Our work
Twelve brands.
Twelve different rooms.
A florist and a construction firm should not look like the same business wearing different colours. Nine ad campaigns and three website designs — concept work for fictional brands, built to show range rather than to flatter one house style.
A high-ticket purchase sells on desire, not spec sheets. Dusk, one car, a serif that behaves like a headline in a magazine — and a single thing to do.
Nobody researches a coffee. The job is warmth and proximity, so the type is heavy and friendly and the whole frame is morning light.
Trade work is bought on proof. Lead with the finished build, name the three services underneath, and keep the call to action the brightest thing on the page.
The product is the whole argument, so the layout gets out of its way — one editorial serif, a lot of air, and the bouquet running off the edge of the frame.
The opposite problem to the car: this one has to feel like a person, not a brand. Rounded type, hand-drawn marks, and a colour you would not use anywhere else on this page.
Resorts oversell. This one says two words about what you will actually feel, then stops talking — the outline button is deliberately the quietest CTA here.
Selling a service against a view it did not create. The headline splits the work in two — their part, then yours — and the banded CTA anchors a busy photograph.
Loud is a strategy when the product is an impulse buy. Collage, halftone, a type stack that fills the frame — nothing here asks you to think about it.
The opposite lever, two cards along from Slice Riot. Chrome, air, one product turning in a void — restraint is what reads as expensive.
A bakery sells the feeling of a Saturday morning. Warm ground, a scalloped divider, and a polaroid of the person who actually bakes it — the one thing a chain can't put on its site.
Dark ground, acid green, type set like a start line. Three class types carry the whole page, because picking one is the only decision a visitor came to make.
When the work itself is restraint, the site has to match or it undercuts the pitch. A thin serif, wide margins, and projects named rather than sold.
How these were made. Produced in-house with the same AI tooling we build into client work — art-directed, selected and refined by us. If we're selling AI-assisted marketing, our own work should show what it can actually do.
About the brands. Every brand above is invented. We built these to show what the work looks like across different sectors and price points — not to imply a client roster we don't have yet. When these are real campaigns for real businesses, we'll say whose.
Want to see yours in this set?
Twenty minutes. Tell us what you sell and who buys it, and we'll show you what we'd put in front of them — before you spend anything.