Fourteen websites, before the products

Tutors, trainers and institutes searched by subject and city. Search sits above everything else and the rest of the page is proof — how it works for students, the same thing again for tutors, then the numbers, then the press.

Five unrelated categories — property, living, education, entertainment, transport — behind one search. Each gets a colour and an icon that carries through the filter row and onto every card, so a mixed results grid still reads.

The trial form sits in the hero rather than behind a button. Below it the page stops talking to everyone at once and answers three audiences separately: property managers, business owners, property owners.

Deals and coupons across seven categories. The grid mixes tile sizes so the strongest offers take more room, instead of every deal getting an identical card and none of them standing out.

Designer suits, kurtis and tops. Model cut-outs break out of the red category band, so the garments rather than the layout hold the edge of the section.

The only illustrated page in the set — a drawn landscape instead of product photography, aimed at parents rather than the wholesale buyer the business actually sells to. That tension was never resolved.

An angled band cutting across the hero photograph, a category carousel, and the app download block that most of these projects ended with.

The plainest page here: one full-bleed photograph, three service icons and a single button above the fold, with a testimonial video block further down.

Dark food photography behind a light content column, with one ordering ribbon carrying the only call to action on the page.

The same ordering structure as Amritsari Zaika, restyled for a different brand. Several of these restaurant sites came off one shared layout; what changes is photography, type and colour. Efficient for the studio, and the reason they all rhyme.

Black background, one hero product, a red ribbon carrying the call to action — the loudest version of the same structure.

A warm gradient behind a single product shot, cut off by a torn-paper edge into the white page below.

Brush-stroke masks instead of straight section edges, so the sections read as painted onto the page rather than stacked on it.

Slate and flour as the page surface, ingredients scattered as furniture between the sections, gold rules and script headings. The most considered layout in this set, and the one furthest from a template.