01_ Liisu Miller – logo, cvi & web design

The aim was to create a clear visual logic for her platform, which is a curated, affiliate-based selection of products that she personally uses and stands behind. The system supports a wide range of categories, from home and beauty to children and wellbeing, while keeping the interface calm and consistent.

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The logo

The logo is constructed from her initials. The M carries the primary structure; the L is integrated into its negative space. The geometry is rounded to work in small sizes and to reflect the everyday, domestic and soft, feminine focus that her platform and personal brand carries. The intention was function first: a mark that scales, aligns easily, and doesn’t dominate content.

The palette

The palette uses earth-toned neutrals.
These colours were chosen because they interact predictably with lifestyle imagery: skin tones, interiors, fabrics, product textures.
Nothing is saturated or high-contrast; the palette is built to sit behind content and keep the page readable.

Typography

Three typefaces are used with clear division of roles:

Somar Sans for structure and headings
JHC Sineas for secondary information
BR Segma for functional elements and emphasis

The hierarchy is designed to stay stable even when the page layout becomes dense.

Web

The website is structured around straightforward navigation.
Category pages carry the same logic as the homepage; nothing is a one-off solution.
The design avoids visual noise — the system relies on alignment, spacing, and typographic clarity instead of decorative elements.

Visual Direction

The visual language relies on soft light, neutral surfaces, and realistic lifestyle imagery.
The aim was to keep the identity grounded and unforced: no stylisation that competes with product photography. Spacing and quiet backgrounds carry most of the tone.

Layout & Grid

The grid is modular and open. It allows for multiple categories and content types without breaking alignment. Margins, column widths, and vertical rhythm were set to survive both desktop and mobile layouts.

02_ Made In Baltics – Marketing & Media Manager, General overview

At Made in Baltics, I handled marketing, PR, and communications for over ten artists, developing release strategies, shaping visual and brand direction, coordinating media outreach, and managing content around campaigns. The role combined strategic planning with hands-on execution across artist branding and promotional work.

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Overview

My aim at Made in Baltics was to support each artist in a way that felt clear, coherent, and true to their identity. I focused on shaping the visual and communicative side of releases — making sure the branding, messaging, and promotional steps all worked together rather than pulling in different directions. The goal was simple: help artists show up in a way that feels intentional, recognisable, and aligned with their work.

A Selected Few

Ariadne “Queen of My Own”

Ariadne’s single “Queen of My Own” released in 2019 gave us an oprotinity to rebrand her image that required repositioning Ariadne from a teen-influencer audience toward a more defined female artist. My role was to build the visual concept and manage the full creative process — from narrative direction to execution across design, styling, rollout, and fan engagement. The core idea was to keep her recognisable softness while introducing a clearer, more confident identity.

Background
Ariadne’s “Queen of My Own” marked a turning point for Ariadne: a move away from a teen-focused influencer persona toward a more intentional artist image.

My task was to develop a visual identity and campaign structure that supported this shift — something that felt true to her, but offered more depth, maturity, and direction.

Art Direction
The art direction focused on showing Ariadne as more intentional and grown, without losing the softness her audience recognised.

Silhouette & styling

A structured silhouette and tailored suit introduced a clearer, more adult presence. The look stays within her aesthetic universe but adds weight and direction.

Rhinestone bat

The bat became the central symbol — a normally aggressive object reworked into something feminine and iconic. It communicates confidence without abandoning her “princess” tone.

Halo & framing

The halo was chosen as an alternative to a literal crown — a way to express a self-made, inner sense of power rather than a decorative symbol. It acts as a focal point and a simple, repeatable signature for the imagery, framing her as the author of the scene rather than just its subject.

Colour & light

Pop colours and gradients were kept, but with more contrast and depth. This supported the shift from light influencer content toward a more defined artistic identity.

Together, these choices created a look that felt familiar but more controlled — a visual step toward the artist she was becoming.

Campaign Development

To make the rebrand feel lived-in rather than just visual, I planned a rollout that connected the new identity with her audience.

Launch installation

For the premiere, I created a large poster where fans wrote insecurities or old patterns they wanted to leave behind. At the end, everyone punched through it — a simple, physical gesture that matched the tone of the single.

Makeup challenge

Because Ariadne originally grew largely through her makeup content, I used that as a bridge into her new image. Fans were encouraged to create their own makeup the look, that represents the “Queen Inside”, they posted it, and tagged the single. It helped carry the rebrand into something her community could take part in.

Instagram filter

The halo and colour palette were turned into a filter so the main visual elements could move naturally across social media and become part of the release.

Outcome

The goal wasn’t just to create a single cover or premiere, it was to reframe how Ariadne was seen.
The campaign helped introduce her as a woman and an artist with more defined intention, while keeping the parts of her identity her fans were attached to. The visual language relies on soft pink & baby blue that have been her brand colours, but were used in a way that supported the overall concept of creating and coneveying an “inner queen”.

“Queen of My Own” ended up being one of her most successful singles as well effectivly managed to introduce her as a pop queen not just an influencer.

