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Why does every courier brand hide the people actually doing the work behind a stock photo?
I built Dockhand around the opposite idea — the riders ARE the brand. Hand-inked, zero gradient, named on the roster, now live on a working site.
Live at dock-blade-reveal.lovable.app
One idea brand. No decoration allowed.
Great stuff tbh
Naming the riders on the roster gives the people-first idea something concrete. That feels like a stronger foundation for a courier brand than another generic delivery promise.
So fun and clean executed!
Naming riders on the roster is the part that's hard to walk back — once people are the brand, hiring and churn become brand problems too, not just ops ones. Does the roster page have a plan for riders who leave?
This deserves more than just liking, this deserves to be featured! 🏆 Hand-inked zero-gradient visuals putting actual riders front and center brings so much raw authenticity.
the yellow vest shots are so good
riders named on the roster, good call
Putting the riders at the center gives the brand a much stronger point of view than a generic stock-photo hero. The documentary-style frames also make the service feel human before you even get to the details.
Naming actual riders on the roster instead of hiding behind a generic delivery-guy stock photo is the kind of decision that sounds obvious after someone else does it first. Did any of the riders push back on being the face of the brand, or were they into it once they saw the illustrations?
Hand-inked, named riders instead of stock photos is such a strong differentiator. Feels like a brand with actual personality.
Love the concept!
Love the Vibe here..
Naming the riders is the whole move: it turns the roster from styling into accountability, and the zero-gradient hand-inked look keeps the brand human instead of another logistics template.
Naming riders on the roster instead of using a stock photo is a strong stance. It turns the illustration style into proof of the idea rather than just decoration.
Love the design characters
Authenticity over generic stock builds instant trust. Centering the brand on real operators through raw, un-decorated visual identity turns standard logistics into a high utility, memorable asset. Standout positioning!
amazing!
Putting the riders front and center gives the landing page a clear human hook; the visual direction makes that positioning instantly believable.
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KLONDER case study is here.
three colors. wrong proportions. a logo that never moves while everything around it does.
the whole point was making a brand that already feels like it has a following before it's sold anything.
Oasis — Padel & Tennis Booking Platform
Oasis is a court booking platform for padel and tennis clubs — members can select a court, check availability, and confirm payment in one streamlined flow. I designed the booking interface, built directly over real club photography.
Rather than placing the booking form on a neutral background, I anchored it directly over a full-bleed, golden-hour photograph of the real court. Before a user even looks at a date picker, they’ve already felt the atmosphere — that emotional context does more for conversion than any copy could.
The booking card itself stays intentionally minimal: court name, availability, surface type, date, duration, and price, in that order. No unnecessary steps between deciding and confirming. I used a distinct chartreuse accent — a departure from the green typically associated with sports apps — to carry through the primary CTA and a first-time-visitor promo card, giving the whole flow a bit of warmth and personality without slowing anything down.
Creative: Midjourney
Video: Flux
Animation: jitter
Woww I love the video in the back!! 😍
I built the Smooch brand from the ground up, strategy, identity, wordmark, colour world. The can was the last piece, the moment it finally became something real.
The brief: a packaging system that scales. One hero flavour today, a full range tomorrow, no rebuild required.
First problem, the logo. Smooch's bold wordmark has a curve underneath it that dies at full width on a can, and angling it across felt gimmicky, not confident. So I turned it vertical instead, running the full height, full scale.
Colour had to carry the brand and split the flavours at once. Deep burgundy anchors it, red punches through the wordmark, and each flavour gets its own accent, blush, gold, peach.
No fruit photography. Instead, a graphic starburst holding a simple illustrated fruit, ownable and ready for whatever flavour comes next.
The back label carried ingredients, actives, and every mandatory without losing the premium tone.
Going vertical also quietly solved the shelf problem: cans sit in a fridge door at a slight angle and a horizontal wordmark rotates out of legibility, whereas a full-height one still reads from either side. Curious whether the starburst has a fixed point count across flavours or...