It’s easy to roll your eyes at trend articles. But staying aware of where design is heading is genuinely useful, and not just so your work looks current.<\/p>\n\n\n\n
Trends reflect how user expectations are shifting, which design patterns people have become familiar with, and which technologies have become practical enough to use on real projects. A website that felt fresh two years ago can feel dated today, not because anything broke, but because the visual language of the web has moved on.<\/p>\n\n\n\n
For designers and developers, understanding trends helps you make better decisions. You’re not just copying what looks cool; you’re building a sense of what works, what fits a particular brand, and what your clients’ audiences are likely to respond to. It also helps you push back when a client asks for something that might be trendy but doesn’t actually serve their goals.<\/p>\n\n\n\n
Think of trends as a toolkit. You don’t use every tool on every project, but knowing what’s available makes you better at the work.<\/p>\n\n\n\n
Web design in 2026: the big picture<\/strong><\/h2>\n\n\n\nA few bigger shifts are worth understanding before getting into specific trends.<\/p>\n\n\n\n
AI tools are now part of the workflow<\/strong><\/h3>\n\n\n\nFigma’s AI features, Framer AI, and similar tools are being used in real projects to speed up layout exploration, generate variations, and turn design ideas into code faster. Designers are spending less time on repetitive tasks and more time on the decisions that actually require creative judgment.<\/p>\n\n\n\n
Visual personality is making a comeback<\/strong><\/h3>\n\n\n\nTemplate-based tools and no-code builders made it easy for anyone to build a site that looks decent. The downside is that a lot of websites now look almost identical. In 2026, more designers and brands are actively working against that, pushing for layouts, typography, and visual styles that actually reflect who they are. This shift is visible across the creative industry as a whole, not just on the web. Our Graphic Design Trends 2026<\/a> and Icon Design Trends 2026<\/a> articles are good places to see how these directions are playing out more broadly.<\/p>\n\n\n\nAccessibility and performance are design concerns, not just dev concerns<\/strong><\/h3>\n\n\n\nThings like color contrast, keyboard navigation, page load speed, and clear content structure affect real users in real ways. The best designers in 2026 are thinking about these things from the start, not treating them as a checklist to tick off before launch.<\/p>\n\n\n\n
Websites feel more interactive than ever<\/strong><\/h3>\n\n\n\nScroll-driven animations, 3D elements, and small interaction details are now common on well-crafted sites. The challenge is doing this in a way that adds to the experience rather than getting in the way of it.<\/p>\n\n\n\n
Key web design trends for 2026<\/strong><\/h2>\n\n\n\n1. Kinetic and variable typography<\/strong><\/h3>\n\n\n\nTypography is no longer static. In 2026, type moves: it shifts weight, stretches on scroll, reacts when you hover, and animates when the page loads. Done well, it’s one of the most striking things you can do in a modern website.<\/p>\n\n\n\n![\"A](\"https:\/\/elements.envato.com\/learn\/wp-content\/uploads\/2024\/10\/ava-srg.gif\")
Dive into the sleek, award-winning design of AVA SRG’s website, where bold typography meets a metallic peace sign. Your consultants, mentors, and business partners for innovation.<\/figcaption><\/figure>\n\n\n\nVariable fonts<\/a> make this possible. Instead of loading separate files for bold, regular, and light versions of a typeface, a variable font contains all of that in one file, and you can animate between different states smoothly in CSS. This has opened up a whole category of typographic effects that would have been impractical to implement just a few years ago.<\/p>\n\n\n\nBeyond variable fonts, oversized type used as a layout element has become a popular approach for hero sections. The words aren’t just content sitting inside a design; they become the design.<\/p>\n\n\n\n
Typography animation doesn’t have to be complex to be effective. Sites like Jitter<\/a> and Sofi<\/a> show how fluid, well-timed text motion can add real personality to a product without ever getting in the way of the message. Museum of Money<\/a> takes a different approach, letting oversized type do most of the heavy lifting. AVA SRG<\/a> is using text animations that feel playful and keep you scrolling just to see what comes next.<\/p>\n\n\n\nEnvato has a good range of expressive display and variable fonts<\/a> if you need a starting point, and if you want to go deeper on where type is heading this year, our Font Trends and Typography Styles<\/a> article is a great companion read.<\/p>\n\n\n\n2. Organic layouts and breaking the grid<\/strong><\/h3>\n\n\n\nThe standard 12-column grid has been behind almost every website for the past decade. It works well, but when everyone uses the same underlying structure, sites end up looking similar regardless of what’s inside them.<\/p>\n\n\n\n![\"A](\"https:\/\/elements.envato.com\/learn\/wp-content\/uploads\/2024\/10\/sutera.gif\")
Exploring the intersection of biology and technology through perceptual interfaces, this minimalist design showcases a vision for a future where technology feels natural. #BioTech #HMI #Design<\/figcaption><\/figure>\n\n\n\nOrganic layouts step away from the rigid grid. Asymmetric compositions, overlapping elements, irregular shapes, diagonal movement, and unusual spacing all create a sense of visual personality that a standard grid just doesn’t produce. The goal isn’t chaos for its own sake; it’s finding a layout that feels considered and distinctive rather than default.<\/p>\n\n\n\n
The website of Sut\u00e9ra<\/a> is a great example of using organic layouts. The page ditches conventional grids in favor of scattered, overlapping elements. Nothing aligns in the way you’d expect, yet the composition doesn’t feel accidental.<\/p>\n\n\n\nThis trend fits naturally alongside the broader shift toward more human, less machine-generated design. An irregular layout suggests that real decisions were made, that someone thought carefully about how to arrange things rather than dropping content into a template.<\/p>\n\n\n\n
Beaucoup Studio<\/a> uses overlapping elements and an unconventional layout to create something that immediately feels different. This is the kind of website you remember precisely because it refuses to look like everything else.<\/p>\n\n\n\nFashion brands, cultural organizations, and creative agencies are the most visible examples right now, but this approach is spreading to tech companies and other sectors that want their sites to feel less generic.<\/p>\n\n\n\n
3. Glassmorphism, done properly this time<\/strong><\/h3>\n\n\n\nGlassmorphism had its moment a few years back and quickly got dismissed as something that looked great in Dribbble shots but fell apart in real projects. In 2026, it’s back, but the way it’s being used has matured significantly.<\/p>\n\n\n\n![\"A](\"https:\/\/elements.envato.com\/learn\/wp-content\/uploads\/2024\/10\/apple-1024x518.png\")
Experience the future of design with Apple’s ‘Liquid Glass’ interface concept. Blending beauty, delight, and fluidity for a consistent experience across all your devices. #AppleDesign #LiquidGlass #UIUX #FutureTech<\/figcaption><\/figure>\n\n\n\nThe frosted glass look (translucent panels, blurred backgrounds, soft layered shadows) got a serious boost from Apple’s Liquid Glass design system. Apple isn’t using it as decoration; they’re using it as a way to communicate depth and hierarchy, showing how interface layers relate to each other spatially. That shift in thinking is what makes the 2026 version feel different from the earlier trend.<\/p>\n\n\n\n
The Fluid Glass<\/a> website is a fitting example. A company that designs and sells glass systems using frosted, translucent UI elements throughout their site. The glassmorphism feels earned rather than decorative, because it literally mirrors what they make.<\/p>\n\n\n\nSo why should you consider it for your own projects? A few good reasons. First, glassmorphism adds a sense of depth without relying on heavy visuals or complex illustrations \u2014 a subtle frosted panel over a gradient background can do a lot of visual heavy lifting with very little. Second, it works well in layered interfaces where you need to show that something is floating above the rest of the page, like a modal, a sticky nav, or a side panel. It communicates hierarchy in a way that feels natural and intuitive. Third, it pairs beautifully with bold color and photography, letting background content show through in a way that feels intentional rather than obscured. Done well, it makes a design feel polished and modern without looking overdone.<\/p>\n\n\n\n
Envato’s UI kit library<\/a> has glassmorphism component sets that give you a solid starting point.<\/p>\n\n\n\n4. 3D elements and immersive experiences<\/strong><\/h3>\n\n\n\nThree-dimensional elements on the web are nothing new, but in 2026 they’ve crossed a threshold. What used to feel like a showpiece reserved for award-winning agency sites or high-budget campaigns is now showing up across e-commerce, SaaS, and brand marketing \u2014 and it’s being done with a level of polish and purpose that earlier attempts rarely achieved.<\/p>\n\n\n\n![\"Lando](\"https:\/\/elements.envato.com\/learn\/wp-content\/uploads\/2024\/10\/lando-norris.gif\")
