Anna-Liisa Krõlov — Senior Creative & Art Director
I’ve never been on a Lime bike.
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Anna-Liisa Anna-Liisa Krõlov Senior Creative & Art Director
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Anna-Liisa
Hello, I'm Anna-Liisa
strategy · concepts · creative direction · behaviour change
Based in London, working worldwide
10+ years
I do the part most briefs skip: finding the real problem before anyone starts making things. Then I turn that into the strategy, the idea, the art direction and the language to change what people actually do.
I’ve worked across pharma, healthcare, public services, finance, charity and consumer — sometimes on my own, often paired with a copywriter, and always close to the work. I can take something from an unclear problem and first scribble through to client approval, shoots, film, digital, social and final production.
I’m particularly useful when the answer isn’t another execution of the thing everyone has already agreed to.
Where it started
My favourite programme as a child was fifteen minutes of adverts. Soviet-occupied Estonia, where companies had to advertise even when there was nothing to sell. I learned early that an ad can be loved, remembered, and change absolutely nothing. Everything I make is about closing that gap.
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Pharma, public services and finance, mostly.
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low_key_kind.case close ✕
Low-Key Kind
unique · understanding rare chromosome and gene disorders · 2026
research strategy concept naming copywriting art direction design website media outreach rollout
They asked for awareness. Everyone was already noticing.
A one-day charity brief that became a national outdoor campaign about the awkward little things people do when they’re trying to be kind. Research, strategy, naming, identity, copy, design, website and media outreach by TINY FORCE, for Unique, the rare chromosome and gene disorder charity.
Low-key kind poster on a JCDecaux street kiosk in the City of London at dusk: Everyone notices. Not everyone stares.
City of London
UK-wideoutdoor campaign on JCDecaux sites across the country
225placements confirmed at launch
£0media cost to Unique, donated through the JCDecaux Community Channel
1 personfrom research to rollout, working directly with Unique
challenge
Thousands of rare conditions. No single story that could speak for all of them.
Unique supports families affected by rare chromosome and gene disorders. Many are so rare that only a handful of families worldwide share the same diagnosis.
That makes the usual awareness campaign difficult. No single condition. No recognisable symptom. No representative face to put on a poster.
And I didn’t want to turn another family’s difficult experiences into something for strangers to feel sad about.
goal
Reach people who have never heard of Unique. Give them something useful, not another reason to feel guilty.
Unique has spent over 40 years helping families find information, answers and each other. But people who don’t have a direct connection to rare chromosome disorders are unlikely to go looking for the charity.
An awareness day might get someone’s attention for a moment.
I wanted to find something that could change an ordinary interaction long after the campaign was gone.
result
From one awareness day to hundreds of outdoor placements across the UK.
An independent campaign identity, a nationwide JCDecaux outdoor launch, an interactive website built around real family experiences, a live sightings map and an ongoing social campaign.
All developed through TINY FORCE, with the outdoor media provided at no cost to Unique.
01
thirteen routes died first
The problem wasn’t finding an emotional story. There were too many.
I explored thirteen directions.
Two families meeting for the first time. A film about strangers reacting in a café. A campaign about what it means to be ordinary.
Some were moving. One had some of the best writing in the project.
But they all put families at the centre of a story for everyone else to watch.
The public might feel something, perhaps even learn something, then get on with their day.
What would actually happen differently the next time they met someone who looked, moved or communicated differently?
So I stopped asking how to make people understand rare conditions and started looking at how people behave when they encounter difference.
02
I asked both sides of the same moment
It turned out people weren’t always sure what kindness should look like.
I ran two surveys. One with parents in the Unique community, the other with members of the public.
I wasn’t interested in asking people whether they cared. Most people would say yes.
I wanted to know what actually happened when somebody wasn’t sure how to react.
69%of public respondents had experienced that uncertainty.
35%thought doing nothing or leaving was the right response to a distressed child.
81%said they would follow clear guidance if it existed.
The parents’ responses showed the other side of those encounters. Nine of twelve mentioned staring as something that could turn an ordinary outing into an event. Nine had stopped going to particular places.
