Freelancers using Final Cut Pro in TorontoFreelancers using Final Cut Pro in Toronto
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Projects we love

Projects we love

Standout projects making waves around the web
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Brand design

Bold visual identities and branding systems created by top independent designers
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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 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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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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