Lando Norris’s iconic style, blending his personal look with his vibrant McLaren racing helmet, featuring the Android logo. Ready for the next challenge! #LandoNorris #F1 #McLaren #Android<\/figcaption><\/figure>\n\n\n\nThe shift is partly technical. Tools like Three.js, WebGL, and Spline have made it significantly easier to bring 3D into a browser without needing a team of specialist developers. Lightweight file formats and better compression mean these experiences load faster than before, even on mobile. But the bigger shift is in how 3D is being used. It’s no longer about showing off what’s technically possible. It’s about giving users something genuinely useful \u2014 a product they can spin around, a space they can explore, an interface that responds to how they move through it.<\/p>\n\n\n\n
Lando Norris’s personal website<\/a> is a great example of 3D and interaction done right. The hero image reacts to your cursor as you move around it, tilting and getting revealed in a way that feels delightful. It’s a small interaction, but it immediately pulls you in and sets the tone for the rest of the experience. The Kriss.ai<\/a> website combines 3D scenery with user interactions to create a memorable, immersive user experience.<\/p>\n\n\n\n![\"A](\"https:\/\/elements.envato.com\/learn\/wp-content\/uploads\/2024\/10\/anime.gif\")
A striking render of a complex, futuristic space object, possibly a satellite or telescope, illuminated dramatically against a dark void. Its intricate design hints at advanced technology and exploration.<\/figcaption><\/figure>\n\n\n\nThe Anime.js website<\/a> uses a scroll-driven 3D scene to introduce the library \u2014 a complex cylindrical object that deconstructs and reconstructs piece by piece as you scroll down the page, turning what could have been a dry documentation homepage into something that actually makes you want to explore further.<\/p>\n\n\n\nThe e-commerce application is particularly compelling. Brands like Claris Virot<\/a> have been using interactive 3D to let users examine products up close and rotate them, and the approach scales well beyond fashion. AutoTrader Canada partnered with London Dynamics<\/a> to bring 3D visualization and AR (augmented reality) to car shopping, letting buyers explore and customize vehicles in detail before ever visiting a dealership. That kind of experience reduces purchase hesitation in a way that even the best photography can’t quite match.<\/p>\n\n\n\nBeyond shopping, 3D is being used for brand storytelling. Hero sections where abstract shapes respond to cursor movement, scroll-triggered scenes that unfold as you move down the page, and product launches that feel more like interactive films than web pages.<\/p>\n\n\n\n![\"Animated](\"https:\/\/elements.envato.com\/learn\/wp-content\/uploads\/2024\/10\/cartier.gif\")
Soaring above the clouds on a journey of discovery with Cartier. \u2728 #Cartier #Luxury #Dreamscape #Adventure<\/figcaption><\/figure>\n\n\n\nCartier’s “The Fabulous Journey”<\/a> is a good example of 3D used for brand storytelling rather than product display. This is an interactive experience where you guide an airship through a richly illustrated world, collecting gems along the way. It’s more digital adventure than website, and it works because the immersion feels completely aligned with what Cartier is as a brand.<\/p>\n\n\n\nEnvato has 3D assets, templates, and UI elements<\/a> that can give you a head start if you want to experiment with this direction.<\/p>\n\n\n\n5. AI in the design workflow (and designing for AI)<\/strong><\/h3>\n\n\n\nAI has moved from a topic designers talk about to a tool they actually use day to day. The impact is showing up in two distinct ways.<\/p>\n\n\n\n
The first is how designers work. Tools like Figma Make and Framer AI speed up the early stages of a project considerably. You can explore more layout ideas, generate component variations, and test directions faster than before. The role of the designer shifts a bit: less time executing, more time making decisions and directing where things go. The output of AI tools still needs a lot of editing and judgment to be genuinely good, but the speed advantage is real. If you want a broader picture of how AI is reshaping the creative industry beyond just web design, our AI Impact on Graphic Design<\/a> article covers it well.<\/p>\n\n\n\n![\"A](\"https:\/\/elements.envato.com\/learn\/wp-content\/uploads\/2024\/10\/side-view-of-hands-using-laptop-with-glowing-circu-2026-01-11-08-34-25-utc-1024x682.jpg\")
<\/figure>\n\n\n\nThe second is how websites get consumed. AI assistants and search tools are increasingly reading and summarizing websites on behalf of users, which means the structure and clarity of your content matters beyond just what a human visitor sees. This is sometimes called Machine Experience design, or MX design. Think of it as the counterpart to UX design: where UX is about making a website easy and pleasant for a human to navigate, MX is about making it easy for an AI system to read, understand, and accurately represent. UX asks “can the user find what they need?”, while MX asks “can the AI correctly summarize what this page is about?” Both matter now, and the good news is that designing well for one tends to help the other. Clear structure, logical hierarchy, and well-labelled content benefit humans and machines equally.<\/p>\n\n\n\n
6. Micro-interactions and motion that earns its place<\/strong><\/h3>\n\n\n\nAnimation in web design has been through a phase of overuse. Every element fading in on scroll, page transitions that take too long, hover effects on things that don’t need them. In 2026, the focus has shifted to animation that actually does something useful.<\/p>\n\n\n\n![\"Screenshot](\"https:\/\/elements.envato.com\/learn\/wp-content\/uploads\/2024\/10\/lusion.gif\")
Explore a selection of our ‘Featured Work’ showcasing innovative projects like ‘Devin AI’ and the vibrant ‘Porsche: Dream Machine’ concept. From web development to 3D illustration, our portfolio highlights diverse creative solutions.<\/figcaption><\/figure>\n\n\n\nMicro-interactions are the small moments of feedback built into an interface: a button that responds when you press it, a form field that reacts to a validation error, a toggle that feels satisfying to flip. These details make the interface feel more responsive and easier to understand. They reduce the mental effort of figuring out if something worked.<\/p>\n\n\n\n
Lusion’s website<\/a> is a masterclass in restraint. Every hover, scroll, and transition feels considered \u2014 animations that respond to what you’re doing rather than competing for attention, guiding you through their work without ever making the motion the main event.<\/p>\n\n\n\n![\"Website](\"https:\/\/elements.envato.com\/learn\/wp-content\/uploads\/2024\/10\/mind-market.gif\")
MindMarket’s website combines a clean, modern design with a vibrant, inclusive illustration, highlighting their commitment to connecting businesses with diverse voices for smarter decisions. #MindMarket #WebDesign #BusinessInsights #Diversity<\/figcaption><\/figure>\n\n\n\nMindMarket<\/a> strikes a nice balance between lively and professional. The illustrated characters animate very subtly \u2014 nothing dramatic, just enough movement to give them personality and make the page feel alive. The UI elements follow the same logic: small, well-timed reactions to hover that feel polished without drawing attention to themselves.<\/p>\n\n\n\nThe difference between functional and decorative motion matters a lot here. Decorative motion (e.g. a loader animation that spins for no reason) adds visual noise without helping anyone. Functional motion guides attention, confirms actions, and makes complex flows easier to follow.<\/p>\n\n\n\n
7. Bold color and expressive palettes<\/strong><\/h3>\n\n\n\nAfter a long stretch of muted, earthy, neutral palettes dominating web design, the direction has swung the other way. Saturated colors, neon gradients, high-contrast pairings, and vivid hues are showing up across lifestyle, beauty, gaming, and youth-focused brands. It’s sometimes called dopamine design, which captures the emotional intent: these colors are meant to create energy and a sense of joy.<\/p>\n\n\n\n![\"A](\"https:\/\/elements.envato.com\/learn\/wp-content\/uploads\/2024\/10\/planetono.gif\")
Blast off with the Pizzanaut Set from PLANETONO! \ud83d\ude80\ud83c\udf55\ud83c\udf5f\ud83e\udd64 This cosmic meal, complete with pepperoni supernova pizza and asteroid fries, is so good, gravity can wait. Featuring Koalantis, the chillest koala in the galaxy!<\/figcaption><\/figure>\n\n\n\nPlaneto\u00f1o<\/a> is a great example of dopamine design in full effect. The bold yellow, the fun typography, the 3D illustrated food characters \u2014 everything about it is loud, playful, and unapologetically fun. It’s the kind of website where the visual energy does the selling before you’ve even read the menu.<\/p>\n\n\n\n![\"Website](\"https:\/\/elements.envato.com\/learn\/wp-content\/uploads\/2024\/10\/get-hyped.gif\")