But it was their positive experiences that stayed with me.
Someone had offered a cup of tea. Someone had played with their child. Someone had spoken directly to them rather than through a parent.
Small things, remembered years later.
What made them important wasn’t that somebody had gone out of their way to be especially kind.
It was that nobody had made a big thing of it.
03
then I caught myself doing it
The warmer smile. The softer voice. The sympathetic head tilt.
I realised I did it too.
When I’m around someone different from me, I sometimes become a slightly more careful version of myself.
A bit warmer. A bit more helpful. A bit too conscious of doing the right thing.
None of it comes from a bad place.
But imagine going to Tesco, getting on a bus or taking your child to the park, and having person after person make their own tiny adjustment around you.
One person doing it is hardly noticeable. A whole day of it is something else.
The gap wasn’t empathy.
It was choreography.
There is a term for this kind of behaviour: over-accommodation.
And telling people they’re getting kindness wrong seemed likely to make them even more self-conscious.
The campaign couldn’t make people more afraid of saying or doing the wrong thing.
It had to help them relax.
04
the idea
Low-key kind.
Keep the kindness. Lose the extra.
Most awareness campaigns ask for more.
More empathy. More understanding. More attention.
This one asks people to do a little less.
Notice without staring. Help without taking over. Speak to someone without changing your whole personality.
Not pretending difference doesn’t exist. Not ignoring someone because you’re scared of getting it wrong.
Just treating an everyday interaction like an everyday interaction.
Not care less. Perform less.
Something people could recognise in themselves without feeling attacked, and actually use the next time they found themselves in that situation.
05
taking it into the street
Everyone notices. Not everyone stares.
I wanted the campaign to appear where the behaviour actually happens.
Not just on a charity’s social channels, reaching people who already care about the subject.
In public. Where strangers notice each other all the time.
The posters deliberately avoid the usual charity imagery. No family photographs. No appeal for sympathy. No instruction to be a better person.
Just a few words that make you think about something you might have done yourself.
Everyone notices.
Not everyone stares.
Low-key kind.
I developed the creative and approached JCDecaux, who accepted the campaign into their Community Channel.
In September 2026, Low-key kind began appearing on outdoor advertising sites across the UK.
What started as a small charity brief was now a national campaign, without Unique having to buy the media.
A cyclist pauses in front of a lit Low-key kind kiosk on St John Street at night
St John Street, London
Low-key kind digital billboard above a bus stop in Streatham
Streatham, London
Low-key kind on the Chiswick Roundabout tower screen
Chiswick Roundabout
Low-key kind digital billboard above a row of shops in Norbury, London
Norbury, London
Low-key kind digital six-sheet beside tram lines and autumn trees in Sheffield
Sheffield
06
the website had to behave differently too
I didn’t want people to arrive at another charity website.
Most people who see a poster about a cause aren’t looking for an organisation to support.
They might be curious for a few seconds. That’s the opportunity.
So I wrote, designed and built lowkeykind.cc as a scrolling story.
One thought at a time.
It begins with the awkwardness most of us recognise. The feeling of trying to get an interaction right, becoming too conscious of ourselves, and sometimes making things more uncomfortable.
Only gradually does it reveal what those small moments can feel like from the other side.
The site moves into real first-person experiences shared by parents in the Unique community, and practical ways to approach familiar situations without adding more awkwardness.
No lecture. No telling people off. No sad music. No donation request waiting at the door.
I wanted people to arrive at the conclusion themselves, because recognising your own behaviour is different from being told to change it.
Make it less of a thing.
That became the organising thought behind the entire experience.
lowkeykind.cc · one thought at a time
07
the campaign doesn’t end at the poster
From something people see to something they can take part in.
I also built a Noticed Map so people could find campaign locations, photograph posters they spotted and send in their sightings.
A way for the campaign to travel beyond its media schedule, through the people encountering it.
Alongside the website and outdoor work, I developed the social content, bringing the same approach to the conversations happening there.
