30+ sites where a fan should feel at home in the first few seconds, on a phone.
Most projects started with a logo, one photo, and a release date.
The fan comes first. I designed mobile first, because that’s where fans find a new release. In a few seconds they decide whether the site feels like the artist they love.
Same structure, a new face each time. Most artist sites needed the same five parts: hero, music, video, merch, and sign-up. I kept that structure steady so my time could go to art direction, and when a project allowed it, I set the structure aside and designed a new concept.
Faster where it was safe. I used AI only on the parts that repeat from site to site: page structure, components, and the design system. Production went from 16+ hours a site to about 3. The artist never went into an AI model: photos, artwork, names, and release details came from the label, and I worked with them by hand.
Tamla and Motown loved that every artist on the roster got their own moment, and that the site told the label’s story.
A UMG project usually reached me with a logo, one photo, a release date, and sometimes a loose direction. Timelines changed with every artist. I was usually the only designer, so the site was mine from the first idea to developer handoff.
I designed for the fan. They want the new song, the tour date, or the merch drop, and they’re on a phone. If the page doesn’t feel like the artist, they leave before the layout gets a chance.
Before opening Figma, I spent time in the artist’s world: their social channels, past covers and videos, the references they share, and the culture around their music. The art direction came from there.
Most artist sites share the same page structure: hero, music, video, merch, and sign-up. Keeping it consistent meant fans always found what they came for, and it freed my time for the part that changes with each artist. When a project allowed it, I dropped the shared structure and designed a completely new site concept.
Before AI, most of my hours on a site went to production: building every section and every screen size by hand. I brought AI into that part only: page structure, the component system, and the design system every site shared. Production went from 16+ hours a site to about 3. The artist never went into an AI model. Photos, artwork, names, and release details came from the label, and I worked with them by hand, out of respect for the artists and the label. The hours I saved went to the creative direction (concept, mood, art direction), which I set and reviewed myself. That line is why I built Soundcheck: it turns the structure work into a Figma kit that works fully by hand, for teams that keep AI out entirely.
The Bee Gees and Coco Jones sites start from the same template, one I built so it could be customized for different bands. For each artist we changed the type, the color palette, some of the sections, and the style of the components. Side by side they don’t look related, and that was the point. The structure stayed put so fans could find the music, and the art direction carried each artist.
A few more I’m proud of.
I reviewed each site with the other Halo designers, then walked the developers, QA, and the delivery lead through it before the build. I applied feedback selectively, keeping the artist and the fan as the test.
The teams at Tamla and Motown loved their label sites. What they valued most was that every artist on the roster got their own moment and their own contact, and that the site told the label’s story.
A label site is a room full of artists, and each one needed to feel welcome in it.
What I learned from these sites became Soundcheck, a Figma kit so every artist site starts with a clear direction and gets checked before it plays. It has its own case study.
Every artist is different, and every deadline is tight. UMG taught me to work fast without letting the design go generic.
It’s the job I want to keep doing for consumer products: someone opens the app for one thing, and in a few seconds it should feel made for them.
Lucy Dacus 
Wyatt Flores 
Motown Gospel 
Robi 
Mia Zeta 