Get Hyped. Get Noticed. Get Results. This website hero section showcases a digital marketing agency’s promise, highlighting their success with 10M+ organic views and 30+ brands helped, complemented by engaging video snippets. #GetHyped #DigitalMarketing #WebDesign<\/figcaption><\/figure>\n\n\n\nGet Hyped<\/a> proves that bold color choices and a restrained palette aren’t mutually exclusive. A handful of strong, saturated hues do all the work against a clean neutral background, keeping things vibrant without ever feeling overwhelming.<\/p>\n\n\n\nPart of this new direction comes as a reaction to AI-assisted design that’s producing a lot of cautious, safe color choices. Part of it is probably genuine nostalgia for the brighter visual culture of the late 90s and early 2000s. Either way, it’s a real shift and one with good results when it’s handled well. For a broader look at the palette directions taking over across all creative disciplines this year, the Color Trends 2026<\/em><\/a> article is worth a read.<\/p>\n\n\n\n8. Accessibility-first design<\/strong><\/h3>\n\n\n\nAccessibility has moved into a different position in 2026. It’s no longer something that gets addressed at the end of a project as a compliance task. Designers who work at a high level are thinking about color contrast, focus states, keyboard navigation, and screen reader compatibility from the start, because it’s part of what makes a design genuinely good. The European Accessibility Act<\/a>, which came into effect for digital products in mid-2025, has pushed a lot of companies in this direction as well.<\/p>\n\n\n\nThe practical shift is that accessibility is being built into design systems rather than retrofitted onto finished products. When it’s treated as a system concern rather than an afterthought, it stops feeling like extra work and starts feeling like good design practice.<\/p>\n\n\n\n
Figma’s AI features, Framer AI, and similar tools are being used in real projects to speed up layout exploration, generate variations, and turn design ideas into code faster. Designers are spending less time on repetitive tasks and more time on the decisions that actually require creative judgment.<\/p>\n\n\n\n
Visual personality is making a comeback<\/strong><\/h3>\n\n\n\nTemplate-based tools and no-code builders made it easy for anyone to build a site that looks decent. The downside is that a lot of websites now look almost identical. In 2026, more designers and brands are actively working against that, pushing for layouts, typography, and visual styles that actually reflect who they are. This shift is visible across the creative industry as a whole, not just on the web. Our Graphic Design Trends 2026<\/a> and Icon Design Trends 2026<\/a> articles are good places to see how these directions are playing out more broadly.<\/p>\n\n\n\nAccessibility and performance are design concerns, not just dev concerns<\/strong><\/h3>\n\n\n\nThings like color contrast, keyboard navigation, page load speed, and clear content structure affect real users in real ways. The best designers in 2026 are thinking about these things from the start, not treating them as a checklist to tick off before launch.<\/p>\n\n\n\n
Websites feel more interactive than ever<\/strong><\/h3>\n\n\n\nScroll-driven animations, 3D elements, and small interaction details are now common on well-crafted sites. The challenge is doing this in a way that adds to the experience rather than getting in the way of it.<\/p>\n\n\n\n
Key web design trends for 2026<\/strong><\/h2>\n\n\n\n1. Kinetic and variable typography<\/strong><\/h3>\n\n\n\nTypography is no longer static. In 2026, type moves: it shifts weight, stretches on scroll, reacts when you hover, and animates when the page loads. Done well, it’s one of the most striking things you can do in a modern website.<\/p>\n\n\n\nDive into the sleek, award-winning design of AVA SRG’s website, where bold typography meets a metallic peace sign. Your consultants, mentors, and business partners for innovation.<\/figcaption><\/figure>\n\n\n\nVariable fonts<\/a> make this possible. Instead of loading separate files for bold, regular, and light versions of a typeface, a variable font contains all of that in one file, and you can animate between different states smoothly in CSS. This has opened up a whole category of typographic effects that would have been impractical to implement just a few years ago.<\/p>\n\n\n\nBeyond variable fonts, oversized type used as a layout element has become a popular approach for hero sections. The words aren’t just content sitting inside a design; they become the design.<\/p>\n\n\n\n
Typography animation doesn’t have to be complex to be effective. Sites like Jitter<\/a> and Sofi<\/a> show how fluid, well-timed text motion can add real personality to a product without ever getting in the way of the message. Museum of Money<\/a> takes a different approach, letting oversized type do most of the heavy lifting. AVA SRG<\/a> is using text animations that feel playful and keep you scrolling just to see what comes next.<\/p>\n\n\n\nEnvato has a good range of expressive display and variable fonts<\/a> if you need a starting point, and if you want to go deeper on where type is heading this year, our Font Trends and Typography Styles<\/a> article is a great companion read.<\/p>\n\n\n\n2. Organic layouts and breaking the grid<\/strong><\/h3>\n\n\n\nThe standard 12-column grid has been behind almost every website for the past decade. It works well, but when everyone uses the same underlying structure, sites end up looking similar regardless of what’s inside them.<\/p>\n\n\n\nExploring the intersection of biology and technology through perceptual interfaces, this minimalist design showcases a vision for a future where technology feels natural. #BioTech #HMI #Design<\/figcaption><\/figure>\n\n\n\nOrganic layouts step away from the rigid grid. Asymmetric compositions, overlapping elements, irregular shapes, diagonal movement, and unusual spacing all create a sense of visual personality that a standard grid just doesn’t produce. The goal isn’t chaos for its own sake; it’s finding a layout that feels considered and distinctive rather than default.<\/p>\n\n\n\n
The website of Sut\u00e9ra<\/a> is a great example of using organic layouts. The page ditches conventional grids in favor of scattered, overlapping elements. Nothing aligns in the way you’d expect, yet the composition doesn’t feel accidental.<\/p>\n\n\n\nThis trend fits naturally alongside the broader shift toward more human, less machine-generated design. An irregular layout suggests that real decisions were made, that someone thought carefully about how to arrange things rather than dropping content into a template.<\/p>\n\n\n\n
Beaucoup Studio<\/a> uses overlapping elements and an unconventional layout to create something that immediately feels different. This is the kind of website you remember precisely because it refuses to look like everything else.<\/p>\n\n\n\nFashion brands, cultural organizations, and creative agencies are the most visible examples right now, but this approach is spreading to tech companies and other sectors that want their sites to feel less generic.<\/p>\n\n\n\n
3. Glassmorphism, done properly this time<\/strong><\/h3>\n\n\n\nGlassmorphism had its moment a few years back and quickly got dismissed as something that looked great in Dribbble shots but fell apart in real projects. In 2026, it’s back, but the way it’s being used has matured significantly.<\/p>\n\n\n\nExperience the future of design with Apple’s ‘Liquid Glass’ interface concept. Blending beauty, delight, and fluidity for a consistent experience across all your devices. #AppleDesign #LiquidGlass #UIUX #FutureTech<\/figcaption><\/figure>\n\n\n\nThe frosted glass look (translucent panels, blurred backgrounds, soft layered shadows) got a serious boost from Apple’s Liquid Glass design system. Apple isn’t using it as decoration; they’re using it as a way to communicate depth and hierarchy, showing how interface layers relate to each other spatially. That shift in thinking is what makes the 2026 version feel different from the earlier trend.<\/p>\n\n\n\n
The Fluid Glass<\/a> website is a fitting example. A company that designs and sells glass systems using frosted, translucent UI elements throughout their site. The glassmorphism feels earned rather than decorative, because it literally mirrors what they make.<\/p>\n\n\n\nSo why should you consider it for your own projects? A few good reasons. First, glassmorphism adds a sense of depth without relying on heavy visuals or complex illustrations \u2014 a subtle frosted panel over a gradient background can do a lot of visual heavy lifting with very little. Second, it works well in layered interfaces where you need to show that something is floating above the rest of the page, like a modal, a sticky nav, or a side panel. It communicates hierarchy in a way that feels natural and intuitive. Third, it pairs beautifully with bold color and photography, letting background content show through in a way that feels intentional rather than obscured. Done well, it makes a design feel polished and modern without looking overdone.<\/p>\n\n\n\n
Envato’s UI kit library<\/a> has glassmorphism component sets that give you a solid starting point.<\/p>\n\n\n\n4. 3D elements and immersive experiences<\/strong><\/h3>\n\n\n\nThree-dimensional elements on the web are nothing new, but in 2026 they’ve crossed a threshold. What used to feel like a showpiece reserved for award-winning agency sites or high-budget campaigns is now showing up across e-commerce, SaaS, and brand marketing \u2014 and it’s being done with a level of polish and purpose that earlier attempts rarely achieved.<\/p>\n\n\n\nLando Norris’s iconic style, blending his personal look with his vibrant McLaren racing helmet, featuring the Android logo. Ready for the next challenge! #LandoNorris #F1 #McLaren #Android<\/figcaption><\/figure>\n\n\n\nThe shift is partly technical. Tools like Three.js, WebGL, and Spline have made it significantly easier to bring 3D into a browser without needing a team of specialist developers. Lightweight file formats and better compression mean these experiences load faster than before, even on mobile. But the bigger shift is in how 3D is being used. It’s no longer about showing off what’s technically possible. It’s about giving users something genuinely useful \u2014 a product they can spin around, a space they can explore, an interface that responds to how they move through it.<\/p>\n\n\n\n