Instead of turning families into awareness content, the campaign keeps returning to the small interactions people recognise.
The posters start the thought. The website explores it. Families’ experiences give it meaning. Social media keeps the conversation going.
And the entire idea can continue long after the original awareness day.
08
beyond the posters
Three weeks. Almost 38,000 views.
I didn’t want Low-key kind to disappear when the posters came down.
So I took the idea onto Instagram, sharing real moments from families, the little things we do when we’re trying to be kind, and sightings of the campaign appearing around the country.
37,973views in three weeks
7,810accounts reached
789interactions
79.1%of views from people not following the account
That’s particularly encouraging because the whole point was to reach beyond the people already connected to Unique.
No guilt. No pity. No emotional fundraising appeal.
Just an idea people could recognise in themselves.
reel
weekly locations
Slide 1: We didn’t ask.
Slide 2: Only children who could swim were allowed on the water slides. That ruled our daughter out.
Slide 3: The lifeguard came over. We didn’t ask.
Slide 4: He’d already worked out how. One of us at the top of the slide, one at the bottom to catch her.
Slide 5: It made her day.
carousel · swipe → see low-key kind on instagram ↗
09
what it achieved
One small brief. A national campaign. An idea with somewhere to go.
The original request was for a campaign around one awareness day in June.
What emerged was a separate public-facing platform for Unique, designed to reach beyond its existing community.
A behaviour-led campaign running across hundreds of UK outdoor locations, supported through JCDecaux’s Community Channel.
An interactive website and live map that give people somewhere to go after seeing the posters.
And an ongoing creative platform that isn’t limited to a single diagnosis, one family story or one day of the year.
I took it from the initial research and rejected ideas through to the strategy, writing, identity, design, website, outdoor creative, media outreach and ongoing rollout.
One person, working with Unique and drawing on the experiences families were generous enough to share.
I can’t claim the campaign has changed how everyone behaves. That was never going to be measurable from a few weeks of posters.
But it has put a different kind of conversation into public spaces, without asking families to explain themselves or be the subject of another emotional appeal.
And perhaps the next time someone notices difference, they’ll recognise that little instinct to overcorrect.
And do a little less.
The condition is rare.
The reaction is common.
experience low-key kind ↗
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anna-liisa krolov · senior creative & art director
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Spread Love
confidante · sexual wellness
creative strategy behaviour change campaign concept art direction copywriting visual identity campaign design OOH digital website film brand activation
People weren’t avoiding STI tests because they didn’t know they existed. They were avoiding what getting tested seemed to say about them.
01
the problem
Confidante wanted to become the number one home STI test in the market. The job was to raise awareness, drive sales and encourage regular testing, especially when people changed sexual partners.
The clue was in the behaviour. In Northern Ireland, some customers were travelling up to twenty miles to buy sexual-health products somewhere they were less likely to bump into somebody they knew. That wasn’t an awareness problem. It was stigma changing behaviour.
STI testing is usually framed as something you do after a scare, a symptom or a reason to worry. So even responsible behaviour can feel like an admission that something has gone wrong.
02
the idea
We changed the meaning of testing. Instead of fear, embarrassment and awkward euphemisms, we moved the conversation into sexual wellness and self-care. Testing became something you do because you look after yourself, not because you are ashamed or worried.
Take control of your sexual health.
Make testing part of your healthcare routine.
Bold colour, confident people and a simple yellow smile gave the campaign a visual language that felt positive, normal and public. The smile became shorthand for the idea: I look after my sexual health.
The platform ran across OOH, digital, film and the website. We also created a testing card with spaces for repeat test dates and smiley stamps, turning regular testing into something tangible and repeatable.
03
why it works · behaviour change
from
I get tested when I think something might be wrong.
to
Testing is part of how I look after myself.
The campaign didn’t just ask people to think differently about STI testing. It gave them a more positive reason to actually do it.
the work
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anna-liisa krolov · senior creative & art director
born_again.case close ✕
Reborn Electric
bedeo · winning pitch · gravity global
winning pitch platform copy art direction OOH digital
Your vans. Reborn electric.
