Billy Boman is an AI Visual Creator working with AI content for brands and artists. Coming from a creative family rooted in advertising and design, he pursued a degree in fine arts and design at Beckman’s College of Design. His career spanned fashion, working as a menswear designer at H&M and All Saints, and tech, where he contributed as a product designer for Vodafone and PayPal. His journey into AI began in 2022 with the first public release of Midjourney, leading to deeper involvement with AI-powered tools like Runway Gen 2, Pika, and Stable Video Diffusion 1.1. In 2023, he created speculative ads for brands like Levi’s, Adidas, and Volvo, gaining attention from companies like MediaMonks and Secret Level. By 2024, he was fully immersed in AI-driven projects, working on music videos and commercials with artists, embracing new creative opportunities at the intersection of AI and storytelling.

What are the main types of projects you’re doing today?

We are in March 2025, and so far this year I’ve been working on one massive AI project for the past four months. It’s been taking all my time because it’s extremely complex and for a very big brand. I’ve also been doing some education work, including the Stockholm AI Film Conference, but otherwise, this major commercial project has been my sole focus. It’s going to be really significant when it releases. Last year was a good mix of commercials and music videos.

Have you had time to work on your own narrative stories and short films?

I actually did create Fear of the Dark at the beginning of the year during a brief pause from client work. The inspiration came after playing Alan Wake 2, a game I really enjoyed. It sparked ideas about what nightmares tell us about ourselves, which became “Fear of the Dark.” That project later won the community award in Project Odyssey, which was really rewarding.

You’re a very prolific artist. How do you manage being so productive while also teaching and hosting conferences?

I appreciate that, but honestly, I’m not very good at planning my time. I’m a creative person, and the project management side is the hardest part – scheduling meetings, answering emails, WhatsApp messages, LinkedIn DMs. LinkedIn is my main social channel; nothing else has ever worked as well for me. Truthfully, I don’t even feel that productive. When I see what other creators like Dave Clark and Rory Flynn are doing, I feel like I’m behind. Maybe everyone feels that way.

How do you manage the unpredictable challenges and time management in AI-driven creative work?

My approach centers on transparency and creative problem-solving. AI is a tool with specific capabilities, not a universal solution. With clients, I’m always clear about what AI can and cannot do, exploring hybrid approaches and educating them about realistic expectations. Sometimes a task that should take minutes can take hours—like generating a specific texture or a complex scene. The key is flexibility: whether it’s retouching, impainting, or finding alternative techniques, each project requires a unique, adaptive strategy. Ultimately, success comes from understanding AI’s strengths and limitations, and being prepared to innovate in real-time.

Tell us about the AI program you run at Berghs School of Communication.

I offer a two-day “AI for Designers” course for working professionals, focusing on hands-on learning with commercial models and briefly exploring Flux in web settings. The course covers open-source basics and practical applications, though time constraints prevent diving deep into every topic. I also teach a three-week creative AI module in Europe’s first full-time “Content Engineering” program, providing more comprehensive insights for emerging creative technologists. We cover Comfy UI with guest lecturers like Lars Bjurman from Uncut, a prominent AI agency in Stockholm. We’ve even brought in Sebastian Kamph, who’s like the grandfather of Comfy, to teach the more advanced parts.

What specific AI projects do you admire or are curious about?

I really admire the big, exceptional projects I showcased at the Stockholm AI Film Conference. Land Rover’s “Who Says Cars Can’t Dream” is absolutely amazing, the live action and how AI complements it, along with the editing and sound design, is beautiful. I also love “Revived,” by the Ukrainian athlete project. It’s emotionally powerful with an incredible concept and fantastic execution. It brings tears to people’s eyes, which is remarkable for an ad.