The best designer portfolio websites built in Framer

Project cards have three tiers of corner rounding — 20px on mobile, 30px tablet, 40px desktop — a detail you feel before you notice it. Images scale to 1.03× on hover via CSS transform, restrained enough to read as responsive rather than animated. The grid steps from single column to two to three as space allows, with generous gaps that stop it feeling dense even at three columns.

A marquee of client logos scrolls at 80 seconds — slow enough to be ambient. Page transitions fade with a 12px upward shift. The contact section has a live chat component embedded directly in it, which means the first test of what he builds is the site itself behaving like a product.

The logo is Y–M — just initials and a dash, typographic not graphic. Projects aren’t image cards; they’re titled links with medium tags (3D, Motion, Web, Brand) and tool names (Spline, Cavalry). That structural choice keeps the focus on category and craft rather than thumbnail aesthetics, and trusts people to click through to the actual work.

Separating 3D, Motion, and Web as distinct sections — rather than mixing them in a single grid — is a real curatorial decision. Each medium has its own visual language. A 2025 Webby Award for Adeo is listed in the press section, not styled as a badge in the hero.

The domain — piet.website — is the entire brand identity compressed into a URL. The hero has an audio player embedded in the introduction, 1 minute 34 seconds long. That changes the pace of the experience from scan to listen. It’s a real design decision.

The Miscellaneous section scrolls horizontally and includes animated GIFs — a distressed Twitter flag, an AFK screen — alongside 36 Days of Type entries and poster work. These aren’t throwaways. They’re the clearest signal of how he thinks when no one’s asking.

Ten projects listed in a plain vertical column — no thumbnails, no hover previews, no case study cards. The only interaction is a copy-email button that shows “Copied” when triggered. The domain is arnaldo.zip. The footer says “Made in Southern Brazil.” All of it operates on the logic that decoration would be noise.

Projects run from 2020 to present in a chronological list, each tagged with service types — Branding, Web Design, Development, Illustrations — which makes the range of the practice readable without a grid. The domain is danielsun.space, a deliberate step away from .com conventions. The About section opens in Kyiv and ends in Porto, doing the personality work the visual restraint leaves room for.

The hero opens with “Brand ready in two weeks” and “2 spots available Apr ’26” — booking information in the most prominent position on the page. Most agency sites put philosophy there. This one puts the calendar. Projects are organised by sector (Fintech, AI, Health, VC) in a clean vertical layout: category tags, short description, link. No large screenshots, no full-bleed imagery. The restraint is the pitch.

White background, black text, single column, left-aligned. Each project follows the same template: title, collaborators, description, external coverage links, year, skill tags in a flat horizontal list. No variation, no flourishes.

There are no portfolio images on the main page — work links out to the Google blog, The Verge, TechCrunch, BrandNew. The site is an index, not a showcase. For the credentialing on offer, that’s exactly the right call.

Navigation links appear in brackets — [VIEW], (coming soon), (pw protected) — a code-editor syntax that becomes a visual identity. The hero sets “Branding & web design for founders who believe brand is leverage” in clean, unhurried type with nothing decorating it. Projects follow a uniform card template: client name, industry tags, deliverables, view link — the same structure repeated, which makes the breadth of verticals easy to scan without visual noise.

The hero has a stats row: Years of Experience, Clients, Kitties Adopted. The third entry is self-aware about the convention it’s lightly mocking. Italics on “designer” in the opening line give the word a weight it doesn’t always get. Arrow markers — → — used throughout as visual punctuation. Work, Explorations, and Writing sit at the same navigation level, which is an editorial statement about what counts as the work.

Projects are listed as titled links with client names and dates in a clean vertical run. A separate Craft section gives personal work its own space rather than mixing it into the client grid. Availability — “Booked for Freelance Until Q2, 2026” — appears in both the header and the footer, so it’s visible on arrival and again when you reach the contact section.

The opening is “Hi, I’m Daniella” — conversational rather than branded, and it earns the warmth. Projects are listed with minimal styling: company name, category tags, a brief description, then an invitation to get in touch for the full work. The contact CTA is an email link with the subject pre-filled as “Hello” — removing the friction of composing a subject and setting the tone before the conversation starts.

Almost entirely typographic — no hero imagery, no decorative elements, hierarchy created by type scale and spacing alone. Each project follows the same structure: company, context, outcomes, role tags. Projects are framed by company lifecycle stage rather than by deliverable or tool, which is an unusual and clarifying choice.

Section headers are all-caps with arrow markers — EXPERTISE →, SELECTED WORK — used as visual punctuation throughout. Single column, left-aligned, generous whitespace, nothing that isn’t functional.

The footer shows the exact UTC timestamp of the last page update — “Mar 26, 2026, 7:18 AM UTC.” It treats the portfolio as a living document rather than a finished artefact. The primary CTA is “Book an intro call,” not “View my work.”

“Making things, but with more intention.” Lowercase, the entire opening line. The design matches: clean single-column layout, projects listed without elaborate visual treatments. The restraint of the site is the first evidence the statement can be met.