01
the problem
BEDEO had a genuinely useful offer: take an existing diesel van and convert it to electric instead of replacing the whole vehicle. For fleet operators, that meant a way to cut emissions, work towards ESG targets and extend the life of vehicles they had already paid for.
The problem was the language around it. “Retrofit” is technically accurate, but it makes a significant transformation sound like maintenance. BEDEO needed a way to make the product feel bigger, more desirable and easier to understand.
02
the idea
We stopped talking about conversion and started talking about rebirth. Reborn Electric turned a technical process into a transformation. Your old diesel van wasn’t being patched up. It was coming back as something better.
That opened up a much more distinctive creative world too. We borrowed the visual language of revelation and celebration: raised arms, sunlight breaking through, that slightly ridiculous moment of pure joy when you realise you can keep the vans you already own and make them electric.
The humour gave a serious B2B product some personality, while the proposition stayed very clear:
Your vans. Reborn electric.
From there, the idea could flex around different reasons to convert (lower total cost of ownership, ESG targets and extending fleet life) without losing the central thought.
03
why it worked
It gave a dry engineering proposition an emotional idea people could actually remember. Instead of leading with process, specifications or the mechanics of retrofitting, the campaign led with the outcome: the same vehicle, given a second life.
The “reborn” thought also created a complete visual and verbal system rather than a single campaign line. It could live on advertising, digital, social and, most importantly, on the vans themselves. That made the product its own media.
And the idea was strong enough to win the pitch. A technical conversion became a resurrection story.
the work
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anna-liisa krolov · senior creative & art director
harrods_summer.case close ✕
Harrods Summer Recruitment
harrods · summer sales associate
concept art direction design
Whatever your passion, shape it at Harrods.
01
the problem
Harrods didn’t have an application problem. It needed the right applicants.
For its summer temporary roles, previous retail experience wasn’t necessarily what made someone good at the job. Product knowledge could be taught. What mattered more was curiosity, warmth, enthusiasm and the instinct to help somebody.
The challenge was to attract people with those qualities, including people who might never have thought of themselves as a natural fit for Harrods.
02
the idea
We looked at what people already cared about. The person fascinated by the construction of a jacket. The friend everyone calls for advice. The person who never grew out of loving toys. The woman who remembers trying on her mother’s dresses.
Those passions might look unrelated to retail, but they contained exactly the qualities Harrods was looking for. So instead of asking candidates to prove they already knew how to work at Harrods, we invited them to bring what was already theirs.
the strategic thought
Just bring yourself.
the campaign platform
Whatever your passion,
shape it at Harrods.
Each execution paired an iconic product with a handwritten personal story. The product represented the Harrods world; the handwriting revealed the person who might belong inside it.
The result was deliberately premium but personal: generous white space, beautifully isolated objects and individual voices rather than conventional recruitment photography or lists of requirements.
03
why it worked
The campaign changed the entry point. Instead of asking “Do you have retail experience?”, it asked people to recognise the qualities they already had and imagine where those qualities could take them. That made Harrods feel more open without making it feel any less Harrods.
And the response went well beyond the temporary vacancies.
11,186applications submitted, including 1,637 for temporary roles, with traffic driven across Harrods Careers rather than only to the summer positions.
Nominated for the 2018 RMA Award for Recruitment Effectiveness.
Harrods could teach people the products.
The campaign helped find
the people worth teaching.
the work
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anna-liisa krolov · senior creative & art director
Harrods Employer Brand close ✕
Harrods Employer Brand
harrods · employer brand
concept art direction portraiture copy film internal comms
The many faces of Harrods.
01
the problem
Harrods is one of the most recognisable names in retail. From the outside, everything is polished, controlled and unmistakably Harrods. But an employer brand has to show what it feels like on the inside.
The challenge was to preserve everything that made Harrods iconic while revealing the very different people behind it: different roles, ages, backgrounds, personalities and ambitions.
The brand had one face. The workforce had thousands.