Lando Norris’s personal website<\/a> is a great example of 3D and interaction done right. The hero image reacts to your cursor as you move around it, tilting and getting revealed in a way that feels delightful. It’s a small interaction, but it immediately pulls you in and sets the tone for the rest of the experience. The Kriss.ai<\/a> website combines 3D scenery with user interactions to create a memorable, immersive user experience.<\/p>\n\n\n\nA striking render of a complex, futuristic space object, possibly a satellite or telescope, illuminated dramatically against a dark void. Its intricate design hints at advanced technology and exploration.<\/figcaption><\/figure>\n\n\n\nThe Anime.js website<\/a> uses a scroll-driven 3D scene to introduce the library \u2014 a complex cylindrical object that deconstructs and reconstructs piece by piece as you scroll down the page, turning what could have been a dry documentation homepage into something that actually makes you want to explore further.<\/p>\n\n\n\nThe e-commerce application is particularly compelling. Brands like Claris Virot<\/a> have been using interactive 3D to let users examine products up close and rotate them, and the approach scales well beyond fashion. AutoTrader Canada partnered with London Dynamics<\/a> to bring 3D visualization and AR (augmented reality) to car shopping, letting buyers explore and customize vehicles in detail before ever visiting a dealership. That kind of experience reduces purchase hesitation in a way that even the best photography can’t quite match.<\/p>\n\n\n\nBeyond shopping, 3D is being used for brand storytelling. Hero sections where abstract shapes respond to cursor movement, scroll-triggered scenes that unfold as you move down the page, and product launches that feel more like interactive films than web pages.<\/p>\n\n\n\nSoaring above the clouds on a journey of discovery with Cartier. \u2728 #Cartier #Luxury #Dreamscape #Adventure<\/figcaption><\/figure>\n\n\n\nCartier’s “The Fabulous Journey”<\/a> is a good example of 3D used for brand storytelling rather than product display. This is an interactive experience where you guide an airship through a richly illustrated world, collecting gems along the way. It’s more digital adventure than website, and it works because the immersion feels completely aligned with what Cartier is as a brand.<\/p>\n\n\n\nEnvato has 3D assets, templates, and UI elements<\/a> that can give you a head start if you want to experiment with this direction.<\/p>\n\n\n\n5. AI in the design workflow (and designing for AI)<\/strong><\/h3>\n\n\n\nAI has moved from a topic designers talk about to a tool they actually use day to day. The impact is showing up in two distinct ways.<\/p>\n\n\n\n
The first is how designers work. Tools like Figma Make and Framer AI speed up the early stages of a project considerably. You can explore more layout ideas, generate component variations, and test directions faster than before. The role of the designer shifts a bit: less time executing, more time making decisions and directing where things go. The output of AI tools still needs a lot of editing and judgment to be genuinely good, but the speed advantage is real. If you want a broader picture of how AI is reshaping the creative industry beyond just web design, our AI Impact on Graphic Design<\/a> article covers it well.<\/p>\n\n\n\n<\/figure>\n\n\n\nThe second is how websites get consumed. AI assistants and search tools are increasingly reading and summarizing websites on behalf of users, which means the structure and clarity of your content matters beyond just what a human visitor sees. This is sometimes called Machine Experience design, or MX design. Think of it as the counterpart to UX design: where UX is about making a website easy and pleasant for a human to navigate, MX is about making it easy for an AI system to read, understand, and accurately represent. UX asks “can the user find what they need?”, while MX asks “can the AI correctly summarize what this page is about?” Both matter now, and the good news is that designing well for one tends to help the other. Clear structure, logical hierarchy, and well-labelled content benefit humans and machines equally.<\/p>\n\n\n\n
6. Micro-interactions and motion that earns its place<\/strong><\/h3>\n\n\n\nAnimation in web design has been through a phase of overuse. Every element fading in on scroll, page transitions that take too long, hover effects on things that don’t need them. In 2026, the focus has shifted to animation that actually does something useful.<\/p>\n\n\n\nExplore a selection of our ‘Featured Work’ showcasing innovative projects like ‘Devin AI’ and the vibrant ‘Porsche: Dream Machine’ concept. From web development to 3D illustration, our portfolio highlights diverse creative solutions.<\/figcaption><\/figure>\n\n\n\nMicro-interactions are the small moments of feedback built into an interface: a button that responds when you press it, a form field that reacts to a validation error, a toggle that feels satisfying to flip. These details make the interface feel more responsive and easier to understand. They reduce the mental effort of figuring out if something worked.<\/p>\n\n\n\n
Lusion’s website<\/a> is a masterclass in restraint. Every hover, scroll, and transition feels considered \u2014 animations that respond to what you’re doing rather than competing for attention, guiding you through their work without ever making the motion the main event.<\/p>\n\n\n\nMindMarket’s website combines a clean, modern design with a vibrant, inclusive illustration, highlighting their commitment to connecting businesses with diverse voices for smarter decisions. #MindMarket #WebDesign #BusinessInsights #Diversity<\/figcaption><\/figure>\n\n\n\nMindMarket<\/a> strikes a nice balance between lively and professional. The illustrated characters animate very subtly \u2014 nothing dramatic, just enough movement to give them personality and make the page feel alive. The UI elements follow the same logic: small, well-timed reactions to hover that feel polished without drawing attention to themselves.<\/p>\n\n\n\nThe difference between functional and decorative motion matters a lot here. Decorative motion (e.g. a loader animation that spins for no reason) adds visual noise without helping anyone. Functional motion guides attention, confirms actions, and makes complex flows easier to follow.<\/p>\n\n\n\n
7. Bold color and expressive palettes<\/strong><\/h3>\n\n\n\nAfter a long stretch of muted, earthy, neutral palettes dominating web design, the direction has swung the other way. Saturated colors, neon gradients, high-contrast pairings, and vivid hues are showing up across lifestyle, beauty, gaming, and youth-focused brands. It’s sometimes called dopamine design, which captures the emotional intent: these colors are meant to create energy and a sense of joy.<\/p>\n\n\n\nBlast off with the Pizzanaut Set from PLANETONO! \ud83d\ude80\ud83c\udf55\ud83c\udf5f\ud83e\udd64 This cosmic meal, complete with pepperoni supernova pizza and asteroid fries, is so good, gravity can wait. Featuring Koalantis, the chillest koala in the galaxy!<\/figcaption><\/figure>\n\n\n\nPlaneto\u00f1o<\/a> is a great example of dopamine design in full effect. The bold yellow, the fun typography, the 3D illustrated food characters \u2014 everything about it is loud, playful, and unapologetically fun. It’s the kind of website where the visual energy does the selling before you’ve even read the menu.<\/p>\n\n\n\nGet Hyped. Get Noticed. Get Results. This website hero section showcases a digital marketing agency’s promise, highlighting their success with 10M+ organic views and 30+ brands helped, complemented by engaging video snippets. #GetHyped #DigitalMarketing #WebDesign<\/figcaption><\/figure>\n\n\n\nGet Hyped<\/a> proves that bold color choices and a restrained palette aren’t mutually exclusive. A handful of strong, saturated hues do all the work against a clean neutral background, keeping things vibrant without ever feeling overwhelming.<\/p>\n\n\n\nPart of this new direction comes as a reaction to AI-assisted design that’s producing a lot of cautious, safe color choices. Part of it is probably genuine nostalgia for the brighter visual culture of the late 90s and early 2000s. Either way, it’s a real shift and one with good results when it’s handled well. For a broader look at the palette directions taking over across all creative disciplines this year, the Color Trends 2026<\/em><\/a> article is worth a read.<\/p>\n\n\n\n8. Accessibility-first design<\/strong><\/h3>\n\n\n\nAccessibility has moved into a different position in 2026. It’s no longer something that gets addressed at the end of a project as a compliance task. Designers who work at a high level are thinking about color contrast, focus states, keyboard navigation, and screen reader compatibility from the start, because it’s part of what makes a design genuinely good. The European Accessibility Act<\/a>, which came into effect for digital products in mid-2025, has pushed a lot of companies in this direction as well.<\/p>\n\n\n\nThe practical shift is that accessibility is being built into design systems rather than retrofitted onto finished products. When it’s treated as a system concern rather than an afterthought, it stops feeling like extra work and starts feeling like good design practice.<\/p>\n\n\n\n
