دسته: برنامه‌نویسان

  • Built to Move: A Closer Look at the Animations Behind Eduard Bodak’s Portfolio

    Built to Move: A Closer Look at the Animations Behind Eduard Bodak’s Portfolio



    For months, Eduard Bodak has been sharing glimpses of his visually rich new website. Now, he’s pulling back the curtain to walk us through how three of its most striking animations were built. In this behind-the-scenes look, he shares the reasoning, technical decisions, and lessons learned—from performance trade-offs to working with CSS variables and a custom JavaScript architecture.

    Overview

    In this breakdown, I’ll walk you through three of the core GSAP animations on my site: flipping 3D cards that animate on scroll, an interactive card that reacts to mouse movement on the pricing page, and a circular layout of cards that subtly rotates as you scroll. I’ll share how I built each one, why I made certain decisions, and what I learned along the way.

    I’m using Locomotive Scroll V5 in this project to handle scroll progress and viewport detection. Since it already offers built-in progress tracking via data attributes and CSS variables, I chose to use that directly for triggering animations. ScrollTrigger offers a lot of similar functionality in a more integrated way, but for this build, I wanted to keep everything centered around Locomotive’s scroll system to avoid overlap between two scroll-handling libraries.

    Personally, I love the simplicity of Locomotive Scroll. You can just add data attributes to specify the trigger offset of the element within the viewport. You can also get a CSS variable --progress on the element through data attributes. This variable represents the current progress of the element and ranges between 0 and 1. This alone can animate a lot with just CSS.

    I used this project to shift my focus toward more animations and visual details. It taught me a lot about GSAP, CSS, and how to adjust animations based on what feels right. I’ve always wanted to build sites that spark a little emotion when people visit them.

    Note that this setup was tailored to the specific needs of the project, but in cases where scroll behavior, animations, and state management need to be tightly integrated, GSAP’s ScrollTrigger and ScrollSmoother can offer a more unified foundation.

    Now, let’s take a closer look at the three animations in action!

    Flipping 3D cards on scroll

    I split the animation into two parts. The first is about the cards escaping on scroll. The second is about them coming back and flipping back.

    Part 01

    We got the three cards inside the hero section.

    <section 
     data-scroll 
     data-scroll-offset="0%, 25%" 
     data-scroll-event-progress="progressHero"
     data-hero-animation>
     <div>
      <div class="card" data-hero-animation-card>
       <div class="card_front">...</div>
       <div class="card_back">...</div>
      </div>
      <div class="card" data-hero-animation-card>
       <div class="card_front">...</div>
       <div class="card_back">...</div>
      </div>
      <div class="card" data-hero-animation-card>
       <div class="card_front">...</div>
       <div class="card_back">...</div>
      </div>
     </div>
    </section>

    While I’m using Locomotive Scroll, I need data-scroll to enable viewport detection on an element. data-scroll-offset specifies the trigger offset of the element within the viewport. It takes two values: one for the offset when the element enters the viewport, and a second for the offset when the element leaves the viewport. The same can be built with GSAP’s ScrollTrigger, just inside the JS.

    data-scroll-event-progress="progressHero" will trigger the custom event I defined here. This event allows you to retrieve the current progress of the element, which ranges between 0 and 1.

    Inside the JS we can add an EventListener based on the custom event we defined. Getting the progress from it and transfer it to the GSAP timeline.

    this.handleProgress = (e) => {
     const { progress } = e.detail;
     this.timeline?.progress(progress);
    };
    
    window.addEventListener("progressHero", this.handleProgress);

    I’m using JS classes in my project, therefore I’m using this in my context.

    Next, we retrieve all the cards.

    this.heroCards = this.element.querySelectorAll("[data-hero-animation-card]");

    this.element is here our section we defined before, so it’s data-hero-animation.

    Building now the timeline method inside the class. Getting the current timeline progress. Killing the old timeline and clearing any GSAP-applied inline styles (like transforms, opacity, etc.) to avoid residue.

    computeDesktopTimeline() {
     const progress = this.timeline?.progress?.() ?? 0;
     this.timeline?.kill?.();
     this.timeline = null;
     gsap.set(this.heroCards, { clearProps: "all" });
    }

    Using requestAnimationFrame() to avoid layout thrashing. Initializes a new, paused GSAP timeline. While we are using Locomotive Scroll it’s important that we pause the timeline, so the progress of Locomotive can handle the animation.

    computeDesktopTimeline() {
     const progress = this.timeline?.progress?.() ?? 0;
     this.timeline?.kill?.();
     this.timeline = null;
     gsap.set(this.heroCards, { clearProps: "all" });
    
     requestAnimationFrame(() => {
      this.timeline = gsap.timeline({ paused: true });
    
      this.timeline.progress(progress);
      this.timeline.paused(true);
     });
    }

    Figuring out relative positioning per card. targetY moves each card down so it ends near the bottom of the container. yOffsets and rotationZValues give each card a unique vertical offset and rotation.

    computeDesktopTimeline() {
     const progress = this.timeline?.progress?.() ?? 0;
     this.timeline?.kill?.();
     this.timeline = null;
     gsap.set(this.heroCards, { clearProps: "all" });
    
     requestAnimationFrame(() => {
      this.timeline = gsap.timeline({ paused: true });
    
      this.heroCards.forEach((card, index) => {
       const position = index - 1;
       const elementRect = this.element.getBoundingClientRect();
       const cardRect = this.heroCards[0]?.getBoundingClientRect();
       const targetY = elementRect.height - cardRect.height;
       const yOffsets = [16, 32, 48];
       const rotationZValues = [-12, 0, 12];
      
       // timeline goes here
      });
    
      this.timeline.progress(progress);
      this.timeline.paused(true);
     });
    }

    The actual GSAP timeline. Cards slide left or right based on their index (x). Rotate on Z slightly to look scattered. Slide downward (y) to target position. Shrink and tilt (scale, rotateX) for a 3D feel. index * 0.012: adds a subtle stagger between cards.

    computeDesktopTimeline() {
     const progress = this.timeline?.progress?.() ?? 0;
     this.timeline?.kill?.();
     this.timeline = null;
     gsap.set(this.heroCards, { clearProps: "all" });
    
     requestAnimationFrame(() => {
      this.timeline = gsap.timeline({ paused: true });
    
      this.heroCards.forEach((card, index) => {
       const position = index - 1;
       const elementRect = this.element.getBoundingClientRect();
       const cardRect = this.heroCards[0]?.getBoundingClientRect();
       const targetY = elementRect.height - cardRect.height;
       const yOffsets = [16, 32, 48];
       const rotationZValues = [-12, 0, 12];
    
       this.timeline.to(
        card,
         {
          force3D: true,
          keyframes: {
           "75%": {
            x: () => -position * (card.offsetWidth * 0.9),
            rotationZ: rotationZValues[index],
           },
           "100%": {
            y: () => targetY - yOffsets[index],
            scale: 0.85,
            rotateX: -16,
           },
          },
         },
        index * 0.012
       );
      });
    
      this.timeline.progress(progress);
      this.timeline.paused(true);
     });
    }

    That’s our timeline for desktop. We can now set up GSAP’s matchMedia() to use it. We can also create different timelines based on the viewport. For example, to adjust the animation on mobile, where such an immersive effect wouldn’t work as well. Even for users who prefer reduced motion, the animation could simply move the cards slightly down and fade them out, as you can see on the live site.

    setupBreakpoints() {
     this.mm.add(
      {
       desktop: "(min-width: 768px)",
       mobile: "(max-width: 767px)",
       reducedMotion: "(prefers-reduced-motion: reduce)",
      },
      (context) => {
       this.timeline?.kill?.();
    
       if (context.conditions.desktop) this.computeDesktopTimeline();
    
       return () => {
        this.timeline?.kill?.();
       };
      }
     );
    }

    Add this to our init() method to initialize the class when we call it.

    init() {
     this.setupBreakpoints();
    }

    We can also add a div with a background color on top of the card and animate its opacity on scroll so it smoothly disappears.

    When you look closely, the cards are floating a bit. To achieve that, we can add a repeating animation to the cards. It’s important to animate yPercent here, because we already animated y earlier, so there won’t be any conflicts.

    gsap.fromTo(
     element,
     {
      yPercent: -3,
     },
     {
      yPercent: 3,
      duration: () => gsap.utils.random(1.5, 2.5),
      ease: "sine.inOut",
      repeat: -1,
      repeatRefresh: true,
      yoyo: true,
     }
    );

    gsap.utils.random(1.5, 2.5) comes in handy to make each floating animation a bit different, so it looks more natural. repeatRefresh: true lets the duration refresh on every repeat.

    Part 02

    We basically have the same structure as before. Only now we’re using a sticky container. The service_container has height: 350vh, and the service_sticky has min-height: 100vh. That’s our space to play the animation.

    <section 
     data-scroll 
     data-scroll-offset="5%, 75%" 
     data-scroll-event-progress="progressService"
     data-service-animation>
     <div class="service_container">
      <div class="service_sticky">
       <div class="card" data-service-animation-card>
        <div class="card_front">...</div>
        <div class="card_back">...</div>
       </div>
       <div class="card" data-service-animation-card>
        <div class="card_front">...</div>
        <div class="card_back">...</div>
       </div>
       <div class="card" data-service-animation-card>
        <div class="card_front">...</div>
        <div class="card_back">...</div>
       </div>
      </div>
     </div>
    </section>

    In the JS, we can use the progressService event as before to get our Locomotive Scroll progress. We just have another timeline here. I’m using keyframes to really fine-tune the animation.

    this.serviceCards.forEach((card, index) => {
      const position = 2 - index - 1;
      const rotationZValues = [12, 0, -12];
      const rotationZValuesAnimated = [5, 0, -5];
    
      this.timeline.to(
        card,
        {
          force3D: true,
          keyframes: {
            "0%": {
              y: () => -0.75 * window.innerHeight + 1,
              x: () => -position * (card.offsetWidth * 1.15),
              scale: 0.2,
              rotationZ: rotationZValues[index],
              rotateX: 24,
            },
            "40%": {
              y: "20%",
              scale: 0.8,
              rotationZ: rotationZValuesAnimated[index],
              rotationY: 0,
              rotateX: 0,
            },
            "55%": { rotationY: 0, y: 0, x: () => gsap.getProperty(card, "x") },
            "75%": { x: 0, rotationZ: 0, rotationY: -190, scale: 1 },
            "82%": { rotationY: -180 },
            "100%": { rotationZ: 0 },
          },
        },
        index * 0.012
      );
    });

    const position = 2 - index - 1 changes the position, so cards start spread out: right, center, left. With that we can use those arrays [12, 0, -12] in the right order.

    There’s the same setupBreakpoints() method as before, so we actually just need to change the timeline animation and can use the same setup as before, only in a new JS class.

    We can add the same floating animation we used in part 01, and then we have the disappearing/appearing card effect.

    Part 2.1

    Another micro detail in that animation is the small progress preview of the three cards in the top right.

    We add data-scroll-css-progress to the previous section to get a CSS variable --progress ranging from 0 to 1, which can be used for dynamic CSS effects. This data attribute comes from Locomotive Scroll.

