I have a solid foundation in motion
As the love-child of graphic design and animation; I'm good at motion because I have a solid background in both.
Starting as a graphic designer, I gained a first class Graphic Design BA and subsequently worked as a digital designer for a period.

Shortly after I completed an MA in animation at the Royal College of Art.
I developed my craft as a freelance motion director (directing for Unicef, Manchester United, Imperial College London and others) before taking up my current role as Head of Motion at The Guardian.
My motion work has been viewed more than a billion times, helped win a Webby, two D&ADs and has been exhibited at London's Design Museum.
Every day I work with code and interactivity
I'm not a developer but I code every day; code speeds up my workflow and enables more fluid dialogue with developers.
At the Guardian, I frequently work with interactive designers and developers. Together we have created a number of award winning interactive articles (eg. 1, 2 and 3).
I write expressions and scripts in After Effects, building tools for myself and others.
Both at the Guardian and previously as a digital designer, I've worked closely with UI designers and UX experts.
I design for humans
While the steps of a task might be utilitarian, people's motivations are generally more emotive.
Utilising motion in narrative can help people understand where they are in a process. Playful motion can bring some delight to an otherwise mundane or stressful interaction. Sometimes using motion well means doing very little actual motion at all.
At the Guardian and through my animation masters, I've worked around film and filmmakers who are skilled at creating content that is well paced, emotionally resonant and engaging. These aspects of filmmaking are things I could contribute to the team.
Clear communication is the goal
I enjoy reducing something complex to its simplest form.
At the Guardian I work closely with the video explainer team. This project uses a range of media to explain wider context behind the news. Graphically this often involves quickly building a simple visual language to help viewers through a complex subject.
A few years ago I created a project to explain photographic principles visually. While the project admittedly needs a refresh, the screen print and unique interactive camera diagram were well reviewed in the press (1, 2, 3), gaining half a million visits, glowing user feedback and healthy view times. It's still regularly used by schools.
I've implemented and defined design systems
A big part of my Guardian role involves translating our wider design principles into a suite of assets for video.
The challenge in this case, was not to create some innovation aesthetic, but rather meet two goals: firstly, create tools to help video producer's effectively communicate the news; and secondly, help reinforce our video identity off-site (where the majority of our video is watched).
This project was created under tight constraints: working within the overall design language of the Guardian; working with very tight technical constraints; fitting into video producers existing workflows; making simple to use documentation; working with multiple stakeholders; and creating variations for multiple types of content (eg. news, sport, original film) all for several different video dimensions. A complex job!
These are five reasons but I'm keen to cover more ...
Having followed your motion team for several years, I am consistently impressed at how you use motion to aid Google's overall mission.
The opportunity use and develop my skills, alongside people thinking deeply and critically about motion—all the while building experiences that potentially impact billions—is an exciting prospect and something I would be keen to discuss further.