Accessibility and performance are design concerns, not just dev concerns<\/strong><\/h3>\n\n\n\nThings like color contrast, keyboard navigation, page load speed, and clear content structure affect real users in real ways. The best designers in 2026 are thinking about these things from the start, not treating them as a checklist to tick off before launch.<\/p>\n\n\n\n
Websites feel more interactive than ever<\/strong><\/h3>\n\n\n\nScroll-driven animations, 3D elements, and small interaction details are now common on well-crafted sites. The challenge is doing this in a way that adds to the experience rather than getting in the way of it.<\/p>\n\n\n\n
Key web design trends for 2026<\/strong><\/h2>\n\n\n\n1. Kinetic and variable typography<\/strong><\/h3>\n\n\n\nTypography is no longer static. In 2026, type moves: it shifts weight, stretches on scroll, reacts when you hover, and animates when the page loads. Done well, it’s one of the most striking things you can do in a modern website.<\/p>\n\n\n\nDive into the sleek, award-winning design of AVA SRG’s website, where bold typography meets a metallic peace sign. Your consultants, mentors, and business partners for innovation.<\/figcaption><\/figure>\n\n\n\nVariable fonts<\/a> make this possible. Instead of loading separate files for bold, regular, and light versions of a typeface, a variable font contains all of that in one file, and you can animate between different states smoothly in CSS. This has opened up a whole category of typographic effects that would have been impractical to implement just a few years ago.<\/p>\n\n\n\nBeyond variable fonts, oversized type used as a layout element has become a popular approach for hero sections. The words aren’t just content sitting inside a design; they become the design.<\/p>\n\n\n\n
Typography animation doesn’t have to be complex to be effective. Sites like Jitter<\/a> and Sofi<\/a> show how fluid, well-timed text motion can add real personality to a product without ever getting in the way of the message. Museum of Money<\/a> takes a different approach, letting oversized type do most of the heavy lifting. AVA SRG<\/a> is using text animations that feel playful and keep you scrolling just to see what comes next.<\/p>\n\n\n\nEnvato has a good range of expressive display and variable fonts<\/a> if you need a starting point, and if you want to go deeper on where type is heading this year, our Font Trends and Typography Styles<\/a> article is a great companion read.<\/p>\n\n\n\n2. Organic layouts and breaking the grid<\/strong><\/h3>\n\n\n\nThe standard 12-column grid has been behind almost every website for the past decade. It works well, but when everyone uses the same underlying structure, sites end up looking similar regardless of what’s inside them.<\/p>\n\n\n\nExploring the intersection of biology and technology through perceptual interfaces, this minimalist design showcases a vision for a future where technology feels natural. #BioTech #HMI #Design<\/figcaption><\/figure>\n\n\n\nOrganic layouts step away from the rigid grid. Asymmetric compositions, overlapping elements, irregular shapes, diagonal movement, and unusual spacing all create a sense of visual personality that a standard grid just doesn’t produce. The goal isn’t chaos for its own sake; it’s finding a layout that feels considered and distinctive rather than default.<\/p>\n\n\n\n
The website of Sut\u00e9ra<\/a> is a great example of using organic layouts. The page ditches conventional grids in favor of scattered, overlapping elements. Nothing aligns in the way you’d expect, yet the composition doesn’t feel accidental.<\/p>\n\n\n\nThis trend fits naturally alongside the broader shift toward more human, less machine-generated design. An irregular layout suggests that real decisions were made, that someone thought carefully about how to arrange things rather than dropping content into a template.<\/p>\n\n\n\n
Beaucoup Studio<\/a> uses overlapping elements and an unconventional layout to create something that immediately feels different. This is the kind of website you remember precisely because it refuses to look like everything else.<\/p>\n\n\n\nFashion brands, cultural organizations, and creative agencies are the most visible examples right now, but this approach is spreading to tech companies and other sectors that want their sites to feel less generic.<\/p>\n\n\n\n
3. Glassmorphism, done properly this time<\/strong><\/h3>\n\n\n\nGlassmorphism had its moment a few years back and quickly got dismissed as something that looked great in Dribbble shots but fell apart in real projects. In 2026, it’s back, but the way it’s being used has matured significantly.<\/p>\n\n\n\nExperience the future of design with Apple’s ‘Liquid Glass’ interface concept. Blending beauty, delight, and fluidity for a consistent experience across all your devices. #AppleDesign #LiquidGlass #UIUX #FutureTech<\/figcaption><\/figure>\n\n\n\nThe frosted glass look (translucent panels, blurred backgrounds, soft layered shadows) got a serious boost from Apple’s Liquid Glass design system. Apple isn’t using it as decoration; they’re using it as a way to communicate depth and hierarchy, showing how interface layers relate to each other spatially. That shift in thinking is what makes the 2026 version feel different from the earlier trend.<\/p>\n\n\n\n
The Fluid Glass<\/a> website is a fitting example. A company that designs and sells glass systems using frosted, translucent UI elements throughout their site. The glassmorphism feels earned rather than decorative, because it literally mirrors what they make.<\/p>\n\n\n\nSo why should you consider it for your own projects? A few good reasons. First, glassmorphism adds a sense of depth without relying on heavy visuals or complex illustrations \u2014 a subtle frosted panel over a gradient background can do a lot of visual heavy lifting with very little. Second, it works well in layered interfaces where you need to show that something is floating above the rest of the page, like a modal, a sticky nav, or a side panel. It communicates hierarchy in a way that feels natural and intuitive. Third, it pairs beautifully with bold color and photography, letting background content show through in a way that feels intentional rather than obscured. Done well, it makes a design feel polished and modern without looking overdone.<\/p>\n\n\n\n
Envato’s UI kit library<\/a> has glassmorphism component sets that give you a solid starting point.<\/p>\n\n\n\n4. 3D elements and immersive experiences<\/strong><\/h3>\n\n\n\nThree-dimensional elements on the web are nothing new, but in 2026 they’ve crossed a threshold. What used to feel like a showpiece reserved for award-winning agency sites or high-budget campaigns is now showing up across e-commerce, SaaS, and brand marketing \u2014 and it’s being done with a level of polish and purpose that earlier attempts rarely achieved.<\/p>\n\n\n\nLando Norris’s iconic style, blending his personal look with his vibrant McLaren racing helmet, featuring the Android logo. Ready for the next challenge! #LandoNorris #F1 #McLaren #Android<\/figcaption><\/figure>\n\n\n\nThe shift is partly technical. Tools like Three.js, WebGL, and Spline have made it significantly easier to bring 3D into a browser without needing a team of specialist developers. Lightweight file formats and better compression mean these experiences load faster than before, even on mobile. But the bigger shift is in how 3D is being used. It’s no longer about showing off what’s technically possible. It’s about giving users something genuinely useful \u2014 a product they can spin around, a space they can explore, an interface that responds to how they move through it.<\/p>\n\n\n\n
Lando Norris’s personal website<\/a> is a great example of 3D and interaction done right. The hero image reacts to your cursor as you move around it, tilting and getting revealed in a way that feels delightful. It’s a small interaction, but it immediately pulls you in and sets the tone for the rest of the experience. The Kriss.ai<\/a> website combines 3D scenery with user interactions to create a memorable, immersive user experience.<\/p>\n\n\n\nA striking render of a complex, futuristic space object, possibly a satellite or telescope, illuminated dramatically against a dark void. Its intricate design hints at advanced technology and exploration.<\/figcaption><\/figure>\n\n\n\nThe Anime.js website<\/a> uses a scroll-driven 3D scene to introduce the library \u2014 a complex cylindrical object that deconstructs and reconstructs piece by piece as you scroll down the page, turning what could have been a dry documentation homepage into something that actually makes you want to explore further.<\/p>\n\n\n\nThe e-commerce application is particularly compelling. Brands like Claris Virot<\/a> have been using interactive 3D to let users examine products up close and rotate them, and the approach scales well beyond fashion. AutoTrader Canada partnered with London Dynamics<\/a> to bring 3D visualization and AR (augmented reality) to car shopping, letting buyers explore and customize vehicles in detail before ever visiting a dealership. That kind of experience reduces purchase hesitation in a way that even the best photography can’t quite match.<\/p>\n\n\n\nBeyond shopping, 3D is being used for brand storytelling. Hero sections where abstract shapes respond to cursor movement, scroll-triggered scenes that unfold as you move down the page, and product launches that feel more like interactive films than web pages.<\/p>\n\n\n\nSoaring above the clouds on a journey of discovery with Cartier. \u2728 #Cartier #Luxury #Dreamscape #Adventure<\/figcaption><\/figure>\n\n\n\nCartier’s “The Fabulous Journey”<\/a> is a good example of 3D used for brand storytelling rather than product display. This is an interactive experience where you guide an airship through a richly illustrated world, collecting gems along the way. It’s more digital adventure than website, and it works because the immersion feels completely aligned with what Cartier is as a brand.<\/p>\n\n\n\nEnvato has 3D assets, templates, and UI elements<\/a> that can give you a head start if you want to experiment with this direction.<\/p>\n\n\n\n5. AI in the design workflow (and designing for AI)<\/strong><\/h3>\n\n\n\nAI has moved from a topic designers talk about to a tool they actually use day to day. The impact is showing up in two distinct ways.<\/p>\n\n\n\n
