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MyWay Hospitality is an educational platform with several different types of hospitality businesses and very detailed guides and preparation tools.
The network for creativity
Join 1.25M professional creatives like you
Connect with clients, get discovered, and run your business 100% commission-free
Creatives on Contra have earned over $150M and we are just getting started
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What happens when one website has to talk to two different people?
A client of ours teaches two audiences at once: expecting mothers who want a calm pregnancy, and women who want to become doulas. One brand, one site, two very different reasons to visit.
The usual fix is a hero that speaks to "everyone" and lands with no one. We designed it as a fork in the road instead:
1. Two doors in the hero. "I'm pregnant" and "I'm training to be a doula", side by side, equal weight. The visitor picks a path in one click, and the headline above them stays about the shared value.
2. One voice, two tones. The mothers' path is softer: fewer words, more room, gentle photos. The doula path is more structured: modules, certification, dates. Same fonts, same colors, different rhythm.
One proof section, split in two. Testimonials from mothers on the left, from doulas on the right. Each visitor sees people like them before the price.
Writing for everyone is writing for no one. Give each reader a door.
Have you ever designed a page for two audiences at once? How did you split it?
Love that purple hero with the two cards right up top.
I felt something was off with my own website.
Too plain. Not how I envisioned the brand.
So I added more creative touches and built a real story into it. Now everything makes sense.
It finally feels like Outredge 🚀
https://outredge.com/
That big bold wordmark with the corner brackets gives it so much more character. "A marketing site as good as your product" is a strong line too, says exactly what you do.
Momoyogusa SS27: A 1909 Pattern Book Art-Directs a 2027 Capsule
In 1909, Kyoto designer Kamisaka Sekka published Momoyogusa ("A World of Things"), three volumes of woodblock-printed patterns so flat and graphic they still look modern a century later.
I trained a Recraft V4 Style on eight plates from the Cleveland Museum of Art's public-domain copy, keeping Sekka's flat colour fields, metallic accents and empty paper grounds.
Then I handed him a 2027 brief: a streetwear capsule. His winter river became a quilted puffer, his cranes climbed onto chunky trainers, his peonies bloomed on headphones, and his dancers came back in matching tracksuits.
A pattern book from 1909, working as a fashion house's design studio.