    <section 
     data-scroll 
     data-scroll-offset="5%, 75%" 
     data-scroll-event-progress="progressService"
     data-scroll-css-progress
     data-service-animation>
     ...
     <div>
      <div class="tiny-card">...</div>
      <div class="tiny-card">...</div>
      <div class="tiny-card">...</div>
     </div>
     ...
    </section>

    Using CSS calc() with min() and max() to trigger animations at specific progress points. In this case, the first animation starts at 0% and finishes at 33%, the second starts at 33% and finishes at 66%, and the last starts at 66% and finishes at 100%.

    .tiny-card {
     &:nth-child(1) {
      mask-image: linear-gradient(to top, black calc(min(var(--progress), 0.33) * 300%), rgba(0, 0, 0, 0.35) calc(min(var(--progress), 0.33) * 300%));
      transform: translate3d(0, calc(rem(4px) * (1 - min(var(--progress) * 3, 1))), 0);
     }
    
     &:nth-child(2) {
      mask-image: linear-gradient(
       to top,
       black calc(max(min(var(--progress) - 0.33, 0.33), 0) * 300%),
       rgba(0, 0, 0, 0.35) calc(max(min(var(--progress) - 0.33, 0.33), 0) * 300%)
      );
      transform: translate3d(0, calc(rem(4px) * (1 - min(max((var(--progress) - 0.33) * 3, 0), 1))), 0);
     }
    
     &:nth-child(3) {
      mask-image: linear-gradient(
       to top,
       black calc(max(min(var(--progress) - 0.66, 0.34), 0) * 300%),
       rgba(0, 0, 0, 0.35) calc(max(min(var(--progress) - 0.66, 0.34), 0) * 300%)
      );
      transform: translate3d(0, calc(rem(4px) * (1 - min(max((var(--progress) - 0.66) * 3, 0), 1))), 0);
     }
    }

    Card rotating on mouse movement

    The card is built like the previous ones. It has a front and a back.

    <div class="card" data-price-card>
     <div class="card_front">...</div>
     <div class="card_back">...</div>
    </div>

    On a closer look, you can see a small slide-in animation of the card before the mouse movement takes effect. This is built in GSAP using the onComplete() callback in the timeline. this.card refers to the element with data-price-card.

    this.introTimeline = gsap.timeline();
    
    this.introTimeline.fromTo(
     this.card,
     {
      rotationZ: 0,
      rotationY: -90,
      y: "-4em",
     },
     {
      rotationZ: 6,
      rotationY: 0,
      y: "0em",
      duration: 1,
      ease: "elastic.out(1,0.75)",
      onComplete: () => {
       this.initAnimation();
      },
     }
    );

    I’m using an elastic easing that I got from GSAPs Ease Visualizer. The timeline plays when the page loads and triggers the mouse movement animation once complete.

    In our initAnimation() method, we can use GSAP’s matchMedia() to enable the mouse movement only when hover and mouse input are available.

    this.mm = gsap.matchMedia();
    
    initAnimation() {
     this.mm.add("(hover: hover) and (pointer: fine) and (prefers-reduced-motion: no-preference)", () => {
      gsap.ticker.add(this.mouseMovement);
    
      return () => {
       gsap.ticker.remove(this.mouseMovement);
      };
     });
    
     this.mm.add("(hover: none) and (pointer: coarse) and (prefers-reduced-motion: no-preference)", () => {
      ...
     });
    }

    By using the media queries hover: hover and pointer: fine, we target only devices that support a mouse and hover. With prefers-reduced-motion: no-preference, we add this animation only when reduced motion is not enabled, making it more accessible. For touch devices or smartphones, we can use hover: none and pointer: coarse to apply a different animation.

    I’m using gsap.ticker to run the method this.mouseMovement, which contains the logic for handling the rotation animation.

    I originally started with one of the free resources from Osmo (mouse follower) and built this mouse movement animation on top of it. I simplified it to only use the mouse’s x position, which was all I needed.

    constructor() {
      this.rotationFactor = 200;
      this.zRotationFactor = 15;
      this.centerX = window.innerWidth / 2;
      this.centerY = window.innerHeight / 2;
    
      this.currentMouseX = 0;
    
      window.addEventListener("mousemove", e => {
        this.currentMouseX = e.clientX;
      });
    }
    
    mouseMovement() {
      const mouseX = this.currentMouseX;
      const normalizedX = (mouseX - this.centerX) / this.centerX;
      const rotationY = normalizedX * this.rotationFactor;
      const absRotation = Math.abs(rotationY);
      const rotationProgress = Math.min(absRotation / 180, 1);
      const rotationZ = 6 - rotationProgress * 12;
      const rotationZMirror = -6 + rotationProgress * 12;
    
      gsap.to(this.card, {
        rotationY: rotationY,
        rotationZ: rotationZ,
        duration: 0.5,
        ease: "power2.out",
      });
    }

    I also added calculations for how much the card can rotate on the y-axis, and it rotates the z-axis accordingly. That’s how we get this mouse movement animation.

    When building these animations, there are always some edge cases I didn’t consider before. For example, what happens when I move my mouse outside the window? Or if I hover over a link or button, should the rotation animation still play?

    I added behavior so that when the mouse moves outside, the card rotates back to its original position. The same behavior applies when the mouse leaves the hero section or hovers over navigation elements.

    I added a state flag this.isHovering. At the start of mouseMovement(), we check if this.isHovering is false, and if so, return early. The onMouseLeave method rotates the card back to its original position.

    mouseMovement() {
      if (!this.card || !this.isHovering) return;
    
      ...
    }
    
    onMouseEnter() {
      this.isHovering = true;
    }
    
    onMouseLeave() {
      this.isHovering = false;
    
      gsap.to(this.card, {
        rotationX: 0,
        rotationY: 0,
        rotationZ: 6,
        duration: 1.5,
        ease: "elastic.out(1,0.75)",
      });
    }

    Using our initAnimation() method from before, with these adjustments added.

    initAnimation() {
     this.mm.add("(hover: hover) and (pointer: fine) and (prefers-reduced-motion: no-preference)", () => {
      this.container.addEventListener("mouseenter", this.onMouseEnter);
      this.container.addEventListener("mouseleave", this.onMouseLeave);
      gsap.ticker.add(this.mouseMovement);
    
      return () => {
       this.container.removeEventListener("mouseenter", this.onMouseEnter);
       this.container.removeEventListener("mouseleave", this.onMouseLeave);
       gsap.ticker.remove(this.mouseMovement);
      };
     });
    
     this.mm.add("(hover: none) and (pointer: coarse) and (prefers-reduced-motion: no-preference)", () => {
      ...
     });
    }

    And here we have the mouse enter/leave behavior.

    We can adjust it further by adding another animation for mobile, since there’s no mouse movement there. Or a subtle reflection effect on the card like in the video. This is done by duplicating the card, adding an overlay with a gradient and backdrop-filter, and animating it similarly to the original card, but with opposite values.

    Cards in a circular position that slightly rotate on scroll

    First, we build the base of the circularly positioned cards in CSS.

    <div class="wheel" style="--wheel-angle: 15deg">
     <div class="wheel_items">
      <div class="wheel_item-wrap" style="--wheel-index: 0"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 1"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 2"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 3"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 4"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 5"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 6"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 7"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 8"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 9"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 10"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 11"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 12"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 13"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 14"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 15"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 16"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 17"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 18"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 19"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 20"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 21"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 22"><div class="wheel_item">...</div></div>
      <div class="wheel_item-wrap" style="--wheel-index: 23"><div class="wheel_item">...</div></div>
     </div>
    </div>

    At first, we add all 24 cards, then remove the ones we don’t want to show later because we don’t see them. In the CSS, the .wheel uses a grid display, so we apply grid-area: 1 / 1 to stack the cards. We later add an overlay before the wheel with the same grid-area. By using em we can use a fluid font-size to adjust the size pretty smooth on resizing the viewport.

    .wheel {
     aspect-ratio: 1;
     pointer-events: none;
     grid-area: 1 / 1;
     place-self: flex-start center;
     width: 70em;
    }

    We use the same grid stacking technique for the items. On the item wrapper, we apply the CSS variables defined in the HTML to rotate the cards.

    .wheel_items {
     width: 100%;
     height: 100%;
     display: grid;
    }
    
    .wheel_item-wrap {
     transform: rotate(calc(var(--wheel-angle) * var(--wheel-index)));
     grid-area: 1 / 1;
     justify-self: center;
     height: 100%;
    }

    Inside the item, there is only an image of the card background. The item uses translateY(-100%) to position the card at the top edge of the item.

    .wheel_item {
     transform: translateY(-100%);
     aspect-ratio: 60 / 83;
     width: 7.5em;
    }

    We can remove the card from 8 to 19 as we don’t see them behind the overlay. It should look like this now.

    By adding the data attributes and setup for viewport detection from Locomotive Scroll, which we used in previous modules, we can simply add our GSAP timeline for the rotation animation.

    this.timeline = gsap.timeline({ paused: true });
    
    this.timeline.to(this.wheel, {
     rotate: -65,
     duration: 1,
     ease: "linear",
    });

    We can add a gradient overlay on top of the cards.

    .wheel_overlay {
     background-image: linear-gradient(#fff0, #0000003d 9%, #00000080 16%, #000000b8 22%, #000 32%);
     width: 100%;
     height: 100%;
    }

    And that’s our final effect.

    Conclusion

    There are probably smarter ways to build these animations than I used. But since this is my first site after changing my direction and GSAP, Locomotive Scroll V5, Swup.js, and CSS animations, I’m pretty happy with the result. This project became a personal playground for learning, it really shows that you learn best by building what you imagine. I don’t know how many times I refactored my code along the way, but it gave me a good understanding of creating accessible animations.

    I also did a lot of other animations on the site, mostly using CSS animations combined with JavaScript for the logic behind them.

    There are also so many great resources out there to learn GSAP and CSS.

    Where I learned the most:

    It’s all about how you use it. You can copy and paste, which is fast but doesn’t help you learn much. Or you can build on it your own way and make it yours, that’s at least what helped me learn the most in the end.



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  • Exploring the Process of Building a Procedural 3D Kitchen Designer with Three.js

    Exploring the Process of Building a Procedural 3D Kitchen Designer with Three.js


    Back in November 2024, I shared a post on X about a tool I was building to help visualize kitchen remodels. The response from the Three.js community was overwhelmingly positive. The demo showed how procedural rendering techniques—often used in games—can be applied to real-world use cases like designing and rendering an entire kitchen in under 60 seconds.

    In this article, I’ll walk through the process and thinking behind building this kind of procedural 3D kitchen design tool using vanilla Three.js and TypeScript—from drawing walls and defining cabinet segments to auto-generating full kitchen layouts. Along the way, I’ll share key technical choices, lessons learned, and ideas for where this could evolve next.

    You can try out an interactive demo of the latest version here: https://kitchen-designer-demo.vercel.app/. (Tip: Press the “/” key to toggle between 2D and 3D views.)

    Designing Room Layouts with Walls

    Example of user drawing a simple room shape using the built-in wall module.

    To initiate our project, we begin with the wall drawing module. At a high level, this is akin to Figma’s pen tool, where the user can add one line segment at a time until a closed—or open-ended—polygon is complete on an infinite 2D canvas. In our build, each line segment represents a single wall as a 2D plane from coordinate A to coordinate B, while the complete polygon outlines the perimeter envelope of a room.