The first is how designers work. Tools like Figma Make and Framer AI speed up the early stages of a project considerably. You can explore more layout ideas, generate component variations, and test directions faster than before. The role of the designer shifts a bit: less time executing, more time making decisions and directing where things go. The output of AI tools still needs a lot of editing and judgment to be genuinely good, but the speed advantage is real. If you want a broader picture of how AI is reshaping the creative industry beyond just web design, our AI Impact on Graphic Design<\/a> article covers it well.<\/p>\n\n\n\n<\/figure>\n\n\n\nThe second is how websites get consumed. AI assistants and search tools are increasingly reading and summarizing websites on behalf of users, which means the structure and clarity of your content matters beyond just what a human visitor sees. This is sometimes called Machine Experience design, or MX design. Think of it as the counterpart to UX design: where UX is about making a website easy and pleasant for a human to navigate, MX is about making it easy for an AI system to read, understand, and accurately represent. UX asks “can the user find what they need?”, while MX asks “can the AI correctly summarize what this page is about?” Both matter now, and the good news is that designing well for one tends to help the other. Clear structure, logical hierarchy, and well-labelled content benefit humans and machines equally.<\/p>\n\n\n\n
6. Micro-interactions and motion that earns its place<\/strong><\/h3>\n\n\n\nAnimation in web design has been through a phase of overuse. Every element fading in on scroll, page transitions that take too long, hover effects on things that don’t need them. In 2026, the focus has shifted to animation that actually does something useful.<\/p>\n\n\n\nExplore a selection of our ‘Featured Work’ showcasing innovative projects like ‘Devin AI’ and the vibrant ‘Porsche: Dream Machine’ concept. From web development to 3D illustration, our portfolio highlights diverse creative solutions.<\/figcaption><\/figure>\n\n\n\nMicro-interactions are the small moments of feedback built into an interface: a button that responds when you press it, a form field that reacts to a validation error, a toggle that feels satisfying to flip. These details make the interface feel more responsive and easier to understand. They reduce the mental effort of figuring out if something worked.<\/p>\n\n\n\n
Lusion’s website<\/a> is a masterclass in restraint. Every hover, scroll, and transition feels considered \u2014 animations that respond to what you’re doing rather than competing for attention, guiding you through their work without ever making the motion the main event.<\/p>\n\n\n\nMindMarket’s website combines a clean, modern design with a vibrant, inclusive illustration, highlighting their commitment to connecting businesses with diverse voices for smarter decisions. #MindMarket #WebDesign #BusinessInsights #Diversity<\/figcaption><\/figure>\n\n\n\nMindMarket<\/a> strikes a nice balance between lively and professional. The illustrated characters animate very subtly \u2014 nothing dramatic, just enough movement to give them personality and make the page feel alive. The UI elements follow the same logic: small, well-timed reactions to hover that feel polished without drawing attention to themselves.<\/p>\n\n\n\nThe difference between functional and decorative motion matters a lot here. Decorative motion (e.g. a loader animation that spins for no reason) adds visual noise without helping anyone. Functional motion guides attention, confirms actions, and makes complex flows easier to follow.<\/p>\n\n\n\n
7. Bold color and expressive palettes<\/strong><\/h3>\n\n\n\nAfter a long stretch of muted, earthy, neutral palettes dominating web design, the direction has swung the other way. Saturated colors, neon gradients, high-contrast pairings, and vivid hues are showing up across lifestyle, beauty, gaming, and youth-focused brands. It’s sometimes called dopamine design, which captures the emotional intent: these colors are meant to create energy and a sense of joy.<\/p>\n\n\n\nBlast off with the Pizzanaut Set from PLANETONO! \ud83d\ude80\ud83c\udf55\ud83c\udf5f\ud83e\udd64 This cosmic meal, complete with pepperoni supernova pizza and asteroid fries, is so good, gravity can wait. Featuring Koalantis, the chillest koala in the galaxy!<\/figcaption><\/figure>\n\n\n\nPlaneto\u00f1o<\/a> is a great example of dopamine design in full effect. The bold yellow, the fun typography, the 3D illustrated food characters \u2014 everything about it is loud, playful, and unapologetically fun. It’s the kind of website where the visual energy does the selling before you’ve even read the menu.<\/p>\n\n\n\nGet Hyped. Get Noticed. Get Results. This website hero section showcases a digital marketing agency’s promise, highlighting their success with 10M+ organic views and 30+ brands helped, complemented by engaging video snippets. #GetHyped #DigitalMarketing #WebDesign<\/figcaption><\/figure>\n\n\n\nGet Hyped<\/a> proves that bold color choices and a restrained palette aren’t mutually exclusive. A handful of strong, saturated hues do all the work against a clean neutral background, keeping things vibrant without ever feeling overwhelming.<\/p>\n\n\n\nPart of this new direction comes as a reaction to AI-assisted design that’s producing a lot of cautious, safe color choices. Part of it is probably genuine nostalgia for the brighter visual culture of the late 90s and early 2000s. Either way, it’s a real shift and one with good results when it’s handled well. For a broader look at the palette directions taking over across all creative disciplines this year, the Color Trends 2026<\/em><\/a> article is worth a read.<\/p>\n\n\n\n8. Accessibility-first design<\/strong><\/h3>\n\n\n\nAccessibility has moved into a different position in 2026. It’s no longer something that gets addressed at the end of a project as a compliance task. Designers who work at a high level are thinking about color contrast, focus states, keyboard navigation, and screen reader compatibility from the start, because it’s part of what makes a design genuinely good. The European Accessibility Act<\/a>, which came into effect for digital products in mid-2025, has pushed a lot of companies in this direction as well.<\/p>\n\n\n\nThe practical shift is that accessibility is being built into design systems rather than retrofitted onto finished products. When it’s treated as a system concern rather than an afterthought, it stops feeling like extra work and starts feeling like good design practice.<\/p>\n\n\n\n
Scroll-driven animations, 3D elements, and small interaction details are now common on well-crafted sites. The challenge is doing this in a way that adds to the experience rather than getting in the way of it.<\/p>\n\n\n\n
Key web design trends for 2026<\/strong><\/h2>\n\n\n\n1. Kinetic and variable typography<\/strong><\/h3>\n\n\n\nTypography is no longer static. In 2026, type moves: it shifts weight, stretches on scroll, reacts when you hover, and animates when the page loads. Done well, it’s one of the most striking things you can do in a modern website.<\/p>\n\n\n\nDive into the sleek, award-winning design of AVA SRG’s website, where bold typography meets a metallic peace sign. Your consultants, mentors, and business partners for innovation.<\/figcaption><\/figure>\n\n\n\nVariable fonts<\/a> make this possible. Instead of loading separate files for bold, regular, and light versions of a typeface, a variable font contains all of that in one file, and you can animate between different states smoothly in CSS. This has opened up a whole category of typographic effects that would have been impractical to implement just a few years ago.<\/p>\n\n\n\nBeyond variable fonts, oversized type used as a layout element has become a popular approach for hero sections. The words aren’t just content sitting inside a design; they become the design.<\/p>\n\n\n\n
Typography animation doesn’t have to be complex to be effective. Sites like Jitter<\/a> and Sofi<\/a> show how fluid, well-timed text motion can add real personality to a product without ever getting in the way of the message. Museum of Money<\/a> takes a different approach, letting oversized type do most of the heavy lifting. AVA SRG<\/a> is using text animations that feel playful and keep you scrolling just to see what comes next.<\/p>\n\n\n\nEnvato has a good range of expressive display and variable fonts<\/a> if you need a starting point, and if you want to go deeper on where type is heading this year, our Font Trends and Typography Styles<\/a> article is a great companion read.<\/p>\n\n\n\n2. Organic layouts and breaking the grid<\/strong><\/h3>\n\n\n\nThe standard 12-column grid has been behind almost every website for the past decade. It works well, but when everyone uses the same underlying structure, sites end up looking similar regardless of what’s inside them.<\/p>\n\n\n\nExploring the intersection of biology and technology through perceptual interfaces, this minimalist design showcases a vision for a future where technology feels natural. #BioTech #HMI #Design<\/figcaption><\/figure>\n\n\n\nOrganic layouts step away from the rigid grid. Asymmetric compositions, overlapping elements, irregular shapes, diagonal movement, and unusual spacing all create a sense of visual personality that a standard grid just doesn’t produce. The goal isn’t chaos for its own sake; it’s finding a layout that feels considered and distinctive rather than default.<\/p>\n\n\n\n
