Explore layouts

Photos pinned to a wall, straightening as you focus them.

6–24 photos. Past that the scatter stops reading as deliberate.

One collection in two arrangements — a pile that unpacks into a grid.

3–12. A stack of more than a dozen cannot show what it contains.

Responsive columns for content of mixed heights, stable from first paint.

12–200+. The one layout here built for volume.

A gallery whose arrangement is a function of scroll — grid, ring and fanned deck, one continuous interpolation.

4–9 items. The ring and fan positions are legible in that range; more items crowd the deck.

A stack whose top card can be thrown away — or advanced with a button.

3–20. Long decks need a list, not a stack.

A bento grid whose tiles expand in place, reflowing their neighbours.

4–9 tiles. A bento with twenty tiles is just a grid.

A compressed collection that separates into an inspectable layered deck with selection and residual-stack reflow.

3–7 cards. A fan of twelve is a mess in any hand.

A deterministic composition grid for mixed media, text blocks and deliberate whitespace.

4–14 items; use explicit spans to author the rhythm.

Two coordinated media planes that change together with a cinematic but controlled handoff.

2–8 paired items.

A large media rail for project browsing with variable widths, snapping and optional scroll mapping.

3–18 items; keep each card legible.

One keyed collection visibly transforms between a media gallery and a practical list.

3–24 items.

A deliberately offset editorial grid with authored whitespace and predictable placement.

4–16 items.

Typography, media and caption planes overlap with shallow depth while reading in a sensible order.

One composition per section.

Multiple media columns drift at different scroll rates while remaining a normal collection on touch.

2–4 columns with 3–10 items each.

An authored editorial rhythm where featured work earns space and supporting pieces keep the composition breathing.

4–16 items; reserve featured treatment for one or two pieces.

A continuous secondary rail that promotes one collection item into a readable primary surface.

3–8 items; a continuous rail should stay scannable.

Two coordinated story planes redistribute their proportions as the active chapter changes.

2–7 chapters; each chapter needs a clear relationship between its two planes.

A multi-surface collection with exposed edges and a readable front plane, not a compressed card deck.

3–7 surfaces; the exposed edges should still identify every item.

Columns reallocate real grid width around the selected content while their neighbours remain present.

3–5 columns; more columns make the width change hard to read.

A stable collection composition that gives the focused tile more room and reorganises its neighbours without becoming an expansion panel.

4–14 tiles; keep the collection curated enough for neighbours to matter.

One shallow perspective plane gives a bento composition depth without independently tilting every cell.

4–12 cells.

A conventional content grid mapped onto a shallow curved plane with restrained local depth.

4–20 items.

A finite media sequence arranged along a shallow helix, never requiring users to navigate a 3D scene.

3–9 items.

A finite ring of media that rotates by drag, wheel or controls and settles on a clear active item.

3–10 items.

Native scrolling moves through a stack of depth planes without trapping the page or hijacking the wheel.

3–12 items.

A finite Z-axis collection that advances by explicit controls rather than an uncontrolled camera ride.

3–10 cards.

A familiar stack distributes into authored X/Y/Z planes while preserving each item identity.

3–12 items.

A bounded spatial browsing field for curated projects, notes or media with authored depth planes, clusters and orientation cues—not a whiteboard application.

6–30 curated items; use a dedicated data product for more.