    1. We begin by capturing the [X, Z] coordinates (with Y oriented upwards) of the user’s initial click on the infinite floor plane. This 2D point is obtained via Three.js’s built-in raycaster for intersection detection, establishing Point A.
    2. As the user hovers the cursor over a new spot on the floor, we apply the same intersection logic to determine a temporary Point B. During this movement, a preview line segment appears, connecting the fixed Point A to the dynamic Point B for visual feedback.
    3. Upon the user’s second click to confirm Point B, we append the line segment (defined by Points A and B) to an array of segments. The former Point B instantly becomes the new Point A, allowing us to continue the drawing process with additional line segments.

    Here is a simplified code snippet demonstrating a basic 2D pen-draw tool using Three.js:

    import * as THREE from 'three';
    
    const scene = new THREE.Scene();
    const camera = new THREE.PerspectiveCamera(75, window.innerWidth / window.innerHeight, 0.1, 1000);
    camera.position.set(0, 5, 10); // Position camera above the floor looking down
    camera.lookAt(0, 0, 0);
    
    const renderer = new THREE.WebGLRenderer();
    renderer.setSize(window.innerWidth, window.innerHeight);
    document.body.appendChild(renderer.domElement);
    
    // Create an infinite floor plane for raycasting
    const floorGeometry = new THREE.PlaneGeometry(100, 100);
    const floorMaterial = new THREE.MeshBasicMaterial({ color: 0xcccccc, side: THREE.DoubleSide });
    const floor = new THREE.Mesh(floorGeometry, floorMaterial);
    floor.rotation.x = -Math.PI / 2; // Lay flat on XZ plane
    scene.add(floor);
    
    const raycaster = new THREE.Raycaster();
    const mouse = new THREE.Vector2();
    let points: THREE.Vector3[] = []; // i.e. wall endpoints
    let tempLine: THREE.Line | null = null;
    const walls: THREE.Line[] = [];
    
    function getFloorIntersection(event: MouseEvent): THREE.Vector3 | null {
      mouse.x = (event.clientX / window.innerWidth) * 2 - 1;
      mouse.y = -(event.clientY / window.innerHeight) * 2 + 1;
      raycaster.setFromCamera(mouse, camera);
      const intersects = raycaster.intersectObject(floor);
      if (intersects.length > 0) {
        // Round to simplify coordinates (optional for cleaner drawing)
        const point = intersects[0].point;
        point.x = Math.round(point.x);
        point.z = Math.round(point.z);
        point.y = 0; // Ensure on floor plane
        return point;
      }
      return null;
    }
    
    // Update temporary line preview
    function onMouseMove(event: MouseEvent) {
      const point = getFloorIntersection(event);
      if (point && points.length > 0) {
        // Remove old temp line if exists
        if (tempLine) {
          scene.remove(tempLine);
          tempLine = null;
        }
        // Create new temp line from last point to current hover
        const geometry = new THREE.BufferGeometry().setFromPoints([points[points.length - 1], point]);
        const material = new THREE.LineBasicMaterial({ color: 0x0000ff }); // Blue for temp
        tempLine = new THREE.Line(geometry, material);
        scene.add(tempLine);
      }
    }
    
    // Add a new point and draw permanent wall segment
    function onMouseDown(event: MouseEvent) {
      if (event.button !== 0) return; // Left click only
      const point = getFloorIntersection(event);
      if (point) {
        points.push(point);
        if (points.length > 1) {
          // Draw permanent wall line from previous to current point
          const geometry = new THREE.BufferGeometry().setFromPoints([points[points.length - 2], points[points.length - 1]]);
          const material = new THREE.LineBasicMaterial({ color: 0xff0000 }); // Red for permanent
          const wall = new THREE.Line(geometry, material);
          scene.add(wall);
          walls.push(wall);
        }
        // Remove temp line after click
        if (tempLine) {
          scene.remove(tempLine);
          tempLine = null;
        }
      }
    }
    
    // Add event listeners
    window.addEventListener('mousemove', onMouseMove);
    window.addEventListener('mousedown', onMouseDown);
    
    // Animation loop
    function animate() {
      requestAnimationFrame(animate);
      renderer.render(scene, camera);
    }
    animate();

    The above code snippet is a very basic 2D pen tool, and yet this information is enough to generate an entire room instance. For reference: not only does each line segment represent a wall (2D plane), but the set of accumulated points can also be used to auto-generate the room’s floor mesh, and likewise the ceiling mesh (the inverse of the floor mesh).

    In order to view the planes representing the walls in 3D, one can transform each THREE.Line into a custom Wall class object, which contains both a line (for orthogonal 2D “floor plan” view) and a 2D inward-facing plane (for perspective 3D “room” view). To build this class:

    class Wall extends THREE.Group {
      constructor(length: number, height: number = 96, thickness: number = 4) {
        super();
    
        // 2D line for top view, along the x-axis
        const lineGeometry = new THREE.BufferGeometry().setFromPoints([
          new THREE.Vector3(0, 0, 0),
          new THREE.Vector3(length, 0, 0),
        ]);
        const lineMaterial = new THREE.LineBasicMaterial({ color: 0xff0000 });
        const line = new THREE.Line(lineGeometry, lineMaterial);
        this.add(line);
    
        // 3D wall as a box for thickness
        const wallGeometry = new THREE.BoxGeometry(length, height, thickness);
        const wallMaterial = new THREE.MeshBasicMaterial({ color: 0xaaaaaa, side: THREE.DoubleSide });
        const wall = new THREE.Mesh(wallGeometry, wallMaterial);
        wall.position.set(length / 2, height / 2, 0);
        this.add(wall);
      }
    }

    We can now update the wall draw module to utilize this newly created Wall object:

    // Update our variables
    let tempWall: Wall | null = null;
    const walls: Wall[] = [];
    
    // Replace line creation in onMouseDown with
    if (points.length > 1) {
      const start = points[points.length - 2];
      const end = points[points.length - 1];
      const direction = end.clone().sub(start);
      const length = direction.length();
      const wall = new Wall(length);
      wall.position.copy(start);
      wall.rotation.y = Math.atan2(direction.z, direction.x); // Align along direction (assuming CCW for inward facing)
      scene.add(wall);
      walls.push(wall);
    }
    

    Upon adding the floor and ceiling meshes, we can further transform our wall module into a room generation module. To recap what we have just created: by adding walls one by one, we have given the user the ability to create full rooms with walls, floors, and ceilings—all of which can be adjusted later in the scene.

    User dragging out the wall in 3D perspective camera-view.

    Generating Cabinets with Procedural Modeling

    Our cabinet-related logic can consist of countertops, base cabinets, and wall cabinets.

    Rather than taking several minutes to add the cabinets on a case-by-case basis—for example, like with IKEA’s 3D kitchen builder—it’s possible to add all the cabinets at once via a single user action. One method to employ here is to allow the user to draw high-level cabinet line segments, in the same manner as the wall draw module.

    In this module, each cabinet segment will transform into a linear row of base and wall cabinets, along with a parametrically generated countertop mesh on top of the base cabinets. As the user creates the segments, we can automatically populate this line segment with pre-made 3D cabinet meshes in meshing software like Blender. Ultimately, each cabinet’s width, depth, and height parameters will be fixed, while the width of the last cabinet can be dynamic to fill the remaining space. We use a cabinet filler piece mesh here—a regular plank, with its scale-X parameter stretched or compressed as needed.

    Creating the Cabinet Line Segments

    User can make a half-peninsula shape by dragging the cabinetry line segments alongside the walls, then in free-space.

    Here we will construct a dedicated cabinet module, with the aforementioned cabinet line segment logic. This process is very similar to the wall drawing mechanism, where users can draw straight lines on the floor plane using mouse clicks to define both start and end points. Unlike walls, which can be represented by simple thin lines, cabinet line segments need to account for a standard depth of 24 inches to represent the base cabinets’ footprint. These segments do not require closing-polygon logic, as they can be standalone rows or L-shapes, as is common in most kitchen layouts.

    We can further improve the user experience by incorporating snapping functionality, where the endpoints of a cabinet line segment automatically align to nearby wall endpoints or wall intersections, if within a certain threshold (e.g., 4 inches). This ensures cabinets fit snugly against walls without requiring manual precision. For simplicity, we’ll outline the snapping logic in code but focus on the core drawing functionality.

    We can start by defining the CabinetSegment class. Like the walls, this should be its own class, as we will later add the auto-populating 3D cabinet models.

    class CabinetSegment extends THREE.Group {
      public length: number;
    
      constructor(length: number, height: number = 96, depth: number = 24, color: number = 0xff0000) {
        super();
        this.length = length;
        const geometry = new THREE.BoxGeometry(length, height, depth);
        const material = new THREE.MeshBasicMaterial({ color, wireframe: true });
        const box = new THREE.Mesh(geometry, material);
        box.position.set(length / 2, height / 2, depth / 2); // Shift so depth spans 0 to depth (inward)
        this.add(box);
      }
    }

    Once we have the cabinet segment, we can use it in a manner very similar to the wall line segments:

    let cabinetPoints: THREE.Vector3[] = [];
    let tempCabinet: CabinetSegment | null = null;
    const cabinetSegments: CabinetSegment[] = [];
    const CABINET_DEPTH = 24; // everything in inches
    const CABINET_SEGMENT_HEIGHT = 96; // i.e. both wall & base cabinets -> group should extend to ceiling
    const SNAPPING_DISTANCE = 4;
    
    function getSnappedPoint(point: THREE.Vector3): THREE.Vector3 {
      // Simple snapping: check against existing wall points (wallPoints array from wall module)
      for (const wallPoint of wallPoints) {
        if (point.distanceTo(wallPoint) < SNAPPING_DISTANCE) return wallPoint;
      }
      return point;
    }
    
    // Update temporary cabinet preview
    function onMouseMoveCabinet(event: MouseEvent) {
      const point = getFloorIntersection(event);
      if (point && cabinetPoints.length > 0) {
        const snappedPoint = getSnappedPoint(point);
        if (tempCabinet) {
          scene.remove(tempCabinet);
          tempCabinet = null;
        }
        const start = cabinetPoints[cabinetPoints.length - 1];
        const direction = snappedPoint.clone().sub(start);
        const length = direction.length();
        if (length > 0) {
          tempCabinet = new CabinetSegment(length, CABINET_SEGMENT_HEIGHT, CABINET_DEPTH, 0x0000ff); // Blue for temp
          tempCabinet.position.copy(start);
          tempCabinet.rotation.y = Math.atan2(direction.z, direction.x);
          scene.add(tempCabinet);
        }
      }
    }
    
    // Add a new point and draw permanent cabinet segment
    function onMouseDownCabinet(event: MouseEvent) {
      if (event.button !== 0) return;
      const point = getFloorIntersection(event);
      if (point) {
        const snappedPoint = getSnappedPoint(point);
        cabinetPoints.push(snappedPoint);
        if (cabinetPoints.length > 1) {
          const start = cabinetPoints[cabinetPoints.length - 2];
          const end = cabinetPoints[cabinetPoints.length - 1];
          const direction = end.clone().sub(start);
          const length = direction.length();
          if (length > 0) {
            const segment = new CabinetSegment(length, CABINET_SEGMENT_HEIGHT, CABINET_DEPTH, 0xff0000); // Red for permanent
            segment.position.copy(start);
            segment.rotation.y = Math.atan2(direction.z, direction.x);
            scene.add(segment);
            cabinetSegments.push(segment);
          }
        }
        if (tempCabinet) {
          scene.remove(tempCabinet);
          tempCabinet = null;
        }
      }
    }
    
    // Add separate event listeners for cabinet mode (e.g., toggled via UI button)
    window.addEventListener('mousemove', onMouseMoveCabinet);
    window.addEventListener('mousedown', onMouseDownCabinet);

    Auto-Populating the Line Segments with Live Cabinet Models

    Here we fill 2 line-segments with 3D cabinet models (base & wall), and countertop meshes.

