

Can you explain your creative process? What makes it unique?

I work in short, intense bursts, trying to get as much done as possible. Then I step away and do stuff I probably shouldn’t be doing. Watching trashy reality TV, weird documentaries, playing or writing music, getting my butt kicked in Elden Ring, cooking, hanging out with my pets. That’s when the best ideas show up. Never at a grey desk in a beige office.

How would you describe your style?

I’m not sure I have one. As a conceptual art director, your style should shift depending on the brief. I want to create the most interesting, best-looking, most effective work in whatever space I’m in. Whether that means making snowboards that double as airline boarding passes, launching a digital global surf comp, or giving an EDM group 24 hours to create a new track using just a laptop.

Which individuals do you gain inspiration from? Do you have any heroes in the industry?

I don’t really look to industry people for inspiration. And if your heroes are all in advertising or design, you probably need to spend more time outdoors

What tips would you give to aspiring creatives looking for work?

Work hard. Message people you’ve never met. Keep your site up to date. Ask for help. Be open to jobs overseas. Apply for roles you’re not “qualified” for. Don’t let one douchey creative director crush your confidence. The market is unforgiving at the moment and things will pickup at some point, so don’t give up.

What tips would you give to other professionals to get more clients?

Online networking is a necessary evil. Just don’t become one of those people posting motivational quotes or selfies. I’ve had way more luck reaching out to people directly than I’ve had through job boards or email blasts.

Can you share a memorable experience from your career journey that shaped your approach to creativity?

Travelling to Japan to shoot our ‘Boarding Pass’ idea was unreal. The agency sent us without a producer and some very expensive gear. What they really did was send three best mates, a DOP, and an Olympic snowboarder with a love for beer and sake.

Before we even sold the idea, we built life-size prototypes for the final meeting with Japan Airlines. Say what you want about pitch theatre, but it helps non-creatives understand what’s in our heads. We pulled it off without a producer, impressed the client, and it reminded me that when you trust people, they usually rise to the occasion.

What kind of tools/kit/software could you not do without?

Google Slides, Photoshop, and Reddit. They're in constant rotation.

What’s your secret to staying inspired and motivated?

Looking outside the advertising or design bubble - what’s on at the movies?, what’s new on TV?, when’s Louis Theroux’s new doco out?. People who live and breathe ad stuff 24/7 are usually the least fun at the pub and suck the inspiration from even the best departments.

What’s the work achievement you’re most proud of?

Winning D&AD and Cannes while unemployed. It made me laugh, cry, and feel proud all at once. Strange feeling.

As someone with experience in the industry, what trends do you foresee shaping the future of creativity?

Eventually, I think there’ll be a backlash to AI and a return to craft and real, meaningful experiences.

The roles of art director and copywriter are already starting to blend, which makes sense. These days, you need to be a bit of everything. Strategist, creator, designer, director, scriptwriter. You can't just specialise in one thing anymore.

What do you think sets apart truly exceptional creatives from the rest of the pack?

The best creatives I’ve worked with don’t chase awards. They chase great work. I’ve seen agencies lose major clients because leadership cared more about trophies than relationships.

The best creatives at every level have curiosity, energy, and they still get excited when a big idea gets signed off. They treat banner campaigns with the same care as TV spots. That attention to detail matters.

How do you think technology has influenced the creative industries and how have you adapted to these changes?

AI is the biggest shift I’ve seen. The output depends entirely on the input, so a strong idea is still key. I’ve started using tools like Midjourney to build out visuals and moodboards, especially when Pinterest or Frameset don’t have what I need. But I never see AI as a final output. Collaborating with illustrators, photographers, and directors still brings huge value.

What is the one thing that you would change about the industry?

More mental health support from agencies and studios. Also, fewer private school kids. And better snacks.

That’s three things, but I stand by them.

Any websites, books or resources you would recommend?

Creativepool is an obvious one.

But honestly, fall down a Reddit hole or start listening to Black Metal or something. Discovering things for yourself is where the magic is.