Projects using Adobe Photoshop in Greater SkopjeProjects using Adobe Photoshop in Greater Skopje
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Projects we love

Projects we love

Standout projects making waves around the web
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Cover image for Lyft Pink
Lyft Pink
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Web design projects using Framer

Framer

The best modern websites built on the leading web design tool, Framer
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AI projects

AI

New projects from the best AI creators
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Brand design projects

Brand design

Bold visual identities and branding systems created by top independent designers
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Video editor projects

Video editing

Creative video edits made using today’s best editing tools
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Standout projects

Standout projects

More projects we love that are making waves across the web
Cover image for Casemate: making malware analysis feel
Casemate: making malware analysis feel calm instead of scary Cybersecurity websites usually look the same: black background, green code, a hooded guy. I wanted to try the opposite for Casemate, a concept for a malware analysis tool. The idea is simple: the product keeps a suspicious file in a sealed chamber and watches what it does. So I put a bug frozen in amber in the middle of a canyon. It’s dangerous and under control at the same time, and you get it without reading a word. Then I made sure the page still works for a security lead who wants facts. The stats sit right next to the headline: threats isolated, latency, endpoints covered. The hardest part was keeping it warm without losing trust. I stayed with one terracotta colour, wide capitals and mono labels, so it reads like a serious tool and not a poster. I’m taking on new projects for SaaS and tech teams. If you have a product that’s hard to explain in one glance, send me a message. What do you think, would you trust a security product with a canyon on the homepage?
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Cover image for Landing page design for Lumo
Landing page design for Lumo — banking for freelance life Banks sell control — dashboards, charts, a card floating at fifteen degrees. Freelancers don't want control over their money. They want to stop thinking about it in the gap between sending an invoice and the money landing. That gap is what the page is built on. The product sits in a meadow instead of on a dark grid, because the promise isn't "manage your finances better" — it's "we handle the part that keeps you up." And the strongest line on the page isn't a feature: no waiting for Monday. Freelancers don't lose weekends to fees. They lose them to timing. The proof follows the same rule. One freelancer, one number — 4% lost on every international payment. A percentage someone can check against their own account beats any adjective.
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Cover image for Stressa here (again)! for my
Stressa here (again)! for my second entry, I wanted to make another little cinematic adventure, but this time it’s about Stressella’s frens going to CapCut World LA 🦆✨ It all started when these little guys had been hearing about CapCut World NONSTOP. Every day, it’s CapCut World this, CapCut World that. And honestly? They got a little TOO invested lol. And off they went. No proper travel plans, no tickets, just an expired Wishing Dust and colossal yellow duck with a propeller helmet. They flew through the clouds, startled half the birds in Cornwall, splashed down in Marina del Rey, and started running through LA like they had an actual appointment to keep. I wanted to turn all that CapCut World hype into a chaotic little adventure, with cinematic scenery, ridiculous characters, and the kind of journey that absolutely did not need a 12-metre duck but got one anyway. This was alsoooo genuinely so much fun to make! I hope you have as much fun watching it as I did creating it! wml 🤞🥹
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Cover image for Stressa here! For my entry
Stressa here! For my entry I wanted to make a little cinematic adventure about: Stressella goes to CapCut World LA! So, she books a free trial with a rather shady 100-year-old teleportal agent. Of course the old lady mistakes her for Cinderella and sends her through the wrong portal. Stressella ends up at a victorian ball in Cinderella universe, running away before she even gets to dance with Prince Charming. Luckily, her Fairy Godmother shows up and gives her a star to travel through space and time to LA. I chose a star because I wanted her to look like a fallen star landing right in front of the Audrey Irmas Pavilion for CapCut World LA. I thought it'd be a fun way to turn a simple trip to LA into a chaotic fairytale adventure. Honestly wish I had another 30 seconds to let Stressella meet Prince Charming. Just imagined their ridiculous little banter 😭 This was genuinely so much fun to make, and I hope you have as much fun watching it as I did creating it! Thank you so much for the opportunity to join this challenge and bring this little story to life. Wishing everyone the best of luck, and can't wait to see what everyone has created! 🤞😋
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Cover image for I started this self-initiated project
I started this self-initiated project with a simple challenge: how do you make a rental-property brand feel connected to its world without reaching for the usual roofline or building icon? I kept coming back to two ideas: access and space. A key represents the first; a floor plan represents the second. I brought them together in a compact symbol: a key whose head contains three rooms. From there, I wanted the idea to do more than sit beside a wordmark. The rooms became a repeating pattern, the geometry informed the icon set, and the same shape guided a small logo animation. I also built out the wider identity across color, typography, product screens, social assets, and physical touchpoints, with guidelines to keep it consistent. The part I found most interesting was making one idea work at different scales, from a tiny app icon to a broader visual system while keeping the result calm and clear. Plotvera is a concept project, so the applications are illustrative rather than launch materials. I made it to explore how a focused brand idea can carry through an entire system. See the identity and design system (https://plotvera.lovable.app/) I’d love to know: which detail makes the idea click for you. The key, the rooms, or the way the symbol carries into the system?
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Cover image for Costumes Parisiens 2026: George Barbier's
Costumes Parisiens 2026: George Barbier's Paris fashion plates of 1913, dressed for the way we live now. In 1913 George Barbier drew the latest Paris fashion for the Journal des Dames et des Modes: flat stencil colour, one elegant figure per plate, and a caption announcing the look, like "Robe d'intérieur" or "Manteau de théâtre". I found his Costumes Parisiens plates at the Rijksmuseum, where they are in the public domain, cropped ten of them down to the bare stencil and built a Recraft V4 Style from them. Costumes Parisiens 2026 keeps his poses and his captions and dresses them for how we actually live now: a silk blouse over pyjama trousers for the video call, a red delivery backpack worn over a fur-trimmed coat, a theatre coat embroidered with 99 unread badges, a necklace of charging cables, earbuds worn as pearl drops, a ring light carried like a parasol. Same magazine, a hundred and thirteen years later; only the accessories have changed.
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