    Once the cabinet line segments are defined, we can procedurally populate them with detailed components. This involves dividing each segment vertically into three layers: base cabinets at the bottom, countertops in the middle, and wall cabinets above. For the base and wall cabinets, we’ll use an optimization function to divide the segment’s length into standard widths (preferring 30-inch cabinets), with any remainder filled using the filler piece mentioned above. Countertops are even simpler—they form a single continuous slab stretching the full length of the segment.

    The base cabinets are set to 24 inches deep and 34.5 inches high. Countertops add 1.5 inches in height and extend to 25.5 inches deep (including a 1.5-inch overhang). Wall cabinets start at 54 inches high (18 inches above the countertop), measure 12 inches deep, and are 30 inches tall. After generating these placeholder bounding boxes, we can replace them with preloaded 3D models from Blender using a loading function (e.g., via GLTFLoader).

    // Constants in inches
    const BASE_HEIGHT = 34.5;
    const COUNTER_HEIGHT = 1.5;
    const WALL_HEIGHT = 30;
    const WALL_START_Y = 54;
    const BASE_DEPTH = 24;
    const COUNTER_DEPTH = 25.5;
    const WALL_DEPTH = 12;
    
    const DEFAULT_MODEL_WIDTH = 30;
    
    // Filler-piece information
    const FILLER_PIECE_FALLBACK_PATH = 'models/filler_piece.glb'
    const FILLER_PIECE_WIDTH = 3;
    const FILLER_PIECE_HEIGHT = 12;
    const FILLER_PIECE_DEPTH = 24;

    To handle individual cabinets, we’ll create a simple Cabinet class that manages the placeholder and model loading.

    import { GLTFLoader } from 'three/examples/jsm/loaders/GLTFLoader.js';
    
    const loader = new GLTFLoader();
    
    class Cabinet extends THREE.Group {
      constructor(width: number, height: number, depth: number, modelPath: string, color: number) {
        super();
    
        // Placeholder box
        const geometry = new THREE.BoxGeometry(width, height, depth);
        const material = new THREE.MeshBasicMaterial({ color });
        const placeholder = new THREE.Mesh(geometry, material);
        this.add(placeholder);
    
    
        // Load and replace with model async
    
        // Case: Non-standard width -> use filler piece
        if (width < DEFAULT_MODEL_WIDTH) {
          loader.load(FILLER_PIECE_FALLBACK_PATH, (gltf) => {
            const model = gltf.scene;
            model.scale.set(
              width / FILLER_PIECE_WIDTH,
              height / FILLER_PIECE_HEIGHT,
              depth / FILLER_PIECE_DEPTH,
            );
            this.add(model);
            this.remove(placeholder);
          });
        }
    
        loader.load(modelPath, (gltf) => {
          const model = gltf.scene;
          model.scale.set(width / DEFAULT_MODEL_WIDTH, 1, 1); // Scale width
          this.add(model);
          this.remove(placeholder);
        });
      }
    }

    Then, we can add a populate method to the existing CabinetSegment class:

    function splitIntoCabinets(width: number): number[] {
      const cabinets = [];
      // Preferred width
      while (width >= DEFAULT_MODEL_WIDTH) {
        cabinets.push(DEFAULT_MODEL_WIDTH);
        width -= DEFAULT_MODEL_WIDTH;
      }
      if (width > 0) {
        cabinets.push(width); // Custom empty slot
      }
      return cabinets;
    }
    
    class CabinetSegment extends THREE.Group {
      // ... (existing constructor and properties)
    
      populate() {
        // Remove placeholder line and box
        while (this.children.length > 0) {
          this.remove(this.children[0]);
        }
    
        let offset = 0;
        const widths = splitIntoCabinets(this.length);
    
        // Base cabinets
        widths.forEach((width) => {
          const baseCab = new Cabinet(width, BASE_HEIGHT, BASE_DEPTH, 'models/base_cabinet.glb', 0x8b4513);
          baseCab.position.set(offset + width / 2, BASE_HEIGHT / 2, BASE_DEPTH / 2);
          this.add(baseCab);
          offset += width;
        });
    
        // Countertop (single slab, no model)
        const counterGeometry = new THREE.BoxGeometry(this.length, COUNTER_HEIGHT, COUNTER_DEPTH);
        const counterMaterial = new THREE.MeshBasicMaterial({ color: 0xa9a9a9 });
        const counter = new THREE.Mesh(counterGeometry, counterMaterial);
        counter.position.set(this.length / 2, BASE_HEIGHT + COUNTER_HEIGHT / 2, COUNTER_DEPTH / 2);
        this.add(counter);
    
        // Wall cabinets
        offset = 0;
        widths.forEach((width) => {
          const wallCab = new Cabinet(width, WALL_HEIGHT, WALL_DEPTH, 'models/wall_cabinet.glb', 0x4b0082);
          wallCab.position.set(offset + width / 2, WALL_START_Y + WALL_HEIGHT / 2, WALL_DEPTH / 2);
          this.add(wallCab);
          offset += width;
        });
      }
    }
    
    // Call for each cabinetSegment after drawing
    cabinetSegments.forEach((segment) => segment.populate());

    Further Improvements & Optimizations

    We can further improve the scene with appliances, varying-height cabinets, crown molding, etc.

    At this point, we should have the foundational elements of room and cabinet creation logic fully in place. In order to take this project from a rudimentary segment-drawing app into the practical realm—along with dynamic cabinets, multiple realistic material options, and varying real appliance meshes—we can further enhance the user experience through several targeted refinements:

    • We can implement a detection mechanism to determine if a cabinet line segment is in contact with a wall line segment.
      • For cabinet rows that run parallel to walls, we can automatically incorporate a backsplash in the space between the wall cabinets and the countertop surface.
      • For cabinet segments not adjacent to walls, we can remove the upper wall cabinets and extend the countertop by an additional 15 inches, aligning with standard practices for kitchen islands or peninsulas.
    • We can introduce drag-and-drop functionality for appliances, each with predefined widths, allowing users to position them along the line segment. This integration will instruct our cabinet-splitting algorithm to exclude those areas from dynamic cabinet generation.
    • Additionally, we can give users more flexibility by enabling the swapping of one appliance with another, applying different textures to our 3D models, and adjusting default dimensions—such as wall cabinet depth or countertop overhang—to suit specific preferences.

    All these core components lead us to a comprehensive, interactive application that enables the rapid rendering of a complete kitchen: cabinets, countertops, and appliances, in a fully interactive, user-driven experience.

    The aim of this project is to demonstrate that complex 3D tasks can be distilled down to simple user actions. It is fully possible to take the high-dimensional complexity of 3D tooling—with seemingly limitless controls—and encode these complexities into low-dimensional, easily adjustable parameters. Whether the developer chooses to expose these parameters to the user or an LLM, the end result is that historically complicated 3D processes can become simple, and thus the entire contents of a 3D scene can be fully transformed with only a few parameters.

    If you find this type of development interesting, have any great ideas, or would love to contribute to the evolution of this product, I strongly welcome you to reach out to me via email. I firmly believe that only recently has it become possible to build home design software that is so wickedly fast and intuitive that any person—regardless of architectural merit—will be able to design their own single-family home in less than 5 minutes via a web app, while fully adhering to local zoning, architectural, and design requirements. All the infrastructure necessary to accomplish this already exists; all it takes is a team of crazy, ambitious developers looking to change the standard of architectural home design.





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  • Motion Highlights #11

    Motion Highlights #11



    A fresh roundup of standout motion design and animation work from across the creative community.



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  • Designer Spotlight: Ivor Jian | Codrops

    Designer Spotlight: Ivor Jian | Codrops


    Hi! I’m Ivor Jian, a multidisciplinary designer and creative developer from Washington, USA. I create websites that blend Swiss-inspired precision with a clean, utilitarian style. My goal is to craft projects that evoke emotion through quality and tasteful animation.

    As my design career continues to develop, I’m constantly learning and expanding my horizons. Below are some projects I’m proud to share from the early stages of my creative journey.

    Featured projects

    Renz Ward

    A portfolio website for a UK-based designer who specializes in a technically forward aesthetic. From concept to completion, we collaborated on the visual direction, motion design, and intricate site details. The site features a grid-focused layout and animations that align with the designer’s visual identity.

    The biggest challenge was syncing the dial animation with the project scroll and indicator. I’m not ashamed to say I relied heavily on Perplexity to help with this interaction. The result is a technical yet sophisticated website that I’m proud to share. The site currently has limited content, as Renz is still wrapping up projects. I plan to submit it to CSSDA and Awwwards once it’s complete.

    Personal website

    My portfolio website is always a work in progress, but I’m happy to share its current iteration. I wanted the details and typography to reflect who I am, both personally and as a designer. This includes the typography, animations, and fine details throughout the site.

    PRJCT—Archi

    This is my first passion project, and it received an honorable mention on CSSDA. As a fan of interior design and architecture, I wanted to create a minimal and experimental website to explore interactions and showcase AI-generated architecture. My focus was to deliver a clear and refined experience with clean micro-interactions and smooth page transitions. The images were generated in Midjourney.

    I originally wanted to use real publications but was concerned about legal issues. The biggest challenge was making the individual showcases cohesive, as there is a lot of variation in the generated images. To achieve the best results, I used real publication images as references.

    Polestar

    A redesign concept of the Polestar brand. Their design language was right up my alley, so I took on the challenge of creating a bespoke web experience while staying aligned with their core visual identity.

    Visual explorations

    I enjoy exploring and creating random designs just for the sake of it. This helps me expand my horizons as a designer and can potentially lead to new opportunities.

    About me

    I’m a 22-year-old self-taught freelance designer and developer. I started doing graphic design at 13, which I believe gave me a strong foundation when I fully shifted to web design about two years ago. Without a formal education in building websites, I’ve had the freedom to explore ideas and learn by doing. This has helped me discover the kind of work I want to pursue and shape my design style. I started gaining some traction on X/Twitter after consistently posting my designs at the start of 2025, and I’ve met so many talented and wonderful people since beginning my journey there.

    My approach to design

    I don’t follow a strict set of principles or a fixed approach to design. I usually start by looking for inspiration before diving into a project. That said, I tend to favor a 12-column grid and clean, modern Swiss typefaces. I always iterate, exploring as many options as possible before choosing one direction to refine.

    Favorite tools

    My favorite tools are Webflow for development, GSAP for web animations, Perplexity for brainstorming and problem-solving, and Figma for design. This tool stack covers everything I need at the moment.

    Inspiration

    I love browsing beautiful visuals and websites to continually refine my taste. For design inspiration, my favorite resources are Savee and Searchsystem for their curated aesthetics of clean and technical design. When it comes to websites, I look to Awwwards and various agency sites with distinct, well-crafted brand identities. I also have favorite designers and developers whose work I admire and learn from by studying their craft; among them are Dennis Snellenberg, Ilja Van Eck, Oliver Larose, and Niklas Rosen.