Gram-Of-Fun - Reservation feat. Levski

Filmed Together, Released Together

This project combined a release party, a music video shoot, and a marketing campaign into one event. The idea was simple – use the band’s existing community and turn the launch into something people would genuinely want to share, and it became a very effective way to promote the single.

We invited a small group of fans and friends to a live performance and encouraged them to film the show on their phones. The professional crew shot alongside them, and the final video blended both viewpoints.
The result aimed to look both personal and geniuine, it naturally aligned with how the band’s audience already interacts with them and their music. It also became one of the first music videos I directed, built directly out of this shared perspective.

Because everyone was filming and posting in real time, the event created its own momentum online. The audience became the first wave of promotion without being instructed to “promote” anything — they were just sharing an event they got to participate in and enjoyed.

The whole thing was small, warm, and low-budget, but the structure worked, as this one event gave us a finished video, a release moment for the single, and organic visibility across social media. It showed how a simple idea, if timed well and rooted in the artist’s own community, can function as a very effective campaign.

Frankie Animal – “Restless”

Frankie Animal – “Restless”
(COVID Release Concept)
The idea came from the title itself — Restless. Everyone was stuck at home during COVID, and the mood fit the song.
I wanted to find a way to turn that feeling into a shared moment and, at the same time, promote the single in a way that didn’t feel forced or out of step with the restrictions.

We partnered with the Noblessner cocktail bar Kaif, who created a custom “Frankie Animal” drink that was bottled and delivered by the band to friends, influencers, and early supporters. Each came with a note, making it feel personal rather than promotional.

The launch “party” took place at Kaif but was streamed live on Raadio 2, so people could join from their homes, drink the same cocktail, and be part of the moment together. It turned the limitations of COVID into a simple release concept that connected people and gave the single a natural push.

So to sum it up...

During my time at Made in Baltics, my work sat somewhere between creative direction, marketing, and very hands-on coordination. I shaped how our artists appeared across media, planned releases, and came up with ideas that made it easier for radio hosts, journalists, and partners to pick them up. I worked closely with Raadio 2, Sky Media and others, creating small games, formats and talking points that lifted some of the weight off the press and naturally opened doors for our artists.

Most of what worked came from simple, fast ideas rather than large campaigns — small guerrilla moments, community involvement, and releases built around what felt authentic to each artist. It was a period of moving quickly, paying attention, and finding ways for projects to gain momentum without big budgets.

In practice, it meant carrying both the creative and the practical sides: shaping the tone, identifying opportunities, and making sure each release had a clear and human way to reach the audience.

03_ Short, selected overview of my favorites

Last but not least...

This page brings together a small selection of projects that sit across different roles and formats. They’re not full case studies, rather just a brief overview of work that I feel reflects my range and the kind of visual logic I enjoy building.

I work across film, branding, and visual design, and even though the projects vary, the way I approach them is pretty steady: I need a clear idea first, and then I build the visuals around it. Freelancing for many years – and studying film at the same time – has kept me moving between different mediums that make me think visually, but also with an understanding of how things need to function in a commercial setting. That mix is where my way of working comes from.

I’m drawn to projects where concept and aesthetics strengthen each other, where emotion, structure, and storytelling work together rather than compete for attention. Most of all, I like visuals that have presence and personality. I believe that every visual, whether a logo or even a video, should most of all have an internal system.

Art should be expressive while also following the logic of “form follows function”. If I create anything at all, it should act as a statement and convey the idea it stemmed from and built with purpose.

Whether I’m shaping a brand, directing a campaign, or designing something more hands-on, the aim is to create work that feels genuinely connected to its core idea.

* New Life Studio – Art Direction for a Conceptual (Collection) Shoot

The core idea:

New Life Studio works with 100% upcycled materials, and this collection of leather jackets was built entirely from existing pieces. For the webstore visuals, we wanted an approach that felt as unconventional as the brand itself, while keeping the focus firmly on the garments. Instead of using recognisable models, we created a mannequin-like “avatar” – a neutral bodysuit with stylised facial elements based on the designer’s own features.

The idea was to treat the body almost like a moving display stand: anonymous enough that the clothes remain the main character, but still human, slightly surreal, and clearly rooted in the brand’s world rather than in any kind of fetish or shock value. The result is a set of images where the jackets read as sculptural objects on a living figure, a way to show fit, movement, and personality without tying the pieces to one specific face or identity.

* Estonian Art Museum

Case study by Kadriorg Art Museum

Renewed image –>

For Kadriorg Art Museum, I created a short awareness video that presents the museum through it’s atmosphere, using movement and experimental imagery rather than traditional promotional messaging. The piece combines real footage with subtle 3D work as well as artistic surreal scenes.

One of the visual ideas was to blend faces from different portraits in the museum’s collection, creating smooth transitions that connect the works to each other. The aim was to show the museum as a living space — interesting and approachable, visually rich, without breaking its historical character.

* Branding and Graphic Design

“Playing for The City” – an event series held in Barcelona

* Custom Chips for a private Casino

Concept & Production

The concept explored using transparent PVC to create casino chips with a cleaner, more contemporary look. The aim was to move away from traditional heavy design and build something visually distinct through transparency, light, and minimal colour accents.