02
the idea
We made the people the face of Harrods. The Faces of Harrods brought together real employees from across the business for a two-day shoot inside the store. Each portrait captured the individual rather than simply the uniform, paired with a personal truth, characteristic or point of view that belonged specifically to them.
Together, the portraits created a different picture of Harrods: not a single type of person expected to fit an institution, but an institution made richer by all the people within it.
The campaign culminated in a hero film shot overnight inside the closed store. With the customers gone and the building almost dreamlike, the focus shifted from the famous surroundings to the people who bring them to life every day.
It wasn’t one face that made Harrods, Harrods. It was all of them.
03
why it worked
Harrods didn’t need help looking prestigious. It needed to make that prestige feel human.
Using real employees meant the diversity in the campaign wasn’t something we had to manufacture or claim. It was already there. Our job was to put it centre stage.
The portraits retained the richness and confidence you expect from Harrods, while the personal stories gave people a reason to look beyond the uniform. The film pushed that thought further, turning an empty store into a stage for the people normally working behind the experience.
The idea could then move naturally across recruitment, internal communications and employer brand activity without losing its central thought.
And it was recognised beyond the business, with the work shortlisted for Best Employer Brand & Internal Comms at the 2019 RMA Awards.
The building may be iconic.
The people are what make it Harrods.
the work
the film
concept · art direction · film
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anna-liisa krolov · senior creative & art director
generation_possible.case close ✕
Generation Possible
vodafone · graduate & intern recruitment
concept campaign platform art direction design tone of voice film direction & edit oversight
The default is to target a generation and talk to them as one. So I made one you could choose.
01
the problem
Vodafone was doing genuinely ambitious technology work, but students didn’t necessarily see it that way. To many graduates, Vodafone was still primarily a mobile phone company. That made it harder to compete for young people who wanted interesting work, purpose and the chance to have an impact.
The brief was to change that perception, attract a more diverse audience and make Vodafone a much more compelling place to start a career.
02
the idea
Young people are constantly being put into generations. Gen Z, millennials, whatever comes next, but those labels are defined by when you happened to be born. So I created a different one.
Generation Possible.
A generation you could choose to belong to, defined by your attitude rather than your age: people who make things happen, challenge what exists and believe they can shape what comes next. That idea became the campaign platform, visual identity and tone of voice.
Statements like I make things happen, I don’t wait for change and My future starts now gave young people something to recognise in themselves, while the distinctive red graphic device turned the idea into a flexible visual system.
The campaign launched with film, then expanded through social, photography, graduate and intern stories, careers content, merchandise and campus activity.
I created the campaign concept and developed the art direction, design and tone of voice. I also worked with a filmmaker to shoot real Vodafone graduates and interns, then oversaw the edit to make sure their stories still felt part of the same Generation Possible world.
03
why it worked
Instead of advertising graduate jobs, we gave Vodafone a point of view about the kind of people it wanted to attract. The campaign moved the conversation away from phones, job descriptions and graduate-scheme benefits and towards ambition, agency and possibility.
It also gave young people an identity they could opt into. You didn’t have to fit somebody else’s definition of your generation. If you wanted to make things happen, you were already part of this one.
And it moved the numbers.
14,840applications against a target of 10,000.
2,971 → 6,530female applications, more than doubled.
+27 placesin The Times Top 100 Graduate Employers ranking.
6.8mLinkedIn impressions, up 300%.
Generation Possible helped Vodafone look less like a company students already knew and more like an employer they hadn’t considered yet.
the work
the film
film direction · anna-liisa krolov
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anna-liisa krolov · senior creative & art director
abington_woods.case close ✕
Abington Woods
patchwork village cic · commercial strategy
diagnosis commercial strategy insight naming brand & identity art direction design copy
They asked for a pitch deck.
The plan was grants, and a grant is one no away from having nothing.
01
what I found
They’re just outside Cambridge, surrounded by pharmaceutical and technology companies with budgets for offsites, leadership, ESG and employee wellbeing. And the people working in those companies increasingly want the one thing their offices can’t give them: a day with no screens, no noise and no signal.