    Future goals

    I want to keep learning and creating meaningful projects by collaborating with creative individuals and brands that align with my style of websites. I focus on combining clean typography with interactions that make a site shine with a modern and technical touch. I plan to become an award-winning designer and developer through persistence and a genuine love for great design.

    Final thoughts

    Thank you so much for reading about my thoughts and latest projects! I’m by no means a top-notch designer or developer yet, but I hope you enjoyed the visuals and got to know a bit about me. Consistently share your work—it might just change your life.

    Keep learning, exploring, and iterating. Feel free to reach out to me on X/Twitter if you want to chat or have a project in mind. ♥️



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  • Reform Collective: A New Website, Designed to Be Seen

    Reform Collective: A New Website, Designed to Be Seen



    Reform Collective is a digital-first, full-service design and development agency. We’ve been partnering with clients of all sizes for 11 years and going strong! We work with ambitious teams building interesting things. If it doesn’t clash with our ethics and you respect our time, we’re in.

    Design

    Our previous site was no longer working for us. It didn’t reflect the kind of work we were doing, and more importantly, it created friction. The navigation was convoluted, the structure too deep, and the visual style didn’t align with what we were showing clients in proposals or conversations. We’d share a project we were proud of, and when people landed on the site, they either got confused trying to find it or lost interest navigating a dated UX. It was time to move on.

    The redesign was a reset. We stripped the site down to the essentials. Clean layout. Wide spacing. Minimal structure. The goal was to create something that felt open, confident, and easy to move through. We wanted the experience to reflect how we approach client work: intentional, clear, and results-focused — all while telling a strong story.

    We also made a conscious decision to pull back on animation. While we still use motion to support interaction, we didn’t want it to take over the experience. Performance and clarity came first.

    Sharing Our Work

    One of the most deliberate changes we made was how we present our work. Traditional case studies are saturated with summaries, timelines, and process write-ups. We realized that’s not how people consume portfolio content anymore. They don’t read. They scroll. They skim. They decide quickly if you’re worth their time.

    So we stopped writing to be read and started designing to be seen.

    We removed all the fluff: no intro copy, no strategy breakdowns, no “here’s what we learned.” Just clean visuals, concise project titles, and frictionless browsing. If the work can’t speak for itself, it probably isn’t strong enough to be featured.

    This shift wasn’t just aesthetic. It was a strategic choice. We wanted to reduce noise and let the quality of the output stand on its own. The site isn’t there to sell. It’s there to show. And showing means getting people to the work faster, without distractions.

    The end result is a portfolio that feels fast, direct, and unapologetically visual. No click tunnels. No over-explaining. Just a clear runway to the work.

    The Navigation

    We designed the global menu to feel structural. Instead of floating over the site or fading in as a layer, it pushes the entire layout downward, physically moving the page to make room. It’s a deliberate gesture. Spatial, not just visual.

    The motion is clean and architectural: a full-width panel slides down from the top, snapping into place with precision. There’s no blur, no parallax, no visual fluff. Just sharp contrast, bold typography, and three primary paths: Our Work, About Us, and Reform Nova. These are anchored by lean sub-labels and a strong call to action.

    This isn’t a nav trying to show off. It’s built to orient you quickly, frame the experience, and get out of the way. The choice to displace the page content rather than obscure it reinforces how we think about experience design: create clarity by introducing hierarchy, not noise.

    It feels tactile. It feels intentional. And it reflects how we build: structural logic, tight motion, and a clear sense of priority.

    The Nerdy Tech Details from Our Lead Engineer

    Webby Award Section

    I started with an AI prototype in v0 for the wavy lines background. v0 is surprisingly good at interpreting vague instructions. I can literally tell it “make it goopier” and it will spit out code that makes things feel goopier. I ended up with a pretty snazzy prototype. Because it used react-three-fiber, I could basically copy-paste it directly into our code, install dependencies, and be 80% done! Much faster and more interesting than setting up a Three.js scene by hand, in my opinion.

    I will say this workflow has its quirks, though. The AI is great at the initial vibe check, but it chokes on specific feedback. It’s pretty hard to describe visual bugs in text, and since the model can’t see the output, it’s basically guessing most of the time. I also noticed it tends to “over-edit,” sometimes refactoring an entire component for a tiny change. I ended up fixing several bugs myself because v0 just couldn’t handle them.

    The next part was the mouse follower. I wanted a video that follows the cursor, appearing over the wavy background but under the header text. As it passes behind the text, the text’s color inverts so it remains visible.

    The “following the mouse” part was easy! The inversion effect was a bit trickier. My first thought was to use mix-blend-mode paired with backdrop-filter. It seemed like a great idea and should have worked perfectly—or at least, that’s what I’d say if it actually had. I ended up trying all kinds of random approaches to find something that worked across every browser. Major upside: I got to justify all my monitors by putting a different browser on each while coding.

    The breakthrough came when I stopped trying to make one element do everything. I split the effect into two perfectly synchronized divs:

    1. The <Inverter>: A ghost div with no content. Its only job is to carry the backdrop-filter: invert(1) that flips the text color.
    2. The <Video>: This holds the actual video. It’s placed in a lower stacking context using z-index: -1, so it slides beneath the text but stays above the page background.

    I used GSAP’s quickTo to animate them both in sync. To the user (that’s YOU), it appears as a single element. It feels like a bit of a hack, but it works flawlessly across all browsers.

    Here’s the gist of it:

    // animate both refs at the same time so they appear as one element
    const moveX = gsap.quickTo([videoRef.current, inverter.current], "x", { /* ... */ });
    const moveY = gsap.quickTo([videoRef.current, inverter.current], "y", { /* ... */ });
    
    // in the JSX
    <Wrapper>
        {/* other content here, ofc */}
        <Video ref={videoRef} {...video?.data} />
        <Inverter ref={inverter} />
    </Wrapper>
    
    // and the styles...
    const Video = styled(BackgroundVideo, {
        position: "fixed",
        zIndex: -1, // pushed behind the text
        filter: "invert(1) contrast(0.5)",
        /* ... */
    });
    
    const Inverter = styled("div", {
        position: "fixed",
        pointerEvents: "none", // for text selection
        backdropFilter: "invert(1) contrast(2)",
        /* ... */
    });

    The styles here use https://www.restyle.dev/, by the way — it’s a runtime-only CSS library (i.e., no bundler config required), which is pretty cool.

    Nova Blocks Section

    This feature is a scroll-driven animation where a grid of 3D blocks zooms past the camera. The fun part is that it’s all done with pure CSS transforms—no WebGL or threejs needed.

    The setup involves a container with perspective and a bunch of “block” divs, each using transform-style: preserve-3d. Each block contains several child divs rotated into place to form a cube. For performance, I only animate the parent block’s transform, which is more efficient than moving hundreds of individual faces. I used the MDN demo cube for inspiration on this one.

    Of course, doing this led me straight into the weird world of browser bugs. (I seem to end up there a lot…)

    1. Safari’s Rendering Glitch:

    Safari was z-fighting like crazy. It would randomly render faces that should have been occluded by an adjacent cube, which looked terrible. See web-bugs/issues/155416. The fix ended up being twofold:

    • Manual Culling: As an optimization, I was already rendering only the faces that would be visible based on the cube’s grid quadrant. This is basically manual back-face culling, which helped reduce the number of layers Safari had to compute. It probably improves performance anyway, so… thanks, Safari, I guess.
    • Forced Stacking: I’m assigning each cube a specific z-index based on its row and column. It feels a bit brute-force, but it tells Safari exactly how to stack things—and it completely eliminated the flicker.

    Here’s the gist of the Block.tsx component:

    export default function Block({
      vertical,
      horizontal,
      row,
      column,
    }: {
      // vertical/horizontal basically represents the 'quadrant' on-screen
      vertical: "top" | "bottom";
      horizontal: "left" | "right";
      row: number;
      column: number;
    }) {
      // Explicitly set z-index based on grid position to prevent z-fighting in Safari
      // This was basically trial and error to figure out
      const style =
        vertical === "top" && horizontal === "left"
          ? { zIndex: -row - column }
          : vertical === "bottom" && horizontal === "right"
            ? { zIndex: -1 }
            : horizontal === "left"
              ? { zIndex: -column }
              : { zIndex: -row };
    
      // Conditionally render only the necessary faces
      return (
        
          {horizontal === "left" && }
          {horizontal === "right" && }
          {vertical === "top" && }
          {vertical === "bottom" && }
        
      );
    }
    
    const Wrapper = styled("div", {
      transformStyle: "preserve-3d", // the magic property for the cube
      /* ... */
    });
    

    2. Firefox’s Pinning Problem

    Our site uses CSS Subgrid for global alignment, which is awesome in my opinion because it narrows the gap between design and development. If something in the design is aligned to the grid, it can now be literally aligned to the grid in the code too.

    Caveat: I found that in Firefox, position: sticky was completely broken inside a subgrid container. A pinned element would start pinning but never unpin, because its positioning context was being resolved to the wrong grid container.

    After I isolated it in a CodePen and reported the bug (web-bugs/issues/152027), the fix was simply to remove subgrid from the sticky element’s parent and apply the grid styles directly.

    Running into weird bugs is frustrating, but it’s part of the deal when you’re building cool things. You just have to plan for it in your timeline. And if you find a bug in some strange edge case, I’m a big advocate for taking the time to create a minimal test case and report it. It helps pinpoint exactly what’s going wrong, which leads to a better solution—and it helps make the web better for everyone.

    Thanks for reading!

    Ready to build something with us? We’re always looking for great companies and individuals to partner with on new projects. Get started →

    The Reform Co. Team

    P.S. We’re also hiring, feel free to check out our careers page. ❤️



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  • Interactive Text Destruction with Three.js, WebGPU, and TSL

    Interactive Text Destruction with Three.js, WebGPU, and TSL



    When Flash was taken from us all those years ago, it felt like losing a creative home — suddenly, there were no tools left for building truly interactive experiences on the web. In its place, the web flattened into a static world of HTML and CSS.

    But those days are finally behind us. We’re picking up where we left off nearly two decades ago, and the web is alive again with rich, immersive experiences — thanks in large part to powerful tools like Three.js.

    I’ve been working with images, video, and interactive projects for 15 years, using things like Processing, p5.js, OpenFrameworks, and TouchDesigner. Last year, I added Three.js to the mix as a creative tool, and I’ve been loving the learning process. That ongoing exploration leads to little experiments like the one I’m sharing in this tutorial.

    Project Structure

    The structure of our script is going to be simple: one function to preload assets, and another one to build the scene.

    Since we’ll be working with 3D text, the first thing we need to do is load a font in .json format — the kind that works with Three.js.

    To convert a .ttf font into that format, you can use the Facetype.js tool, which generates a .typeface.json file.

    const Resources = {
    	font: null
    };
    
    function preload() {
    
    	const _font_loader = new FontLoader();
    	_font_loader.load( "../static/font/Times New Roman_Regular.json", ( font ) => {
    
    		Resources.font = font;
    		init();
    
    	} );
    
    }
    
    function init() {
    
    }
    
    window.onload = preload;

    Scene setup & Environment

    A classic Three.js scene — the only thing to keep in mind is that we’re working with Three Shader Language (TSL), which means our renderer needs to be a WebGPURenderer.

    const scene = new THREE.Scene();
    const camera = new THREE.PerspectiveCamera(75, window.innerWidth / window.innerHeight, 0.1, 1000);
    const renderer = new THREE.WebGPURenderer({ antialias: true });
    
    document.body.appendChild(renderer.domElement);
    
    renderer.setSize(window.innerWidth, window.innerHeight);
    camera.position.z = 5;
    
    scene.add(camera);

    Next, we’ll set up the scene environment to get some lighting going.

