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E-learning course on cybersecurity, created for a European grocery chain.
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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retrofuturism
Share your favorite designs from the past exploring the distant future. Or your own take on the aesthetic 🚀
halftone
Dots. Texture. Grain. Let's see your designs using the halftone technique.
Midjourney
Creatives are showing off what they're making with Midjourney.
colorgrade
Video editors sound off: How do you enhance the mood of your video in color grading?
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VIETNAM, Y3K — FLORA Museum Challenge
For the FLORA Museum Challenge, I chose the Incense Burner with Dragon Spout, a Vietnamese artifact from the 1st–3rd century in The Met’s collection ( https://www.metmuseum.org/art/collection/search/53862 ), and reimagined it through a Y3K lens.
I wanted to connect an ancient object with a familiar image of Vietnam today: a woman riding a scooter. The dragon-shaped incense burner became a futuristic chrome vehicle, while traditional Vietnamese clothing and the conical hat were transformed into synthetic future wear.
I built the entire visual world in FLORA, from the clothing and accessories to the dragon scooter, environments, stills, and final video. Using AI as a world building tool, the project imagines how Vietnamese visual culture might evolve into another timeline while still carrying traces of its past.
Love the direction with this! The references to Vietnamese culture is so unique!
EARTHTURN is a ceramics brand I hope to open one day. I'm not a potter. So I used FLORA to help me build the whole branding, from physical product to brand identity mockup around the idea.
FLORA was where I pushed the ideas and a strategy I already had in my head, and tested it until it held. So I'd have more time for the part that actually matters: the brand strategy.
Here's what I kept reminding myself while making the visuals. You create images to sell a product, not just to look good.
So every image should have a job.
It might be a logo evolving: a turning wheel, then fire, then a vessel, resolving into the mark. I wanted the logo to show where it comes from, not just sit there finished.
It might be the slow rotation effect for poster or social media posts, you can realise this effect when someone throws on a wheel, the movement the brand is named after. Not a trending effect that looks cool but says nothing about EARTHTURN.
It might be the close-ups images: the material, the pattern, the piece from different angles. A customer buys what they can see clearly. Pretty from a distance doesn't sell, texture you can almost feel does.
It might be the packaging shots that show the foam and wrapping: the piece protected, not a bare pot sitting alone in a cardboard box. You're not just selling a vase. You're selling care, and a product that arrives whole and unchipped.
That's what making images for a brand really means, not grabbing whatever composition looks nice and calling it done. If you can't say why a visual serves the brand, it's decoration, not design.
Building the full brand system before the pottery skills even exist is a bold order of operations. Now that EARTHTURN looks this real, does it make you more likely to actually go learn the craft, or is this more about seeing the idea through as a design exercise?
Exploring the intersection of mental well-being and modern design. This interface focuses on "micro-moments" of calm, guiding users from stress to serenity through soft gradients, rounded typography, and gentle interactions.
soft gradients suit this really well