//Case study / Portfolio

//Case study / Portfolio

Portfolio

Portfolio

Portfolio

Designed, animated and built without a client brief

SCOPE

Brand identity, UI/UX, motion design

ROLE

Sole designer, built solo in Framer

SPECIFICS

No client, no brief

YEAR

2026

PERSONAL BRAND

PERSONAL BRAND

PERSONAL BRAND

PORTFOLIO WEBSITE

PORTFOLIO WEBSITE

PORTFOLIO WEBSITE

Four years designing insurance products taught me real discipline - accessibility rules, compliance copy, a theming system that had to hold across a dozen partner brands at once. I love that kind of problem-solving, and I wanted to pair it with a different register: no client, no partner sign-off, just type, colour and motion taken further than a regulated product allows. It's my own take on the interaction-led, motion-heavy sites I admire - designed from scratch in Figma, then built and animated by hand in Framer.

Four years designing insurance products taught me real discipline - accessibility rules, compliance copy, a theming system that had to hold across a dozen partner brands at once. I love that kind of problem-solving, and I wanted to pair it with a different register: no client, no partner sign-off, just type, colour and motion taken further than a regulated product allows. It's my own take on the interaction-led, motion-heavy sites I admire - designed from scratch in Figma, then built and animated by hand in Framer.

TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. · TYPE. COLOUR. MOTION. THE FUN STUFF. ·

A chance to follow instinct rather than a brief - to build the kind of interface I find myself drawn to, not the one a partner needs.

Curiosity

Time to obsess over details that usually get traded off - a curve, a timing, a pixel of tracking - without a deadline forcing a compromise.

Craft

Room to try things that wouldn't survive a stakeholder review, see what breaks, and keep only what earns its place.

Play

A chance to follow instinct rather than a brief - to build the kind of interface I find myself drawn to, not the one a partner needs.

Curiosity

Time to obsess over details that usually get traded off - a curve, a timing, a pixel of tracking - without a deadline forcing a compromise.

Craft

Room to try things that wouldn't survive a stakeholder review, see what breaks, and keep only what earns its place.

Play

Four years of regulated, white-label products means every idea gets filtered through accessibility rules, legal copy and a dozen brand configurations before it ships. Real problem-solving - just in a different register to what's here.

First move here: pick a direction, not a brief. With no stakeholder or user panel to test it against, the hardest part was being my own toughest critic - refining a single Figma concept until it earned its place.

Built from a blank page.

Moodboard, type pairing, a tonal colour system, motion studies - then straight into Framer, refined by eye through every breakpoint.

Moodboard, type pairing, a tonal colour system, motion studies - then straight into Framer, refined by eye through every breakpoint.

PROCESS

Designed first, in Figma

Every layout, type pairing and colour decision worked out in Figma, refined against my own eye before a line of motion went in.

TYPE

A considered type pairing

Archivo carries the big moments at extreme weights and scale; Inter holds the body copy steady - two fonts doing distinct jobs.

COLOUR

Tonal, not flat

The accent red runs across a range of shades rather than one flat value, echoed by the rest of the palette.

MOTION

A modern, considered feel

Motion that responds to how you move through the page - restrained enough to stay usable, current enough to feel alive.

DiscoveryStarting from the logic, not the screen

Before any screen existed, there was market research and a real discovery phase: understanding how parametric weather cover could work, then defining the product logic itself.

TrustDesigning for trust in an ambiguous domain

Weather cover isn't a familiar kind of insurance, so the design had to teach as it went - trading technical jargon for plain, self-explanatory copy people could trust before they bought.

ValidationTesting without direct users, again

No direct line to the end customer meant leaning on the people closest to them instead - support teams hearing the real questions, and partner reps speaking for their customers.

Edge casesDesigning for the awkward paths

One case mattered most: a payout with nowhere to go. I designed a flow so a missing payout detail becomes a one-time step, not a dead end.

Trade-offs, not decoration.

Decision
Decision

A type pairing, pushed further than usual

Unlike any white-label system, built to reconfigure across a dozen partner brands, this is one fixed design language - so Archivo and Inter could be pushed to their extremes without needing to hold up under anyone else's colours or content.

Trade-off
Trade-off

Spectacle vs. load time

Every scroll-triggered image and shader effect costs performance. I kept what earned its weight and cut the rest - this is a portfolio, not a product, and if it's slow it's failed at the one thing it's for.

Honest call
Honest call

Bold, but still accessible

It would have been easy to let a personal project loosen its standards. I didn't - every animated section is checked against WCAG contrast and respects reduced-motion preferences. Where a treatment couldn't clear that bar, I reworked it rather than let it slide.

No Name Creative

Olya Mitso

© 2026 No Name Creative.