    To keep things simple and avoid loading more assets, we’ll use the default RoomEnvironment that “comes” with Three.js. We’ll also add a DirectionalLight to the scene.

    const environment = new RoomEnvironment();
    const pmremGenerator = new THREE.PMREMGenerator(renderer);
    scene.environment = pmremGenerator.fromSceneAsync(environment).texture;
    
    scene.environmentIntensity = 0.8;
    
    const   light = new THREE.DirectionalLight("#e7e2ca",5);
    light.position.x = 0.0;
    light.position.y = 1.2;
    light.position.z = 3.86;
    
    scene.add(light);

    TextGeometry

    We’ll use TextGeometry, which lets us create 3D text in Three.js.

    It uses a JSON font file (which we loaded earlier with FontLoader) and is configured with parameters like size, depth, and letter spacing.

    const text_geo = new TextGeometry("NUEVOS",{
        font:Resources.font,
        size:1.0,
        depth:0.2,
        bevelEnabled: true,
        bevelThickness: 0.1,
        bevelSize: 0.01,
        bevelOffset: 0,
        bevelSegments: 1
    }); 
    
    const mesh = new THREE.Mesh(
        text_geo,
        new THREE.MeshStandardMaterial({ 
            color: "#656565",
            metalness: 0.4, 
            roughness: 0.3
        })
    );
    
    scene.add(mesh);

    By default, the origin of the text sits at (0, 0), but we want it centered.
    To do that, we need to compute its BoundingBox and manually apply a translation to the geometry:

    text_geo.computeBoundingBox();
    const centerOffset = - 0.5 * ( text_geo.boundingBox.max.x - text_geo.boundingBox.min.x );
    const centerOffsety = - 0.5 * ( text_geo.boundingBox.max.y - text_geo.boundingBox.min.y );
    text_geo.translate( centerOffset, centerOffsety, 0 );

    Now that we have the mesh and material ready, we can move on to the function that lets us blow everything up 💥

    Three Shader Language

    I really love TSL — it’s closed the gap between ideas and execution, in a context that’s not always the friendliest… shaders.

    The effect we’re going to implement deforms the geometry’s vertices based on the pointer’s position, and uses spring physics to animate those deformations in a dynamic way.

    But before we get to that, let’s grab a few attributes we’ll need to make everything work properly:

    //  Original position of each vertex — we’ll use it as a reference
    //  so unaffected vertices can "return" to their original spot
    const initial_position = storage( text_geo.attributes.position, "vec3", count );
    
    //  Normal of each vertex — we’ll use this to know which direction to "push" in
    const normal_at = storage( text_geo.attributes.normal, "vec3", count );
    
    //  Number of vertices in the geometry
    const count = text_geo.attributes.position.count;

    Next, we’ll create a storage buffer to hold the simulation data — and we’ll also write a function.
    But not a regular JavaScript function — this one’s a compute function, written in the context of TSL.

    It runs on the GPU and we’ll use it to set up the initial values for our buffers, getting everything ready for the simulation.

    // In this buffer we’ll store the modified positions of each vertex —
    // in other words, their current state in the simulation.
    const   position_storage_at = storage(new THREE.StorageBufferAttribute(count,3),"vec3",count);   
    
    const compute_init = Fn( ()=>{
    
    	position_storage_at.element( instanceIndex ).assign( initial_position.element( instanceIndex ) );
    
    } )().compute( count );
    
    // Run the function on the GPU. This runs compute_init once per vertex.
    renderer.computeAsync( compute_init );

    Now we’re going to create another one of these functions — but unlike the previous one, this one will run inside the animation loop, since it’s responsible for updating the simulation on every frame.

    This function runs on the GPU and needs to receive values from the outside — like the pointer position, for example.

    To send that kind of data to the GPU, we use what’s called uniforms. They work like bridges between our “regular” code and the code that runs inside the GPU shader.

    They’re defined like this:

    const u_input_pos = uniform(new THREE.Vector3(0,0,0));
    const u_input_pos_press = uniform(0.0);

    With this, we can calculate the distance between the pointer position and each vertex of the geometry.

    Then we clamp that value so the deformation only affects vertices within a certain radius.
    To do that, we use the step function — it acts like a threshold, and lets us apply the effect only when the distance is below a defined value.

    Finally, we use the vertex normal as a direction to push it outward.

    const compute_update = Fn(() => {
    
        // Original position of the vertex — also its resting position
        const base_position = initial_position.element(instanceIndex);
    
        // The vertex normal tells us which direction to push
        const normal = normal_at.element(instanceIndex);
    
        // Current position of the vertex — we’ll update this every frame
        const current_position = position_storage_at.element(instanceIndex);
    
        // Calculate distance between the pointer and the base position of the vertex
        const distance = length(u_input_pos.sub(base_position));
    
        // Limit the effect's range: it only applies if distance is less than 0.5
        const pointer_influence = step(distance, 0.5).mul(1.0);
    
        // Compute the new displaced position along the normal.
        // Where pointer_influence is 0, there’ll be no deformation.
        const disorted_pos = base_position.add(normal.mul(pointer_influence));
    
        // Assign the new position to update the vertex
        current_position.assign(disorted_pos);
    
    })().compute(count);
    

    To make this work, we’re missing two key steps: we need to assign the buffer with the modified positions to the material, and we need to make sure the renderer runs the compute function on every frame inside the animation loop.

    // Assign the buffer with the modified positions to the material
    mesh.material.positionNode = position_storage_at.toAttribute();
    
    // Animation loop
    function animate() {
    	// Run the compute function
    	renderer.computeAsync(compute_update_0);
    
    	// Render the scene
    	renderer.renderAsync(scene, camera);
    }

    Right now the function doesn’t produce anything too exciting — the geometry moves around in a kinda clunky way. We’re about to bring in springs, and things will get much better.

    // Spring — how much force we apply to reach the target value
    velocity += (target_value - current_value) * spring;
    
    // Friction controls the damping, so the movement doesn’t oscillate endlessly
    velocity *= friction;
    
    current_value += velocity;

    But before that, we need to store one more value per vertex, the velocity, so let’s create another storage buffer.

    const position_storage_at = storage(new THREE.StorageBufferAttribute(count, 3), "vec3", count);
    
    // New buffer for velocity
    const velocity_storage_at = storage(new THREE.StorageBufferAttribute(count, 3), "vec3", count);
    
    const compute_init = Fn(() => {
    
        position_storage_at.element(instanceIndex).assign(initial_position.element(instanceIndex));
        
        // We initialize it too
        velocity_storage_at.element(instanceIndex).assign(vec3(0.0, 0.0, 0.0));
    
    })().compute(count);

    We’ll also add two uniforms: spring and friction.

    const u_spring = uniform(0.05);
    const u_friction = uniform(0.9);

    Now we’ve implemented the springs in the update:

    const compute_update = Fn(() => {
    
        const base_position = initial_position.element(instanceIndex);
        const current_position = position_storage_at.element(instanceIndex);
    
        // Get current velocity
        const current_velocity = velocity_storage_at.element(instanceIndex);
    
        const normal = normal_at.element(instanceIndex);
    
        const   distance =  length(u_input_pos.sub(base_position));
        const   pointer_influence = step(distance,0.5).mul(1.5);
    
        const disorted_pos = base_position.add(normal.mul(pointer_influence));
        disorted_pos.assign((mix(base_position, disorted_pos, u_input_pos_press)));
      
        // Spring implementation
        // velocity += (target_value - current_value) * spring;
        current_velocity.addAssign(disorted_pos.sub(current_position).mul(u_spring));
        // velocity *= friction;
        current_velocity.assign(current_velocity.mul(u_friction));
        // value += velocity
        current_position.addAssign(current_velocity);
    
    
    })().compute(count);

    Now we’ve got everything we need — time to start fine-tuning.

    We’re going to add two things. First, we’ll use the TSL function mx_noise_vec3 to generate some noise for each vertex. That way, we can tweak the direction a bit so things don’t feel so stiff.

    We’re also going to rotate the vertices using another TSL function — surprise, it’s called rotate.

    Here’s what our updated compute_update function looks like:

    const compute_update = Fn(() => {
    
        const base_position = initial_position.element(instanceIndex);
        const current_position = position_storage_at.element(instanceIndex);
        const current_velocity = velocity_storage_at.element(instanceIndex);
    
        const normal = normal_at.element(instanceIndex);
    
        // NEW: Add noise so the direction in which the vertices "explode" isn’t too perfectly aligned with the normal
        const noise = mx_noise_vec3(current_position.mul(0.5).add(vec3(0.0, time, 0.0)), 1.0).mul(u_noise_amp);
    
        const distance = length(u_input_pos.sub(base_position));
        const pointer_influence = step(distance, 0.5).mul(1.5);
    
        const disorted_pos = base_position.add(noise.mul(normal.mul(pointer_influence)));
    
        // NEW: Rotate the vertices to give the animation a more chaotic feel
        disorted_pos.assign(rotate(disorted_pos, vec3(normal.mul(distance)).mul(pointer_influence)));
    
        disorted_pos.assign(mix(base_position, disorted_pos, u_input_pos_press));
    
        current_velocity.addAssign(disorted_pos.sub(current_position).mul(u_spring));
        current_position.addAssign(current_velocity);
        current_velocity.assign(current_velocity.mul(u_friction));
    
    })().compute(count);
    

    Now that the motion feels right, it’s time to tweak the material colors a bit and add some post-processing to the scene.

    We’re going to work on the emissive color — meaning it won’t be affected by lights, and it’ll always look bright and explosive. Especially once we throw some bloom on top. (Yes, bloom everything.)

    We’ll start from a base color (whichever you like), passed in as a uniform. To make sure each vertex gets a slightly different color, we’ll offset its hue a bit using values from the buffers — in this case, the velocity buffer.

    The hue function takes a color and a value to shift its hue, kind of like how offsetHSL works in THREE.Color.

    // Base emissive color
    const emissive_color = color(new THREE.Color("0000ff"));
    
    const vel_at = velocity_storage_at.toAttribute();
    const hue_rotated = vel_at.mul(Math.PI*10.0);
    
    // Multiply by the length of the velocity buffer — this means the more movement,
    // the more the vertex color will shift
    const emission_factor = length(vel_at).mul(10.0);
    
    // Assign the color to the emissive node and boost it as much as you want
    mesh.material.emissiveNode = hue(emissive_color, hue_rotated).mul(emission_factor).mul(5.0);

    Finally! Lets change scene background color and add Fog:

    scene.fog = new THREE.Fog(new THREE.Color("#41444c"),0.0,8.5);
    scene.background = scene.fog.color;

    Now, let’s spice up the scene with a bit of post-processing — one of those things that got way easier to implement thanks to TSL.

    We’re going to include three effects: ambient occlusion, bloom, and noise. I always like adding some noise to what I do — it helps break up the flatness of the pixels a bit.

