Web Design Projects in KwaZulu-NatalWeb Design Projects in KwaZulu-Natal
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Projects we love

Projects we love

Standout projects making waves around the web
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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 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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Cover image for The New Book of Beasts A
The New Book of Beasts A Medieval Bestiary of Modern Human Nature What if medieval bestiaries described the habits of modern people instead of mythical creatures? For the Recraft × Contra Styles Challenge, I created Illuminated Bestiary, a custom Recraft Style inspired by public-domain illustrations from 13th–15th-century manuscripts. I used historical references from the Public Domain Image Archive to explore medieval animal anatomy, ornamental details, ink drawings, and muted natural pigments. Then I applied the style to eight imaginary beasts, each representing a familiar modern behavior: overthinking, people-pleasing, doomscrolling, procrastination, ghosting, perfectionism, attention-seeking, and impostor syndrome. The result is a collection of creatures that look like they belong in a centuries-old manuscript, even though their habits are very much our own. Recraft project (https://www.recraft.ai/project/d06723de-c5da-43bb-99c5-75e5272d81e4) Custom Style (https://www.recraft.ai/styles/322e5547-e4ac-4689-baed-db70dc04d9a3) Historical Sources (https://<https://pdimagearchive.org/>) Social Post (https://www.linkedin.com/feed/update/urn:li:activity:7519324821240045569/)
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Cover image for I turned one of my
I turned one of my notebook doodles into a whole brand identity. And honestly this was way more fun than I expected I usually work on UI/UX and digital products so I wanted to take a step back from screens and explore something completely different: illustration-led branding. I took my original FOODAS sketch and built an entire visual world around it from the logo and mascot illustrations to the color palette packaging, cups, and menus The goal wasn't to make it look perfectly polished and predictable I wanted it to feel playful, a little weird, and still premium. Now I'm curious about one thing: Can playful, imperfect illustrations make a brand feel more premium or do you think premium branding needs to be more minimal? I have a feeling designers will disagree on this one
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Cover image for What if a botanical brand
What if a botanical brand functioned as an archive rather than a catalogue? FLORAE is a speculative identity exploring the relationship between nature, observation, and time. Imagined as a living botanical archive, the brand documents the small, often overlooked changes through which growth reveals itself. Each specimen becomes a record. Each observation adds to a growing collection. Together, they form an evolving archive of botanical forms, patterns, and transformations. The visual identity draws from scientific documentation, editorial typography, organic textures, and a restrained botanical palette. Numbered observations, specimen records, and archival language establish a visual system that feels both analytical and alive, balancing the precision of documentation with the unpredictability of nature. Rather than presenting nature as something static to be collected, FLORAE treats it as something to be observed, interpreted, and continuously rediscovered.
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