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Scene of a AI film I am producing for AI Film Festival! And I think you need a creative mind at first to create something like this. The tools are there, but why everyone can't make an AI film is because they never learnt film making. Do you guys agree?
That's exactly what ai video creation takes, it is not about just creating videos, it's about the creativity behind the video.
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I’m not a particularly mystical person, but sometimes that world crosses my path.
Not long ago, I had the opportunity to take a Design class where we were challenged to create our own version of a Major Arcana Tarot card, choosing both the card and a design style to represent it.
The Sun has always held a significant place in my life—not just as a concept, but as a tangible physical presence—so the choice was easy. From there, I had no doubt about choosing Art Deco as the primary style, as it evokes the same feeling in me that the Sun does: absolute passion.
My final design was built from an illustration created in Illustrator and refined in AI: a stained-glass window that captures the light passing through it and radiates it back out into the world.
Basing the sunburst on a stained-glass window instead of a flat sun icon gives "The Sun" its glow logic — light passing through and radiating back reads as motivated, not just decorative radial lines.
I went into The Met's open access archive looking for a textile. I found the pattern I wanted on a suit of armour instead.
Greenwich, 1586. George Clifford was Queen's Champion to Elizabeth I, and his garniture is etched and gilded with her cipher, two E's back to back, repeated across every plate from helmet to sabaton without a break. Not a badge on the chest. A repeat running over an entire body, worn by royal licence, three hundred years before any house put its initials on a bag.
So I took it off the steel and put it back on a body.
RUNNING CIPHER is one woven matrix and eight streetwear pieces cut from it, shot on Yorkshire moorland in winter with the sun never higher than eighteen degrees above the horizon. My first matrix was wrong: I kept the cipher at armour scale and it collapsed into generic damask. Enlarging it four times was what made it read as a garment print instead of wallpaper. That failed version is still sitting on the canvas next to the one that worked.
The casting carries the argument. Clifford's only child, Anne, was written out of the inheritance when her father left the northern estates to his brother. She spent thirty-eight years in court, won in 1643, and rebuilt the castles herself. The mark he borrowed from a queen is now worn by the women who took the land back.
Everything is on the canvas: the Met plates that fed the matrix, every rejected generation, the casting tests, the frames that did not make it.
Original work: https://www.metmuseum.org/art/collection/search/23939
Armor Garniture of George Clifford, Third Earl of Cumberland. Jacob Halder, royal
workshops at Greenwich, 1586. The Metropolitan Museum of Art, 32.130.6a–y. Open Access.
@floraai #FLORAMuseum
this is such a unique concept!
Mischka already had a bold identity. The website had to live up to it.
MISCHKA is an award-winning, performance-first influencer marketing agency working with cybersecurity and technology brands. The team came with a clear point of view, so this was never simply about giving them a more polished online presence.
It was about building a website that could carry the same confidence and energy as the agency itself. The project went far beyond technical implementation.
We spent a lot of time on the site structure and UX, as well as developing the visual language for the interface. The gradients, in particular, became one of the most recognizable parts of its digital identity. They aren’t just there for atmosphere - they connect sections, frame key content, and give the whole experience its rhythm.
Behind the visuals, we built a client-friendly CMS around the way the team publishes its work. MISCHKA can add and update case studies and insights without rebuilding pages or relying on a developer for every change.
My role covered Webflow development, responsive behavior, interactions, and CMS architecture. I was also directly involved in shaping the UX structure and wireframes, and created a number of visual elements used throughout the interface - including custom graphics, gradient treatments, and other identity-led details.
The result is a website that feels unmistakably MISCHKA on the surface while remaining practical and scalable behind it. It’s also one of those projects I still enjoy opening in a new tab, just to watch the whole experience move. A lot of care went into every part of it, and I think that comes through.
After launch, the team shared their experience in a verified Clutch review: “They really know Webflow inside out.”
A live result I’m proud of and a happy client at the end of it - that’s exactly how I want a project to close.
Thank you, Yuliya Gorenko, for your trust and for the opportunity to work on this project. I really enjoyed the collaboration and am proud of what we created together!
Explore the project:
Live website: https://www.mischka.agency/
Client review: https://clutch.co/go-to-review/82f12ed1-54c6-4072-ad3e-ca176f90de66/466955
If your company has a strong brand but its website still feels like the weaker version of it, send me the link. I’d love to hear what needs to change!
The visual identity and gradient framing look top notch! How long did the CMS architecture and UX wireframing phase take for this project?