    I won’t go too deep into this part — I grabbed the AO setup from the Three.js examples.

    const   composer = new THREE.PostProcessing(renderer);
    const   scene_pass = pass(scene,camera);
    
    scene_pass.setMRT(mrt({
        output:output,
        normal:normalView
    }));
    
    const   scene_color = scene_pass.getTextureNode("output");
    const   scene_depth = scene_pass.getTextureNode("depth");
    const   scene_normal = scene_pass.getTextureNode("normal");
    
    const ao_pass = ao( scene_depth, scene_normal, camera);
    ao_pass.resolutionScale = 1.0;
    
    const   ao_denoise = denoise(ao_pass.getTextureNode(), scene_depth, scene_normal, camera ).mul(scene_color);
    const   bloom_pass = bloom(ao_denoise,0.3,0.2,0.1);
    const   post_noise = (mx_noise_float(vec3(uv(),time.mul(0.1)).mul(sizes.width),0.03)).mul(1.0);
    
    composer.outputNode = ao_denoise.add(bloom_pass).add(post_noise);

    Alright, that’s it amigas — thanks so much for reading, and I hope it was useful!



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  • Beyond the Corporate Mold: How 21 TSI Sets the Future of Sports in Motion

    Beyond the Corporate Mold: How 21 TSI Sets the Future of Sports in Motion



    21 TSI isn’t your typical sports holding company. Overseeing a portfolio of brands in the sports equipment space, the team set out to break from the mold of the standard corporate website. Instead, they envisioned a digital experience that would reflect their DNA—where innovation, design, and technology converge into a rich, immersive journey.

    The result is a site that goes beyond static content, inviting users to explore through motion, interactivity, and meticulously crafted visuals. Developed through a close collaboration between type8 Studio and DEPARTMENT Maison de Création, the project pushes creative and technical boundaries to deliver a seamless, engaging experience.

    Concept & Art Direction

    The creative direction led by Paul Barbin played a crucial role in shaping the website’s identity. The design embraces a minimalist yet bold aesthetic—strictly monochromatic, anchored by a precise and structured typographic system. The layout is intentionally clean, but the experience stays dynamic thanks to well-orchestrated WebGL animations and subtle interactions.

    Grid & Style

    The definition of the grid played a fundamental role in structuring and clarifying the brand’s message. More than just a layout tool, the grid became a strategic framework—guiding content organization, enhancing readability, and ensuring visual consistency across all touchpoints.

    We chose an approach inspired by the Swiss style, also known as the International Typographic Style, celebrated for its clarity, precision, and restraint. This choice reflects our commitment to clear, direct, and functional communication, with a strong focus on user experience. The grid allows each message to be delivered with intention, striking a subtle balance between aesthetics and efficiency.

    A unique aspect of the project was the integration of AI-generated imagery. These visuals were thoughtfully curated and refined to align with the brand’s futuristic and enigmatic identity, further reinforcing the immersive nature of the website.

    Interaction & Motion Design

    The experience of 21 TSI is deeply rooted in movement. The site feels alive—constantly shifting and morphing in response to user interactions. Every detail works together to evoke a sense of fluidity:

    • WebGL animations add depth and dimension, making the site feel tactile and immersive.
    • Morphing transitions enable smooth navigation between sections, avoiding abrupt visual breaks.
    • Cursor distortion effects introduce a subtle layer of interactivity, letting users influence their journey through motion.
    • Scroll-based animations strike a careful balance between engagement and clarity, ensuring motion enhances the experience without overwhelming it.

    This dynamic approach creates a browsing experience that feels both organic and responsive—keeping users engaged without ever overwhelming them.

    Technical Implementation & Motion Design

    For this project, we chose a technology stack designed to deliver high performance and smooth interactions, all while maintaining the flexibility needed for creative exploration:

    • OGL: A lightweight alternative to Three.js, used for WebGL-powered animations and visual effects.
    • Anime.js: Handles motion design elements and precise animation timing.
    • Locomotive Scroll: Enables smooth, controlled scroll behavior throughout the site.
    • Eleventy (11ty): A static site generator that ensures fast load times and efficient content management.
    • Netlify: Provides seamless deployment and version control, keeping the development workflow agile.

    One of the key technical challenges was optimizing performance across devices while preserving the same fluid motion experience. Carefully balancing GPU-intensive WebGL elements with lightweight animations made seamless performance possible.

    Challenges & Solutions

    One of the primary challenges was ensuring that the high level of interactivity didn’t compromise usability. The team worked extensively to refine transitions so they felt natural, while keeping navigation intuitive. Balancing visual complexity with performance was equally critical—avoiding unnecessary elements while preserving a rich, engaging experience.

    Another challenge was the use of AI-generated visuals. While they introduced unique artistic possibilities, these assets required careful curation and refinement to align with the creative vision. Ensuring coherence between the AI-generated content and the designed elements was a meticulous process.

    Conclusion

    The 21 TSI website is a deep exploration of digital storytelling through design and interactivity. It captures the intersection of technology and aesthetics, offering an experience that goes well beyond a traditional corporate presence.

    The project was recognized with multiple awards, including Website of the Day on CSS Design Awards, FWA of the Day, and Awwwards, reinforcing its impact in the digital design space.

    This collaboration between type8 Studio and Paul Barbin of DEPARTMENT Maison de Création showcases how thoughtful design, innovative technology, and a strong artistic vision can come together to craft a truly immersive web experience.



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  • Designing Momentum: The Story Behind Meet Your Legend

    Designing Momentum: The Story Behind Meet Your Legend



    We partnered with Meet Your Legend to bring their groundbreaking vision to life — a mentorship platform that seamlessly blends branding, UI/UX, full-stack development, and immersive digital animation.

    Meet Your Legend isn’t just another online learning platform. It’s a bridge between generations of creatives. Focused on VFX, animation, and video game production, it connects aspiring talent — whether students, freelancers, or in-house studio professionals — with the industry’s most accomplished mentors. These are the legends behind the scenes: lead animators, FX supervisors, creative directors, and technical wizards who’ve shaped some of the biggest productions in modern entertainment.

    Our goal? To create a vivid digital identity and interactive platform that captures three core qualities:

    • The energy of creativity
    • The precision of industry-level expertise
    • The dynamism of motion graphics and storytelling

    At the heart of everything was a single driving idea: movement. Not just visual movement — but career momentum, the transfer of knowledge, and the emotional propulsion behind creativity itself.

    We built the brand identity around the letter “M” — stylized with an elongated tail that represents momentum, legacy, and forward motion. This tail forms a graphic throughline across the platform. Mentor names, modules, and animations plug into it, creating a modular and adaptable system that evolves with the content and contributors.

    From the visual system to the narrative structure, we wanted every interaction to feel alive — dynamic, immersive, and unapologetically aspirational.

    The Concept

    The site’s architecture is built around a narrative arc, not just a navigation system.

    Users aren’t dropped into a menu or a generic homepage. Instead, they’re invited into a story. From the moment the site loads, there’s a sense of atmosphere and anticipation — an introduction to the platform’s mission, mood, and voice before unveiling the core offering: the mentors themselves, or as the platform calls them, “The Legends.”

    Each element of the experience is structured with intention. We carefully designed the content flow to evoke a sense of reverence, curiosity, and inspiration. Think of it as a cinematic trailer for a mentorship journey.

    We weren’t just explaining the brand — we were immersing visitors in it.

    Typography & Color System

    The typography system plays a crucial role in reinforcing the platform’s dual personality: technical sophistication meets expressive creativity.

    We paired two distinct sans-serif fonts:

    – A light-weight, technical font to convey structure, clarity, and approachability — ideal for body text and interface elements

    – A bold, expressive typeface that commands attention — perfect for mentor names, quotes, calls to action, and narrative highlights

    The contrast between these two fonts helps create rhythm, pacing, and emotional depth across the experience.

    The color palette is deliberately cinematic and memorable:

    • Flash orange signals energy, creative fire, and boldness. It’s the spark — the invitation to engage.
    • A range of neutrals — beige, brown, and warm grays — offer a sense of balance, maturity, and professionalism. These tones ground the experience and create contrast for vibrant elements.

    Together, the system is both modern and timeless — a tribute to craft, not trend.

    Technology Stack

    We brought the platform to life with a modern and modular tech stack designed for both performance and storytelling:

    • WordPress (headless CMS) for scalable, easy-to-manage content that supports a dynamic editorial workflow
    • GSAP (GreenSock Animation Platform) for fluid, timeline-based animations across scroll and interactions
    • Three.js / WebGL for high-performance visual effects, shaders, and real-time graphical experiences
    • Custom booking system powered by Make, Google Calendar, Whereby, and Stripe — enabling seamless scheduling, video sessions, and payments

    This stack allowed us to deliver a responsive, cinematic experience without compromising speed or maintainability.

    Loader Experience

    Even the loading screen is part of the story.

    We designed a cinematic prelude using the “M” tail as a narrative element. This loader animation doesn’t just fill time — it sets the stage. Meanwhile, key phrases from the creative world — terms like motion 2D & 3D, vfx, cgi, and motion capture — animate in and out of view, building excitement and immersing users in the language of the craft.

    It’s a sensory preview of what’s to come, priming the visitor for an experience rooted in industry and artistry.

    Title Reveal Effects

    Typography becomes motion.

    To bring the brand’s kinetic DNA to life, we implemented a custom mask-reveal effect for major headlines. Each title glides into view with trailing motion, echoing the flowing “M” mark. This creates a feeling of elegance, control, and continuity — like a shot dissolving in a film edit.

    These transitions do more than delight — they reinforce the platform’s identity, delivering brand through movement.

    Menu Interaction

    We didn’t want the menu to feel like a utility. We wanted it to feel like a scene transition.

    The menu unfolds within the iconic M-shape — its structure serving as both interface and metaphor. As users open it, they reveal layers: content categories, mentor profiles, and stories. Every motion is deliberate, reminiscent of opening a timeline in an editing suite or peeling back layers in a 3D model.

    It’s tactile, immersive, and true to the world the platform celebrates.

    Gradient & WebGL Shader

    A major visual motif was the idea of “burning film” — inspired by analog processes but expressed through modern code.

    To bring this to life, we created a custom WebGL shader, incorporating a reactive orange gradient from the brand palette. As users move their mouse or scroll, the shader responds in real-time, adding a subtle but powerful VFX-style distortion to the screen.

    This isn’t just decoration. It’s a living texture — a symbol of the heat, friction, and passion that fuel creative careers.

    Scroll-Based Storytelling

    The homepage isn’t static. It’s a stage for narrative progression.

    We designed the flow as a scroll-driven experience where content and story unfold in sync. From an opening slider that introduces the brand, to immersive sections that highlight individual mentors and their work, each moment is carefully choreographed.

    Users aren’t just reading — they’re experiencing a sequence, like scenes in a movie or levels in a game. It’s structured, emotional, and deeply human.

    Who We Are

    We are a digital studio at the intersection of design, storytelling, and interaction. Our approach is rooted in concept and craft. We build digital experiences that are not only visually compelling but emotionally resonant.

    From bold brands to immersive websites, we design with movement in mind — movement of pixels, of emotion, and of purpose.

    Because we believe great design doesn’t just look good — it moves you.