The website of Sut\u00e9ra<\/a> is a great example of using organic layouts. The page ditches conventional grids in favor of scattered, overlapping elements. Nothing aligns in the way you’d expect, yet the composition doesn’t feel accidental.<\/p>\n\n\n\nThis trend fits naturally alongside the broader shift toward more human, less machine-generated design. An irregular layout suggests that real decisions were made, that someone thought carefully about how to arrange things rather than dropping content into a template.<\/p>\n\n\n\n
Beaucoup Studio<\/a> uses overlapping elements and an unconventional layout to create something that immediately feels different. This is the kind of website you remember precisely because it refuses to look like everything else.<\/p>\n\n\n\nFashion brands, cultural organizations, and creative agencies are the most visible examples right now, but this approach is spreading to tech companies and other sectors that want their sites to feel less generic.<\/p>\n\n\n\n
3. Glassmorphism, done properly this time<\/strong><\/h3>\n\n\n\nGlassmorphism had its moment a few years back and quickly got dismissed as something that looked great in Dribbble shots but fell apart in real projects. In 2026, it’s back, but the way it’s being used has matured significantly.<\/p>\n\n\n\nExperience the future of design with Apple’s ‘Liquid Glass’ interface concept. Blending beauty, delight, and fluidity for a consistent experience across all your devices. #AppleDesign #LiquidGlass #UIUX #FutureTech<\/figcaption><\/figure>\n\n\n\nThe frosted glass look (translucent panels, blurred backgrounds, soft layered shadows) got a serious boost from Apple’s Liquid Glass design system. Apple isn’t using it as decoration; they’re using it as a way to communicate depth and hierarchy, showing how interface layers relate to each other spatially. That shift in thinking is what makes the 2026 version feel different from the earlier trend.<\/p>\n\n\n\n
The Fluid Glass<\/a> website is a fitting example. A company that designs and sells glass systems using frosted, translucent UI elements throughout their site. The glassmorphism feels earned rather than decorative, because it literally mirrors what they make.<\/p>\n\n\n\nSo why should you consider it for your own projects? A few good reasons. First, glassmorphism adds a sense of depth without relying on heavy visuals or complex illustrations \u2014 a subtle frosted panel over a gradient background can do a lot of visual heavy lifting with very little. Second, it works well in layered interfaces where you need to show that something is floating above the rest of the page, like a modal, a sticky nav, or a side panel. It communicates hierarchy in a way that feels natural and intuitive. Third, it pairs beautifully with bold color and photography, letting background content show through in a way that feels intentional rather than obscured. Done well, it makes a design feel polished and modern without looking overdone.<\/p>\n\n\n\n
Envato’s UI kit library<\/a> has glassmorphism component sets that give you a solid starting point.<\/p>\n\n\n\n4. 3D elements and immersive experiences<\/strong><\/h3>\n\n\n\nThree-dimensional elements on the web are nothing new, but in 2026 they’ve crossed a threshold. What used to feel like a showpiece reserved for award-winning agency sites or high-budget campaigns is now showing up across e-commerce, SaaS, and brand marketing \u2014 and it’s being done with a level of polish and purpose that earlier attempts rarely achieved.<\/p>\n\n\n\nLando Norris’s iconic style, blending his personal look with his vibrant McLaren racing helmet, featuring the Android logo. Ready for the next challenge! #LandoNorris #F1 #McLaren #Android<\/figcaption><\/figure>\n\n\n\nThe shift is partly technical. Tools like Three.js, WebGL, and Spline have made it significantly easier to bring 3D into a browser without needing a team of specialist developers. Lightweight file formats and better compression mean these experiences load faster than before, even on mobile. But the bigger shift is in how 3D is being used. It’s no longer about showing off what’s technically possible. It’s about giving users something genuinely useful \u2014 a product they can spin around, a space they can explore, an interface that responds to how they move through it.<\/p>\n\n\n\n
Lando Norris’s personal website<\/a> is a great example of 3D and interaction done right. The hero image reacts to your cursor as you move around it, tilting and getting revealed in a way that feels delightful. It’s a small interaction, but it immediately pulls you in and sets the tone for the rest of the experience. The Kriss.ai<\/a> website combines 3D scenery with user interactions to create a memorable, immersive user experience.<\/p>\n\n\n\nA striking render of a complex, futuristic space object, possibly a satellite or telescope, illuminated dramatically against a dark void. Its intricate design hints at advanced technology and exploration.<\/figcaption><\/figure>\n\n\n\nThe Anime.js website<\/a> uses a scroll-driven 3D scene to introduce the library \u2014 a complex cylindrical object that deconstructs and reconstructs piece by piece as you scroll down the page, turning what could have been a dry documentation homepage into something that actually makes you want to explore further.<\/p>\n\n\n\nThe e-commerce application is particularly compelling. Brands like Claris Virot<\/a> have been using interactive 3D to let users examine products up close and rotate them, and the approach scales well beyond fashion. AutoTrader Canada partnered with London Dynamics<\/a> to bring 3D visualization and AR (augmented reality) to car shopping, letting buyers explore and customize vehicles in detail before ever visiting a dealership. That kind of experience reduces purchase hesitation in a way that even the best photography can’t quite match.<\/p>\n\n\n\nBeyond shopping, 3D is being used for brand storytelling. Hero sections where abstract shapes respond to cursor movement, scroll-triggered scenes that unfold as you move down the page, and product launches that feel more like interactive films than web pages.<\/p>\n\n\n\nSoaring above the clouds on a journey of discovery with Cartier. \u2728 #Cartier #Luxury #Dreamscape #Adventure<\/figcaption><\/figure>\n\n\n\nCartier’s “The Fabulous Journey”<\/a> is a good example of 3D used for brand storytelling rather than product display. This is an interactive experience where you guide an airship through a richly illustrated world, collecting gems along the way. It’s more digital adventure than website, and it works because the immersion feels completely aligned with what Cartier is as a brand.<\/p>\n\n\n\nEnvato has 3D assets, templates, and UI elements<\/a> that can give you a head start if you want to experiment with this direction.<\/p>\n\n\n\n5. AI in the design workflow (and designing for AI)<\/strong><\/h3>\n\n\n\nAI has moved from a topic designers talk about to a tool they actually use day to day. The impact is showing up in two distinct ways.<\/p>\n\n\n\n
The first is how designers work. Tools like Figma Make and Framer AI speed up the early stages of a project considerably. You can explore more layout ideas, generate component variations, and test directions faster than before. The role of the designer shifts a bit: less time executing, more time making decisions and directing where things go. The output of AI tools still needs a lot of editing and judgment to be genuinely good, but the speed advantage is real. If you want a broader picture of how AI is reshaping the creative industry beyond just web design, our AI Impact on Graphic Design<\/a> article covers it well.<\/p>\n\n\n\n<\/figure>\n\n\n\nThe second is how websites get consumed. AI assistants and search tools are increasingly reading and summarizing websites on behalf of users, which means the structure and clarity of your content matters beyond just what a human visitor sees. This is sometimes called Machine Experience design, or MX design. Think of it as the counterpart to UX design: where UX is about making a website easy and pleasant for a human to navigate, MX is about making it easy for an AI system to read, understand, and accurately represent. UX asks “can the user find what they need?”, while MX asks “can the AI correctly summarize what this page is about?” Both matter now, and the good news is that designing well for one tends to help the other. Clear structure, logical hierarchy, and well-labelled content benefit humans and machines equally.<\/p>\n\n\n\n