Comparable woodland venues charge between £140 and £180 a head. Twelve corporate days, four private dinners and two planting days would match what they’d been applying for in grants.
Eighteen paid days a year to stop asking.
02
the problem
None of that was hard to work out, which meant it wasn’t the problem. The problem was that they’d never go and get it.
They’re not corporate people. Say sell woodland retreats to a pharmaceutical company and they hear sell-out. An organisation that thinks it’s selling out prices apologetically, promotes it reluctantly, and quietly lets the whole thing die.
The behaviour that needed changing wasn’t the customer’s. It was theirs.
03
the idea
I didn’t take them a business case. I took them Robin Hood.
Take from the rich. Fund the thing you love.
Nothing about the commercial plan changed. What changed was what agreeing to it meant. Selling corporate days stopped being a compromise to defend and became the most protective thing they could do for the woods. And they’re the ones doing the taking.
One rule holds it in place: the corporate work exists to pay for the community work. If it ever runs the other way, it’s gone wrong.
04
two brands
The split had to be visible. One organisation offering both corporate retreats and community forest school looks confused. Two identities make the model obvious: one earns the money, the other puts it to work.
Brand 01 · delivers the mission
Patchwork Village
Grow wild. Handwritten, earthy, made for families: forest school, youth groups, community days, ceremonies, local access.
Brand 02 · generates the funding
Abington Woods
The antidote to the city. Quiet, premium, phone-free, designed as the opposite of everything its customers are leaving behind.
05
four products
The Deep Work Strategy Retreat
A boardroom with no walls, no noise and no signal.
The Secret Woodland Dinner
An exclusive, off-grid dining experience.
The Legacy Tree Planting Day
A tangible ESG activity with something real left behind.
The Resilience Leadership Programme
Leadership lessons from how woodland adapts and survives.
They asked for a deck to help them ask for money. They got two brands, four products and a system for earning it instead.
the work
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anna-liisa krolov · senior creative & art director
take_over.case close ✕
Take Over
teenage asthma awareness · behaviour change
diagnosis insight behaviour change strategy art direction design copy
They asked for awareness. Nobody was short of information.
01
what an inhaler means at fifteen
Two thirds of asthma deaths are preventable, and the pattern is the same: too little of the daily preventer, too much of the blue reliever. Teenagers could already explain all of it. It sat on the shelf anyway.
So I stopped looking at the inhaler as a medical device and started looking at it as a cultural object. On screen it belongs to Piggy, Milhouse, Carl Wheezer. At the end of The Goonies, Mikey throws his away as proof he’s grown up. The other half is at home: a parent remembers it, packs it, checks the counter, asks again on the way out of the door. Years of it.
It means being the kid whose parents still manage their asthma.
02
the idea
Take Over. Same object, opposite meaning.
Stop asking teenagers to care more about their health. Connect it to what they already want: independence. The inhaler stops being evidence their parent still has to look after them, and becomes evidence they’re ready to look after themselves.
You don’t move up a rank because another birthday passed. You move up by showing what you can handle: taking the preventer, knowing where the inhaler is, spotting when symptoms change, knowing when to ask.
03
the ranks
Rank 01Trainee. Your parent runs it with you. Buys a sleepover.
Rank 02Co-manager. You run it, they check in on a schedule. Buys a later curfew.
Rank 03Manager. It’s yours, they’re named as backup. Buys a gig, then a festival.
ParentDeputy. Remind, advise, stay on call. A structured handover, signed by both sides.
04
a system for parents too
Most parents don’t want to be reminding a seventeen year old about an inhaler. They want to know they can stop. The handover gives them evidence instead of reassurance.
The parents were never the enemy. They were frightened.
05
the camera roll
Blurry, badly framed, caught mid-motion. The blur isn’t a filter, it’s the point: it looks recognised, not advertised at. And it shows what managing asthma buys, not the condition. The kickabout, the wandering, the gig, being somewhere with no parent next to you.