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  • Making Animations Smarter with Data Binding: Creating a Dynamic Gold Calculator in Rive

    Making Animations Smarter with Data Binding: Creating a Dynamic Gold Calculator in Rive


    Designing visuals that respond to real-time data or user input usually means switching between multiple tools — one for animation, another for logic, and yet another for implementation. This back-and-forth can slow down iteration, make small changes cumbersome, and create a disconnect between design and behavior.

    If you’ve spent any time with Rive, you know it’s built to close that gap. It lets you design, animate, and add interaction all in one place — and with features like state machines and data binding, you can make your animations respond directly to variables and user actions.

    To demonstrate how we use data binding in Rive, we built a small interactive project — a gold calculator. The task was simple: calculate the price of 5g and 10g gold bars, from 1 to 6 bars, using external data for the current gold price per gram. The gold price can be dynamic, typically coming from market data, but in this case we used a manually set value.

    Let’s break down how the calculator is built, step by step, starting with the layout and structure of the file.

    1. File Structure

    The layout is built for mobile, using a 440×900 px artboard. It’s structured around three layout groups:

    1. Title with gold price per gram
    2. Controls for choosing gold bar amount and weight
    3. Gold bar illustration

    The title section includes a text layout made of two text runs: one holds static text like the label, while the other is dynamic and connected to external data using data binding. This allows the gold price to update in real time when the data changes.

    In the controls section, we added plus and minus buttons to set the number of gold bars. These are simple layouts with icons inside. Below them, there are two buttons to switch between 5g and 10g options. They’re styled as rounded layouts with text inside.

    In the state machine, two timelines define the tab states: one for when the 10g button is active, using a solid black background and white text, and another for 5g, with reversed styles. Switching between these two updates the active tab visually.

    The total price section also uses two text runs — one for the currency icon and one for the total value. This value changes based on the selected weight and quantity, and is driven by data binding.

    2. Gold Bar Illustration

    The illustration is built using a nested artboard with a single vector gold bar. Inside the calculator layout, we duplicated this artboard to show anywhere from 1 to 6 bars depending on the user’s selection.

    Since there are two weight options, we made the gold bar resize visually — wider for 10g and narrower for 5g. To do that, we used N-Slices so that the edges stay intact and only the middle stretches. The sliced group sits inside a fixed-size layout, and the artboard is set to Hug its contents, which lets it resize automatically.

    Created two timelines to control bar size: one where the width is 88px for 10g, and another at 74px for 5g. The switch between them is controlled by a number variable called Size-gram gold, where 5g is represented by 0 and 10g by 1 with 1 set as the default value.

    In the state machine, we connected this variable to the two timelines (the 10g timeline set as the default)— when it’s set to 0, the layout switches to 5g; when it’s 1, it switches to 10g. This makes the size update based on user selection without any manual switching. To keep the transition smooth, a 150ms animation duration is added.

    3. Visualizing 1–6 Gold Bars

    To show different quantities of gold bars in the main calculator layout, we created a tiered structure using three stacked layout groups with a vertical gap -137. Each tier is offset vertically to form a simple pyramid arrangement, with everything positioned in the bottom-left corner of the screen.

    The first tier contains three duplicated nested artboards of a single gold bar. Each of these is wrapped in a Hug layout, which allows them to resize correctly based on the weight. The second tier includes two gold bars and an empty layout. This empty layout is used for spacing — it creates a visual shift when we need to display exactly four bars. The top tier has just one gold bar centered.

    All three tiers are bottom-centered, which keeps the pyramid shape consistent as bars are added or removed.

    To control how many bars are visible, we created 6 timelines in Animate mode — one for each quantity from 1 to 6. To hide or show each gold bar, two techniques are used: adjusting the opacity of the nested artboard (100% to show, 0% to hide) and modifying the layout that wraps it. When a bar is hidden, the layout is set to a fixed width of 0px; when visible, it uses Hug settings to restore its size automatically.

    Each timeline has its own combination of these settings depending on which bars should appear. For example, in the timeline with 4 bars, we needed to prevent the fourth bar from jumping to the center of the row. To keep it properly spaced, we assigned a fixed width of 80px to the empty layout used for shifting. On the other timelines, that same layout is hidden by setting its width to 0px.

    This system makes it easy to switch between quantities while preserving the visual structure.

    4. State Machine and Data Binding Setup

    With the visuals and layouts ready, we moved on to setting up the logic with data binding and state transitions.

    4.1 External Gold Price

    First, we created a number variable called Gold price gram. This value can be updated externally — for example, connected to a trading database — so the calculator always shows the current market price of gold. In our case, we used a static value of 151.75, which can also be updated manually by the user.

    To display this in the UI, we bound Text Run 2 in the title layout to this variable. A converter in the Strings tab called “Convert to String Price” is then created and applied to that text run. This converter formats the number correctly for display and will be reused later.

    4.2 Gold Bar Size Control

    We already had a number variable called Size-gram gold, which controls the weight of the gold bar used in the nested artboard illustration.

    In the Listeners panel, two listeners are created. The first is set to target the 5g tab, uses a Pointer Down action, and assigns Size-gram gold = 0. The second targets the 10g tab, also with a Pointer Down action, and assigns Size-gram gold = 1.

    Next, two timelines (one for each tab state) are brought into the state machine. The 10g timeline is used as the default state, with transitions added: one from 10g to 5g when Size-gram gold = 0, and one back to 10g when Size-gram gold = 1. Each transition has a duration of 100ms to keep the switching smooth.

    4.3 Gold Bar Quantity

    Next, added another number variable, Quantity-gold, to track the number of selected bars. The default value is set to 1. In the Converters under Numeric, two “Calculate” converters are created — one that adds “+1” and one that subtracts “-1”.

    In the Listeners panel, the plus button is assigned an action: Quantity-gold = Quantity-gold, using the “+1” converter. This way, clicking the plus button increases the count by 1. The same is done for the minus button, assigning Quantity-gold = Quantity-gold and attaching the “-1” converter. Clicking the minus button decreases the count by 1.

    Inside the state machine, six timelines are connected to represent bar counts from 1 to 6. Each transition uses the Quantity-gold value to trigger the correct timeline.

    By default, the plus button would keep increasing the value endlessly, but the goal is to limit the max to six bars. On the timeline where six gold bars are active, the plus button is disabled by setting its click area scale to 0 and lowering its opacity to create a “disabled” visual state. On all other timelines, those properties are returned to their active values.

    The same logic is applied to the minus button to prevent values lower than one. On the timeline with one bar, the button is disabled, and on all others, it returns to its active state.

    Almost there!

    4.4 Total Price Logic

    For the 5g bar price, we calculated it using this formula:

    Total Price = Gold price gram + Quantity-gold * 5

    In Converters → Numeric, a Formula converter was created and named Total Price 5g Formula to calculate the total price. In the example, it looked like:

    {{View Model Price/Gold price gram}}*{{View Model Price/Quanity-gold}}*5.0

    Since we needed to display this number as text, the Total Price number variable was also converted into a string. For that, we used an existing converter called “Convert to String Price.”

    To use both converters together, a Group of converters was created and named Total Price 5g Group, which included the Total Price 5g Formula converter followed by the Convert to String Price converter.

    Then, the text for the price variable was data bound by adding the Total Price variable in the Property field and selecting Total Price 5g Group in the Convert field.

    To handle the 10g case, which is double the price, two options are explored — either creating a new converter that multiplies by 10 or multiplying the existing result by 2.

    Eventually, a second text element is added along with a new group of converters specifically for 10g. This includes a new formula:

    Total Price = Gold price gram + Quantity-gold * 10

    A formula converter and a group with both that formula and the string converter are created and named “Total Price 10g Group.”

    Using timelines where the 5g and 10g buttons are in their active states, we adjusted the transparency of the text elements. This way, the total price connected to the 5g converters group is visible when the 5g button is selected, and the price from the 10g converters group appears when the 10g button is selected.

    It works perfectly.

    After this setup, the Gold price gram variable can be connected to live external data, allowing the gold price in the calculator to reflect the current market value in real time.

    Wrapping Up

    This gold calculator project is a simple example, but it shows how data binding in Rive can be used to connect visual design with real-time logic — without needing to jump between separate tools or write custom code. By combining state machines, variables, and converters, you can build interfaces that are not only animated but also smart and responsive.

    Whether you’re working on a product UI, a prototype, or a standalone interactive graphic, Rive gives you a way to bring together motion and behavior in a single space. If you’re already experimenting with Rive, data binding opens up a whole new layer of possibilities to explore.



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  • Hello Robo’s Rebrand: Distilling Complex Tech Into Interfaces Anyone Can Use

    Hello Robo’s Rebrand: Distilling Complex Tech Into Interfaces Anyone Can Use



    Hello Robo is a New York based digital product design agency that turns complex technology into intuitive, usable interfaces. We work with forward-thinking teams to create market-ready digital products that are easy to use and hard to ignore.

    Earlier this year, the design team at Hello Robo decided to update our brand and website site to speak the language of our current clients — AI, space, aviation, and robotics — after realizing the old, “startup-y” look sold us short.

    The new design and copy showcase our ability to tame complex systems with clear thinking and precise interfaces, signaling to deep-tech teams that we understand their world and can make their products make sense.

    We wanted our site to do only 2 things but well:

    • Have the design language to appeal to our existing and new target clients
    • Most of our work is not allowed to be shared. Our second goal was to let design, motion and interaction give our visitors a sense of what we are great at.

    Research

    Before we sketching a single screen, our design lead on this project Daria Krauskopf, did what we do before we starting any project at Hello Robo. She decided to talk with our customers. We asked every existing client two questions:

    1. What do you think we do?
    2. What’s one thing you think we’re absolutely great at?

    The replies were almost word-for-word:

    “You do excellent product design—not crazy, unachievable vision design, and not MVPs either. You’re absolutely great at taking complex, technical systems and turning them into beautiful interfaces that our users actually love to use.”

    That became the foundation for how we approached the new site.

    Design & Art Direction

    We love robots—and robotics inspires everything we do. For the new site, we moved away from soft colors and rounded corners and leaned into a more hi-tech visual language: dark backgrounds, thin lines, sharper shapes. Daria wanted the design to feel more precise, more engineered—something that would resonate with the kind of clients we work with in aviation, robotics, and defense. Every visual choice was about clarity, control, and intention.

    A few boards from Hello Robo new brand, reimagined by our design Hanna Shpak

    Animation and Interaction

    All of our interface work is rooted in interaction and motion—because real-world products aren’t static. They always change and respond to users input and actions. We wanted the site to reflect that. Not with flashy effects or distracting transitions, but with just enough subtle animation to guide, respond, and feel alive. Everything moves with purpose—quiet, responsive, and smooth.

    Case Studies

    We didn’t want our case studies to be just a scroll of pretty images. Each one is built as a story—showing not just what we made, but how it worked and why it mattered. We walk through key features, the thinking behind UX decisions, and the problems we solved for each client. It’s less about showing off visuals, and more about showing how we think.

    Final words

    In the end, we got what we set out to build: a clearer visual and verbal language that reflects who we are and who we work with. The site feels more aligned with the complexity and ambition of our clients—and with the way we approach design: thoughtful, precise, and grounded in real product work. It’s not trying to impress with noise. It’s built to resonate with the kind of teams who care about clarity, systems, and getting things right.

    Credits

    Web designer: Daria Krauskopf

    Brand design: Hanna Shpak

    UX design: Vlad Duhnov

    Webflow development: Miron Umantsev

    Design director: Shakir Dzheyranov



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