Web design.

The design starts with a draft you assemble yourself

The most expensive part of bad design is the misunderstanding at the start. The client says "modern and clean", the designer imagines something of their own, the first version misses, and weeks go into walking it back. A paper sketch is little help here, because paper shows neither colors, nor type, nor how the site looks on a phone.

That is why our first step is not a meeting but a free interactive draft you put together yourself, in the browser, in about ten minutes. You pick the type of site, enter your name and industry, arrange the pages in the header and the sections of the home page, change their order, choose colors or let the tool suggest them, and try a style: minimalist, elegant, playful or corporate. The sketch draws itself live, shows both the desktop and the phone view, and clicking through the menu opens a demo of every page you selected.

When you send us the draft, we do not receive a description of the site you want but its first rough version: which sections, in what order, in which colors and in what tone. The conversation about design starts from something visible, both sides look at the same thing, and the quote we return is based on the real scope, not on an assumption.

The design is reviewed in the browser, at a test URL

An image of a design is a promise the site does not have to keep. A static preview, in a PDF or a picture, does not show how the menu opens on a phone, what happens to a headline on a narrow screen, how much the page shifts while it loads, or what a section looks like once there is twice as much text as in the sample. All of that shows only when the design lives in the browser.

That is why we do not send the proposed look as an image by email; we put it on a test URL: you open it on your own phone and your own computer, scroll, click through the menu and comment on exactly what your visitors will get. Changes land on the same URL, so each version is compared with the previous one instead of being described from memory. And because the whole review happens in the browser, it works the same from any country and any time zone; the collaboration is fully remote.

We use the same procedure when a site already exists and its look is the main problem: that is a job for a website redesign, where the new look is built alongside the old one at a test URL, and the site's Google positions are preserved deliberately.

Typography, colors and spacing come from your brand, not from a template

A purchased theme is recognized at first glance, and that is its biggest cost: a site that looks like thousands of others says the company is one of a thousand. We do not buy templates and we do not rework them. If you have a brand book, it is followed to the letter: colors, type and the rules for using the logo are carried onto the site without improvisation. If there is only a logo, we derive the palette and a typography proposal from it and from the materials you already use, and submit them for approval before the first page is drawn.

Typography is half of how a site looks, and it is chosen by criteria that are not visible at first: whether the font actually contains every character and diacritic your languages need, drawn by the type designer rather than substituted afterwards; whether it carries true bold weights instead of artificial thickening in the browser; and whether a properly drawn version exists for a second script, such as Cyrillic, if your brand communicates in one. With the font comes a scale: heading and body sizes stay in a constant ratio, a line of text keeps a length that reads without strain, and the spacing between sections follows the same rhythm on every page.

Colors work only once they are given roles: one accent color reserved for actions, the call and the form submit; enough contrast for the text to read in sunlight and on a cheap screen; and enough air around the content for the page to feel composed without a single ornament. Buttons, forms, cards and headings are drawn once, as a system, so the whole site speaks one language instead of every page being a design of its own.

Mobile first, and speed is part of the design

On most sites we build, the larger share of visits comes from phones, so the design is drawn for the small screen first and only then widened to the large one. That changes decisions from the first sketch: what fits on the first screen and whether it shows what you do, where the call button sits so a thumb reaches it without shifting the hand, how large the form fields are so they can be filled without zooming, and what gets left out, because on a small screen there is no room for ornament.

Speed is usually treated as technical work that comes after design, yet most of a site's speed is decided precisely in the design. A hero photograph of several megabytes, a font that flashes and then reshapes the text, a banner that loads last and pushes the content down: these are all design decisions, and Google measures them as page speed and stability and ranks by them. So images get their space reserved in advance so the content does not shift, fonts are trimmed to the weights actually used, and effects stay within what a mid-range phone carries without stutter.

The result is not proven by impressions but by public measuring tools: the site you are reading right now was designed by the same rules, so you can measure it yourself.

The portfolio as proof: three projects, three different looks

Whether an agency truly designs from scratch or sells one design in several colors is easiest to check by comparing projects that have nothing in common.

• Planika, the web shop of a Serbian footwear manufacturer with a chain of over 30 physical stores: the look is led by product photography and seasonal campaigns, so the design steps back and lets the shoes do the selling.
• Certiwa Portal, a client portal for managing ISO certification, in Swedish: there are no photographs there, the design is the arrangement of information, so the status of every document and the progress towards the audit read at a glance. The portal continues the visual identity of the presentation site we had built earlier for the same client, and it is publicly available as a demo.
• The Aeronautical Union of Serbia, the website of a national sports federation, entirely in Cyrillic: a competition calendar, results by season and documents for several disciplines call for the look of an institution, orderly and clear, not the look of a campaign.

What these projects share is nothing you can see, but what sits underneath: clear structure, speed and the shortest path to whatever the visitor came for. That is the difference between custom design and a template: a template is the same on the outside, and our sites are the same on the inside.

Where design sits in the price of a website

With us, web design is not an item added to the invoice: it is included in the build price and is not charged separately. A site that presents a company is a business website by type and starts from €500, a corporate scope with more content from €800, and all prices by project type, with a list of what each one includes, are on the pricing page.

In practice, three things move the scope of the design, and with it the price of the site:

• The number of distinct page types. The home page, a service page, a project page and the contact page are four different layouts; every new page type is new design work, while ten pages of the same type are not.
• The material the design receives. Professional photography carries a page on its own; when there is none, the design compensates with graphics, illustration or typography, and that is more work.
• The number of languages and scripts. The same layout has to survive the longer words of another language, and a second script if the site uses one, so the composition is checked for every version.

The fastest route to a concrete figure: send us, through the contact form, two or three sites whose look you like, with one sentence about what you do. We return a design direction and a quote with a price and a deadline within 24 hours.