The parent imagery uses the same camera roll with a different centre of gravity: parents holding their teenagers like babies, keeping them close even though the kid is nearly as big as them. Empathy, not judgement. The message isn’t stop protecting them. It’s: you don’t have to let go all at once.
the work
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anna-liisa krolov · senior creative & art director
skillz.txt
›
01
Campaign platforms
Big ideas and flexible systems that stretch across social, OOH, digital, film and activations.
02
Art direction
Visual worlds, shoot direction, casting, styling and image-making with a clear point of view.
03
Strategy & behaviour
The human truth inside a brief: what people care about, avoid or misunderstand.
04
Film & content
Treatments, storyboards, shot lists and content systems built around the idea.
05
Brand systems
Identity, tone of voice and toolkits that keep an idea coherent everywhere.
06
Pitch & deck craft
Presentations and case studies that make complex thinking easy to follow.
07
AI-assisted production
Explore faster, prototype sharper, led by the idea, not the tool.
day rate & project pricing on request
Next experience.txt ›
process.txt
›
How I work
Four moves, in order. The first one is the one most briefs skip.
01
Find the truth
Research and immersion until I can genuinely feel the audience, and the real problem underneath the brief.
02
Shape the idea
A few strong directions: strategy, lines, visual routes and prototypes. Enough to choose with confidence, not just react.
03
Build the world
Art direction, copy, mockups, layouts, decks, storyboards and assets, all made to work together.
04
Set it up
Guidelines, files and clear thinking so the idea keeps working after handover.
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experience.txt
›
Where I’ve worked
Over a decade agency-side, across eight sectors.
HEALTH + PHARMA
TECH + SOFTWARE
FINANCE + FINTECH
AVIATION + INDUSTRIAL
CONSUMER + RETAIL
PROFESSIONAL + B2B
CHARITY + NGO
PUBLIC + EDUCATION
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kind_words.txt
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people I worked with
01
adam fisher
senior creative copywriter
"I've worked closely with Anna-Liisa as part of a team at Gravity Global and it has been an absolute pleasure. Armed with a love of ideas and unstoppable drive to refine the creative to its simplest and most effective, Anna-Liisa creates great concepts and then somehow makes them better. Her passion and love of the job spreads around departments, as she rolls up her sleeves to drive others around her to push for award-winning, stand out work. It's great to collaborate with her and I hope to do so again and again."
02
matthew o'brien
project director
"It has been my privilege to collaborate with Anna-Liisa during our time together at Gravity Global, and I will honestly miss working with her. Anna-Liisa stands out as an exceptionally detail-driven Art Director, consistently striving to create the absolute best work possible. Never afraid to speak up if she thinks something is wrong or if something needs to be fixed, I always found her attitude very refreshing. I wholeheartedly endorse Anna-Liisa for any role that demands a sharp eye for detail, a need for exceptional work, and a willingness to fight to get the best results."
03
carina pentz
creative project manager
"I've had the pleasure of working closely with Anna-Liisa as the project manager on accounts she's led creatively. Anna-Liisa approaches all projects with creativity and humour. Her passion can be seen in her unique and independent concepts, leading to highly visual, one-of-a-kind campaigns. Working with Anna-Liisa continues to be a wonderful experience."
04
efi eitan
senior designer
"Anna-Liisa was one of my favourite people to work with, both as an Art Director and a human being. She's patient, passionate about making good work that actually achieves its purpose. She always goes the extra mile and tries to think creatively beyond the brief. What makes Anna-Liisa truly great is she always sees the person on the other side, not just the product or the output, but the humans who will meet it and interact with it in the real world."
Next hello.txt ›
let's talk
{{ email }}
annaliisa.co.uk
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'26
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EMPTY
COULD'VE BIN WORSE.
(SORRY, COULDN'T RESIST.)
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← → move · space fires an ideafeedback must not land
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OPEN SHUFFLE
top secret
The short version.
One password.
The whole portfolio as one PDF, no clicking about.
Seven secret cases.
One password.
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That's not it.
But I like your confidence.
 Ask me for the password. (I'm terrible at secrets.)
shoot some briefs while you wait