Hilma Campaign
Four stations, one visual idea, roughly a thousand things to deliver
A large-scale campaign for the Viaplay original film Hilma, taking over four major Stockholm train stations across print, digital and environmental media. My role combined design adaptation with the less glamorous but absolutely critical side of campaign production: turning one visual idea into more than a thousand accurate, organised deliverables without letting the system fall apart.
Brief
Viaplay wanted Hilma to feel impossible to miss. The campaign would take over four major train stations in Stockholm, covering everything from escalators and walls to pillars, doors, posters and digital screens.
The creative starting point was established key art. My job was to translate that visual language into a huge physical and digital environment while keeping the campaign recognisable and coherent at every scale.
The Challenge
The creative part was only half the job. The real challenge was the sheer number of unique outputs: different dimensions, resolutions, vendors, file specifications, naming conventions and delivery routes.
Some surfaces differed by only a few centimetres, but still required separate artwork. At that scale, one sloppy naming decision or one inconsistent layout can multiply very quickly. The work needed both design judgement and production discipline.
Execution
I built a flexible adaptation system around the key art, preserving its textures, colour palette and dual-face concept while allowing the composition to shift dramatically between formats.
From there I produced the full range of print and digital assets in Photoshop, Illustrator and After Effects, adjusting hierarchy and cropping rather than simply scaling layouts mechanically. I also created a detailed naming, tracking and delivery structure so every contractor received the correct asset in the correct specification.
It was part design, part production planning and part air-traffic control.
Stills & Styleframes
Results
The campaign successfully transformed four stations into a connected Hilma environment, with the visual identity remaining consistent from large wall wraps to small digital placements.
More than a thousand assets were delivered in a structured system that vendors and production teams could actually use, allowing a very complicated rollout to land as one coherent campaign rather than a collection of unrelated formats.
Personal Reflection
This project is a good reminder that a strong campaign does not stop at the hero visual. Sometimes the real craft is making that idea survive hundreds of practical constraints without looking compromised.
I would happily do another station takeover. I would also happily bring a second person whose sole responsibility is remembering why Door 17B is two centimetres narrower than Door 17A.