A 3D, branding and motion studio in the Canary Islands working at the level of the best studios in the world — with a website that was down. I rebuilt it from scratch alongside him.
TRIMAD — Creative Studio
trimad.co.uk ↗The client
TRIMAD is a creative studio in the Canary Islands specialising in 3D, branding, motion and illustration. Their work competes directly with the names that set the global standard in the sector: ManvsMachine, Serial Cut, Buck, Plenty. That isn't a marketing claim — those are the benchmarks he works to and the level every project he signs aspires to.
To understand who TRIMAD is, you have to see the work. The image quality, the technical command of 3D, the visual coherence of every piece. It's a studio that knows exactly what it does and why. What it didn't have was a website to match.
The problem
When he got in touch, the site had been hacked and was completely offline. A serious problem, but a solvable one. The underlying problem was more interesting: even before the hack, the website didn't represent the standard of the work.
For a studio whose whole reason for being is creating visual experiences with impact, presenting itself with a website that fell short wasn't just an aesthetic inconvenience. It was a fundamental contradiction. Every potential client who landed on the site before seeing the projects was forming the wrong impression.
The solution
This project was different because the client is a designer. That changes the dynamic completely: there's no need to argue why design matters, you have to find the shared visual language. The process was genuinely collaborative — Aaron knew exactly what feeling he wanted to create and what his reference points were. My job was to translate that vision into a working website.
The black background isn't a trend — it amplifies the contrast and visual impact of 3D work. The darkness makes the projects the only focus.
An architecture centred on projects from the first screen. Every entry is a real piece of work, not a generic category.
Acumin Variable Concept as the primary typeface — a face that reinforces the studio's technical, premium character without competing with the visual content.
Design decisions
The first action the website offers isn't "See projects" — it's playing the reel. The verb Play turns navigation into an active experience and immediately defines what kind of studio this is.
In the Canary Islands, quality 3D is a genuine differentiator. The menu names it directly with a verb that speaks of dynamism and technical depth, not "animation" or "multimedia".
The projects aren't presented as a catalogue — they're presented as pieces that convey something. The section is called Feel because that is exactly what they set out to achieve with every piece of work.
The goal of the website isn't to inform — it's to get the potential client to take the first step. Connect isn't a contact form, it's the entry point to a real conversation.
What I took away
There's no negotiation over whether design matters — Aaron knows it as well as I do. That removes a lot of friction, but it also means nothing that doesn't fit perfectly into his visual universe is worth anything. It was the project with the most rounds of visual review, and it was the one that turned out best.
There was nothing worth saving from the previous site. Starting from scratch with a client who already had an online presence — even a downed one — means any flaw in the delivery is immediately visible. There's no safety net. That level of exposure forces you to be more meticulous at every step of the deploy.
Most of my case studies have data: clicks, users, rankings. This one doesn't, and it doesn't need them. The goal of trimad.co.uk isn't to generate organic traffic — it's that when a potential client sees it, they feel they're looking at the work of someone serious. That's what was measured. And it works.
If there's a gap between the quality of your work and what your website shows, it's time to close it. Tell me about your project.
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