I build digital experiences where art direction, engineering and motion arrive as one thing.
Web, brand and film, from the same pair of hands.
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Fig. 01 — Tarik Maksumić, Europe · Working worldwide
I don't hand work off between disciplines. The same person writes the code, sets the type, cuts the film and holds the art direction — which is why the pieces actually fit together.
My work runs across web and creative development, UI/UX, branding, graphic design, motion and video editing. Most briefs need more than one of those at once, and that overlap is where the interesting decisions live: a layout that only works because of how it moves, an identity designed knowing how it would be coded, a film cut to the same rhythm as the site it sits on.
Client projects are also delivered through my digital studio, MXA Digital. Either way, you work with me directly, from the first sketch to the deployed build.
Studios, local businesses and some of the largest Balkan roleplay communities. Every project below is live — open it and judge the craft directly.
Brand Identity · Web Design · Development · Creative Direction
My own studio, and the site that presents it. An independent practice combining strategy, design, engineering and motion — designed and built in-house.
Booking-focused site in three languages for private parking at Sarajevo Airport.
Identity and site for a studio pairing web development with AI automation.
08 listed — 03 in full
Client work is delivered through MXA Digital, so the studio site carries the longer list alongside the process and the pricing. Projects still under embargo or in production are not listed in either place.
Six disciplines that are usually sold separately. Used together, they are normally the difference between a project that works and one that merely ships.
Front-ends that survive contact with real traffic
Production front-ends built with modern React. Typed, accessible, measured against real performance budgets, and written so the next person to open the repository can read it.
Layouts with a point of view
Interfaces and layouts built on typographic systems, grids and hierarchy that hold up at every size — and a grid strict enough that breaking it means something.
Story first, then rhythm
Editing, pacing and colour. Where a cut lands is the whole decision; everything after it is in service of the story, and it is cut for the platform it will actually be watched on.
From a favicon to a billboard
Identities that scale in both directions without falling apart. Marks, type systems, colour, the rules that hold them together and the collateral built on top.
Movement as language, not decoration
Title sequences, animated identities and interface motion that carries meaning. If a movement cannot say what it is for, it does not ship.
One idea, held across every surface
Holding the concept together so the site, the film and the identity read as one decision rather than three vendors who were briefed separately.
Engineering is not the stage after design — it is where most of the design decisions are actually settled. This is the sequence, and every example is from this site.
What is the one thing this has to do?
Before a component exists there is a single decision the whole build answers to. Here it was width: Archivo's variable width axis, set very condensed and very large against very small metadata. Contrast of width rather than contrast of colour. Every later choice either serves that or gets cut.
One idea, held for the whole build
What are the rules, and where do they live?
One gutter token drives the entire grid. One rule colour, mixed from currentColor, is why the cream section needed no light-mode variant — it inherits. Four easing curves and five durations are declared once and read by both the stylesheet and the animation layer, so a CSS transition and a scripted tween can never drift apart.
Tokens declared once, read by CSS and JS
How should it feel under the hand?
Motion is typed into four categories — scroll-driven, viewport-triggered, ambient and interaction-driven — and anything that doesn't fit one of them doesn't ship. Pinning is position: sticky and a transform, never a library, so the browser owns the pin and it survives resizing and back-forward restoration without re-measuring.
Four motion categories, no pinning library
Does it hold up when it's wrong?
The interesting work is the failure cases. A masked line starts fully outside its own clipping box, so an intersection observer never reports it visible — the observer has to watch the heading instead. Reduced motion changes animation values rather than removing them, because dropping the props after hydration strands the element on styles it has already been given.
Reduced motion changes values, never props
What did it cost?
A previous version of this site carried a 3D layer that roughly doubled the payload to render decoration. It was deleted. What's left animates transform, opacity and clip-path only, ambient loops stop when they leave the viewport, and the heaviest dependency loads on demand rather than on arrival. Performance is a design constraint, not a cleanup task.
3D removed — payload cut by roughly half
One rule sets every headline on this site flush to its column, at any width from 320 pixels up. No breakpoints, no magic numbers — the string's own measured width does the work.
Tooling — supporting, not the argument
Identities, logotypes and visual systems for studios, local businesses and online communities. Hierarchy first, decoration last, and a grid strict enough to break on purpose.
Print collateral, campaign artwork and editorial layouts are shared directly — say what kind of thing you're looking at and I'll send the relevant work.
Ask to see more design workEditing, motion graphics and grading are part of the same practice as the code and the type. Selected film work isn't published here yet — the reel goes out on request.
What you leave outside the edge does the work.
Where one shot ends is the whole decision.
Rhythm is meaning. Fast is not the same as urgent.
Colour sets the temperature before a word is heard.
Everything above exists to serve this or it is cut.
Cut in Premiere Pro and After Effects, graded in DaVinci Resolve, delivered in every ratio the platform needs.
Request the reelTake one, or take the set. The projects worth remembering are usually the ones that needed several at once.
Sites where the design only works because of how it moves — scroll choreography, interaction systems and typography that behaves. Designed and coded by the same person, so nothing is lost in handover.
Marketing sites, portfolios and product front-ends in Next.js. Accessible markup, real performance budgets, and a codebase the next person can read.
The mark, the type system, the colour and the rules that keep it consistent everywhere it appears — from a favicon to a billboard.
Posters, editorial layouts, social systems and campaign artwork with a real typographic point of view rather than a template and a stock photo.
From raw footage to finished cut — structure, pacing, sound and colour, delivered in every ratio the platform actually needs.
Animated identities, title sequences and interface motion that make a brand feel alive rather than merely animated.
One person, one thread, no handovers. Six stages, each with something real at the end of it.
What does the thing actually have to do, and for whom? Audience, competition, constraints, and the one idea worth building everything else around.
A brief worth buildingScope agreed in writing before anything is designed. What is in, what is explicitly out, what the thing has to be able to say on its first screen.
Scope & structureArt direction before pixels. Typography, colour, rhythm and reference, settled in one sitting so every decision after it has something to answer to.
Art directionLayouts, identity and interface designed to the grid, at every breakpoint, with motion planned as part of the composition rather than added at the end.
Designed systemClean, typed, component-driven code. Accessible markup, real performance budgets, and animation that runs on the compositor instead of the main thread.
Working, tested buildTesting, optimisation and deployment — then the assets, the documentation and the handover you need to run it without me.
Live, and yours to runTell me what you're making and what it has to do. The rest we can work out together.