Freelancers using Squarespace in GatineauFreelancers using Squarespace in Gatineau
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Faadil Boussari's avatar
Faadil Boussari
proGatineau, Canada
Product Designer · Framer · Brand Systems · Prototypes
17
Followers
Product Designer · Framer · Brand Systems · Prototypes
Cover image for Before Bar One: The First
Before Bar One: The First Version Proved the Mechanism. Squarespace Turned It Into an Experience. Before Bar One did not begin as a website. It began as a small functional prototype for Day 3 of my 30 Days of Real Business Problems challenge. The original idea came from a very specific orchestral problem: Five musicians receive their parts and begin rehearsal together. Four parts continue normally from rehearsal mark C to rehearsal mark D. But in one edition, the Horn in F part contains eight missing bars. The page still looks complete. The paper is still ruled. The rehearsal continues. But one musical route has quietly disappeared. That first prototype was designed to prove a single interaction: The mechanism worked. Visitors could move from the fictional 1987-F field edition to the revised 2001-R edition and watch the orchestral route reconnect. But the experience still felt like a product demonstration. It explained the mechanism, but it did not yet feel like the kind of environment where someone might discover, inspect and interpret an edition discrepancy. For the Squarespace Make It Real Challenge, I decided not to replace the original idea with a more conventional brand website. I kept the interaction and rebuilt everything around it. The result is Before Bar One An Interactive Critical Archive. Rather than presenting the problem as a dashboard or software tool, the Squarespace experience treats it as a fictional archival incident. The visitor enters an editorial environment built around records, catalog references, edition controls, rehearsal routes, incident reports and constructed evidence. The visual system uses warm ivory, charcoal, archival brass, fault red and restoration mint. Editorial serif typography is paired with monospace archive labels, fine rules, stamps and catalog notation. The central question remains simple: What changes when the edition changes? In the 1987-F state, the Horn in F becomes silent between rehearsal marks C and D. The visitor can inspect: five orchestral routes; one interrupted path; eight empty measure cells; a ruled but unprinted passage; a tactile archive record; an unresolved incident status; a restoration diagram that remains incomplete. The part does not look damaged. That is the point. The issue is not the physical copy. The issue is the edition. When the visitor selects 2001-R, the archive changes with it. The missing measures return. The archive object is recatalogued. The incident status changes. The Horn in F route reconnects. The five parts arrive together again. The edition selector is therefore not simply a visual toggle. It becomes the central reading device for the entire experience. I also created a second page called The Reading Room. This page expands the interaction into a fuller archival consultation and includes: Archive Record 001; Archive Record 002; a direct edition comparison; an Incident Report; an Evidence Wall; a Build Record; the final closing notice. The Evidence Wall presents several fictional artifacts: a photographed leaf, a copyist-style marginal cue, a constructed sketch source, a restoration analysis tag and a transcribed cue sheet. All institutions, dates, editions, records and musical evidence in the project are explicitly labelled as fictional or constructed. The goal is not to imitate a real historical discovery, but to demonstrate how an edition-comparison workflow could be transformed into an interactive narrative. One of the most important additions came late in the process. I realized that visitors could see the missing passage, but they could not yet hear what it changed. So I created two versions of the same short orchestral rehearsal: Both versions use the same tempo, harmony, strings, duration and arrangement. The only intended difference is the Horn in F during the central eight-bar passage. In 1987-F, the strings continue while the horn disappears. In 2001-R, the horn remains present and rejoins the ensemble through the restored passage. These recordings were added through a native Squarespace Listening Station using Squarespace Audio Blocks. The visitor can now: Squarespace became more than the place where the prototype was published. It provided the structure for turning one interaction into a complete public experience: a clearer five-second introduction; a responsive editorial layout; a two-page narrative architecture; navigation between the Archive and Reading Room; native audio presentation; a stronger visual hierarchy; a final layer of polish and atmosphere. The core edition mechanism is implemented as a custom HTML and CSS interaction embedded within Squarespace. Around it, Squarespace provides the public-facing framework, page structure, responsive composition and native Listening Station that make the project feel complete. The transformation was not: It was: The original version proved that the idea could work. The Squarespace version gave the idea a world, a rhythm and a reason to explore it. Explore the project Interactive Critical Archive https://horse-grey-66kc.squarespace.com/before-bar-one The Reading Room https://horse-grey-66kc.squarespace.com/reading-room Password 1234 Original Day 3 prototype https://faadil1.github.io/before-bar-one/ The first version proved the mechanism. Squarespace turned it into a visual, editorial and audible experience. Before every rehearsal, check the edition. #SquarespaceChallenge #MakeItReal #Squarespace #FinishLayer #WebDesign #CreativeDevelopment #InteractionDesign #EditorialDesign #SoundDesign #UIUX #Contra
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Cover image for What if information only existed
What if information only existed while you were warm enough to reveal it?
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Cover image for INNER CALDERA: Visual Exploration This experiment
INNER CALDERA: Visual Exploration This experiment started with a familiar visual trope: a landscape reflected inside an eye. Instead of pushing it toward fire, spectacle, or a “lava iris,” I wanted to move in the opposite direction. The idea became an ancient dormant caldera compressed into a living human iris. The pupil remains completely black, almost eclipse-like. Around it, cooled obsidian forms irregular ridges, eroded peaks, mineral fractures, and barely visible residual heat. Natural iris fibers are still present between the geological structures, while moisture and tear film keep the eye unmistakably alive. The main challenge was balancing two readings at once: a real human eye and a geological landscape that feels millions of years old. I explored multiple variations in topology, material behavior, depth, and light before selecting the versions where anatomy and geology felt like one continuous structure rather than a landscape pasted into an iris. AI-assisted image exploration, iterative art direction, and visual selection. #ArtDirection #DigitalArt #VisualExperiment
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Cover image for Day 15: PROOF IS BROKEN In
Day 15: PROOF IS BROKEN In 2007, Blendtec’s Will It Blend? turned extreme product demonstrations into proof. The formula was simple: Watch the video. Believe the product. But today, spectacular footage can be generated, enhanced, or fabricated. A visually impressive demonstration no longer guarantees credibility. So I explored a new business problem: How can a brand still prove product performance when video alone is no longer enough? I reimagined the campaign around a new question: WOULD YOU BELIEVE IT? The new concept introduces The Proof Room—a controlled testing environment where the object, process, camera angles, and physical result are all visibly documented. The campaign evolves from: Will it blend? to: Can the demonstration be verified? For this project, I created: an original-versus-reimagined campaign film; a complete storyboard; AI-generated product and motion sequences; a verification-based visual system; a campaign poster and thumbnail; sound design and final editing. The final idea:
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Squarespace(1)
Noorulabdeen Ahmad's avatar
Noorulabdeen Ahmad
Ottawa, Canada
📸 sharing visual stories with people at the heart
5.0
Rating
1
Followers
📸 sharing visual stories with people at the heart
Cover image for Clay Encounters
Clay Encounters
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Cover image for YouTube Channel - Content Creator
YouTube Channel - Content Creator
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Cover image for Islam Awareness Week
Islam Awareness Week
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Cover image for Canada C3
Canada C3
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Squarespace(1)
Dmitriy Shin's avatar
Dmitriy Shin
Ottawa, Canada
Passionate and open-minded
Passionate and open-minded
Cover image for Limoges Florist
Limoges Florist
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4
Cover image for Portfolio Website
Portfolio Website
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6
Cover image for Discount Audio Visual
Discount Audio Visual
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16
Cover image for WalletCS
WalletCS
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15
Squarespace(1)