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- NewDesk 95A pixel-perfect Windows 95 desktop reimagined as a portfolio hero. Boots through a brief BIOS sequence into a teal #008080 wallpaper with chunky 3-D bezels, navy title bars, MS-Sans-Serif-style typography, and the unmistakable dotted-outline window drag of Win 3.1/95 — only a 1-px-dashed marquee tracks the cursor; the window snaps to that position on release. Ten draggable project files (NOIR_LEATHER.EXE, KESTREL_FW.EXE…) sit along the desktop and open into a Win95-chrome project viewer with hero photo and a Challenge / Direction / Outcome brief. A system column on the right carries My Computer, Recycle Bin, Notepad (a working textarea with the designer's CV), Calculator (a real working standard-mode calc), and an Inbox icon. The bottom taskbar carries a Start button with a 16-px multicoloured flag, a click-through Start menu (Programs / Documents / Settings / Find / Help / Run / Shut Down…), one button per open window with pressed/raised states, and a live clock. Z-order, focus, and minimise all match the original. Mobile gracefully falls back to a static "Welcome to Desk 95" tile under 1024 px.
- NewPantheonA full-bleed gallery that turns. Each master floats at centre inside a circular liquid-glass medallion — a real Snell's-law lens that refracts their masterpiece behind it at the rim — ringed by a gilt laurel wreath, their name set large in Playfair below with lifespan, movement, and the work on show. The rest of the cast curve away to the sides, smaller and drained to monochrome. Wheel over the stage, drag, tap the chevrons or pips, press the arrow keys — or simply wait — and the ring revolves: the next master glides to centre and blooms back into colour, the laurel transfers to them, the painting cross-fades to their work, and the name re-sets with a soft blurred rise. Seven public-domain icons — David's Napoleon Crossing the Alps, the Mona Lisa, The Starry Night, The Great Wave, The Kiss, the Birth of Venus, the Night Watch — each shown with the artist's own portrait. One displacement map, baked once for the medallion box and shared by every lens via a single SVG filter, keeps the optics physically real on Chromium; Safari and Firefox fall back to a frosted rim. A patient auto-advance pauses on interaction and resumes on idle; theme-aware museum staging (near-black in dark, warm white-cube in light); honours prefers-reduced-motion.
- NewBenchmarkAn Apple-Keynote performance slide turned into a living section, split roughly 38 / 62 horizontally — figure on the left, claims on the right. On the left, a giant Poppins figure (80%, 5×, 2.4M, 99.9%) each number carries its own static radial gradient — varied hues over one shared structure (a bright origin pushed below the glyphs so no hot dot shows) — clipped to the digits, under a small mono 'source' tag. On the right, a vertical column of one-line SaaS claims sits under a focus lens: only size and colour change with distance — only the single centred claim is dark (#010102) and large, every other claim a flat grey (#636365); size still falls off smoothly with distance, with no blur and a constant font weight. The list steps one claim at a time with an expo.inOut snap, dwelling while each claim sits aligned with the figure, then snapping to the next — an endless, snappy auto-cycle; whichever claim owns the centre drives the figure, which rebuilds with a scale + y snap (no blur, expo.out) as the number changes. A wheel notch or touch drag steps it manually and pauses the cycle; after a short idle the auto-cycle resumes — gated to when the cursor is over the section so the page scrolls normally elsewhere. One rAF clock owns the per-row transforms and the gradient while a GSAP expo.inOut tween owns the stepped position; React only re-renders the one discrete bit — the focused claim, which the figure renders straight off, so number and claim can never drift apart. A fixed light palette (#F2F2F4), a screen-reader list of the real stats, a live tuning panel (timing, sizes, lens) on ?tune=1, and prefers-reduced-motion that holds each claim still while keeping manual stepping.
- NewApertureA curated editorial scatter of photographs — frames at deliberately varied sizes (some large, some small) separated by airy, uneven negative space, with several deliberately bleeding past the left and right edges — laid out as a hand-placed tile that loops vertically (a single alternating, edge-bleeding column on mobile). It holds its horizontal position — nothing slides sideways; instead the whole view drifts slowly and continuously upward on its own, and you can scroll up or down (wheel or drag) on top of that, with the whole tile looping forever. As you scroll, the wall bows GENTLY around a horizontal focal line like a soft lens: scrolling DOWN bends it slightly convex (the centre eases toward you while the top and bottom frames tilt and recede), scrolling UP bends it concave (the rim leans toward you). The curve is driven by scroll velocity and smoothed so it ramps in and relaxes back to flat — it never folds into a hard barrel. On top of the bow, the whole wall balloons a touch larger as you scroll down — the gaps widening and the outer frames spilling further past the screen edges — and eases smaller as you scroll up. Click any frame, wherever it sits, and it zooms from its exact rectangle to fill the screen — its title, location and year, and the camera it was shot on (body, lens, focal length, aperture, shutter, ISO) fading in over a cinematic scrim; the close button, a click anywhere, or Escape shrinks it straight back into its exact place in the wall. A single raw requestAnimationFrame loop owns the wall — the auto-scroll, the velocity-eased curl, the looping vertical wrap, the cylinder projection and a live z-sorted click hit-test — while GSAP drives only the entrance bloom and the zoom. The section never pins the page; it captures the wheel itself. Theme-aware chrome, a flat reduced-motion fallback, and full teardown on unmount. Eighteen frames ship in from the in-house set with believable shot data; swap your own by editing photos.ts.