6. Micro-interactions and motion that earns its place<\/strong><\/h3>\n\n\n\nAnimation in web design has been through a phase of overuse. Every element fading in on scroll, page transitions that take too long, hover effects on things that don’t need them. In 2026, the focus has shifted to animation that actually does something useful.<\/p>\n\n\n\nExplore a selection of our ‘Featured Work’ showcasing innovative projects like ‘Devin AI’ and the vibrant ‘Porsche: Dream Machine’ concept. From web development to 3D illustration, our portfolio highlights diverse creative solutions.<\/figcaption><\/figure>\n\n\n\nMicro-interactions are the small moments of feedback built into an interface: a button that responds when you press it, a form field that reacts to a validation error, a toggle that feels satisfying to flip. These details make the interface feel more responsive and easier to understand. They reduce the mental effort of figuring out if something worked.<\/p>\n\n\n\n
Lusion’s website<\/a> is a masterclass in restraint. Every hover, scroll, and transition feels considered \u2014 animations that respond to what you’re doing rather than competing for attention, guiding you through their work without ever making the motion the main event.<\/p>\n\n\n\nMindMarket’s website combines a clean, modern design with a vibrant, inclusive illustration, highlighting their commitment to connecting businesses with diverse voices for smarter decisions. #MindMarket #WebDesign #BusinessInsights #Diversity<\/figcaption><\/figure>\n\n\n\nMindMarket<\/a> strikes a nice balance between lively and professional. The illustrated characters animate very subtly \u2014 nothing dramatic, just enough movement to give them personality and make the page feel alive. The UI elements follow the same logic: small, well-timed reactions to hover that feel polished without drawing attention to themselves.<\/p>\n\n\n\nThe difference between functional and decorative motion matters a lot here. Decorative motion (e.g. a loader animation that spins for no reason) adds visual noise without helping anyone. Functional motion guides attention, confirms actions, and makes complex flows easier to follow.<\/p>\n\n\n\n
7. Bold color and expressive palettes<\/strong><\/h3>\n\n\n\nAfter a long stretch of muted, earthy, neutral palettes dominating web design, the direction has swung the other way. Saturated colors, neon gradients, high-contrast pairings, and vivid hues are showing up across lifestyle, beauty, gaming, and youth-focused brands. It’s sometimes called dopamine design, which captures the emotional intent: these colors are meant to create energy and a sense of joy.<\/p>\n\n\n\nBlast off with the Pizzanaut Set from PLANETONO! \ud83d\ude80\ud83c\udf55\ud83c\udf5f\ud83e\udd64 This cosmic meal, complete with pepperoni supernova pizza and asteroid fries, is so good, gravity can wait. Featuring Koalantis, the chillest koala in the galaxy!<\/figcaption><\/figure>\n\n\n\nPlaneto\u00f1o<\/a> is a great example of dopamine design in full effect. The bold yellow, the fun typography, the 3D illustrated food characters \u2014 everything about it is loud, playful, and unapologetically fun. It’s the kind of website where the visual energy does the selling before you’ve even read the menu.<\/p>\n\n\n\nGet Hyped. Get Noticed. Get Results. This website hero section showcases a digital marketing agency’s promise, highlighting their success with 10M+ organic views and 30+ brands helped, complemented by engaging video snippets. #GetHyped #DigitalMarketing #WebDesign<\/figcaption><\/figure>\n\n\n\nGet Hyped<\/a> proves that bold color choices and a restrained palette aren’t mutually exclusive. A handful of strong, saturated hues do all the work against a clean neutral background, keeping things vibrant without ever feeling overwhelming.<\/p>\n\n\n\nPart of this new direction comes as a reaction to AI-assisted design that’s producing a lot of cautious, safe color choices. Part of it is probably genuine nostalgia for the brighter visual culture of the late 90s and early 2000s. Either way, it’s a real shift and one with good results when it’s handled well. For a broader look at the palette directions taking over across all creative disciplines this year, the Color Trends 2026<\/em><\/a> article is worth a read.<\/p>\n\n\n\n8. Accessibility-first design<\/strong><\/h3>\n\n\n\nAccessibility has moved into a different position in 2026. It’s no longer something that gets addressed at the end of a project as a compliance task. Designers who work at a high level are thinking about color contrast, focus states, keyboard navigation, and screen reader compatibility from the start, because it’s part of what makes a design genuinely good. The European Accessibility Act<\/a>, which came into effect for digital products in mid-2025, has pushed a lot of companies in this direction as well.<\/p>\n\n\n\nThe practical shift is that accessibility is being built into design systems rather than retrofitted onto finished products. When it’s treated as a system concern rather than an afterthought, it stops feeling like extra work and starts feeling like good design practice.<\/p>\n\n\n\n
Typography is no longer static. In 2026, type moves: it shifts weight, stretches on scroll, reacts when you hover, and animates when the page loads. Done well, it’s one of the most striking things you can do in a modern website.<\/p>\n\n\n\n Variable fonts<\/a> make this possible. Instead of loading separate files for bold, regular, and light versions of a typeface, a variable font contains all of that in one file, and you can animate between different states smoothly in CSS. This has opened up a whole category of typographic effects that would have been impractical to implement just a few years ago.<\/p>\n\n\n\n Beyond variable fonts, oversized type used as a layout element has become a popular approach for hero sections. The words aren’t just content sitting inside a design; they become the design.<\/p>\n\n\n\n Typography animation doesn’t have to be complex to be effective. Sites like Jitter<\/a> and Sofi<\/a> show how fluid, well-timed text motion can add real personality to a product without ever getting in the way of the message. Museum of Money<\/a> takes a different approach, letting oversized type do most of the heavy lifting. AVA SRG<\/a> is using text animations that feel playful and keep you scrolling just to see what comes next.<\/p>\n\n\n\n Envato has a good range of expressive display and variable fonts<\/a> if you need a starting point, and if you want to go deeper on where type is heading this year, our Font Trends and Typography Styles<\/a> article is a great companion read.<\/p>\n\n\n\n The standard 12-column grid has been behind almost every website for the past decade. It works well, but when everyone uses the same underlying structure, sites end up looking similar regardless of what’s inside them.<\/p>\n\n\n\n Organic layouts step away from the rigid grid. Asymmetric compositions, overlapping elements, irregular shapes, diagonal movement, and unusual spacing all create a sense of visual personality that a standard grid just doesn’t produce. The goal isn’t chaos for its own sake; it’s finding a layout that feels considered and distinctive rather than default.<\/p>\n\n\n\n The website of Sut\u00e9ra<\/a> is a great example of using organic layouts. The page ditches conventional grids in favor of scattered, overlapping elements. Nothing aligns in the way you’d expect, yet the composition doesn’t feel accidental.<\/p>\n\n\n\n This trend fits naturally alongside the broader shift toward more human, less machine-generated design. An irregular layout suggests that real decisions were made, that someone thought carefully about how to arrange things rather than dropping content into a template.<\/p>\n\n\n\n Beaucoup Studio<\/a> uses overlapping elements and an unconventional layout to create something that immediately feels different. This is the kind of website you remember precisely because it refuses to look like everything else.<\/p>\n\n\n\n Fashion brands, cultural organizations, and creative agencies are the most visible examples right now, but this approach is spreading to tech companies and other sectors that want their sites to feel less generic.<\/p>\n\n\n\n Glassmorphism had its moment a few years back and quickly got dismissed as something that looked great in Dribbble shots but fell apart in real projects. In 2026, it’s back, but the way it’s being used has matured significantly.<\/p>\n\n\n\n The frosted glass look (translucent panels, blurred backgrounds, soft layered shadows) got a serious boost from Apple’s Liquid Glass design system. Apple isn’t using it as decoration; they’re using it as a way to communicate depth and hierarchy, showing how interface layers relate to each other spatially. That shift in thinking is what makes the 2026 version feel different from the earlier trend.<\/p>\n\n\n\n The Fluid Glass<\/a> website is a fitting example. A company that designs and sells glass systems using frosted, translucent UI elements throughout their site. The glassmorphism feels earned rather than decorative, because it literally mirrors what they make.<\/p>\n\n\n\n So why should you consider it for your own projects? A few good reasons. First, glassmorphism adds a sense of depth without relying on heavy visuals or complex illustrations \u2014 a subtle frosted panel over a gradient background can do a lot of visual heavy lifting with very little. Second, it works well in layered interfaces where you need to show that something is floating above the rest of the page, like a modal, a sticky nav, or a side panel. It communicates hierarchy in a way that feels natural and intuitive. Third, it pairs beautifully with bold color and photography, letting background content show through in a way that feels intentional rather than obscured. Done well, it makes a design feel polished and modern without looking overdone.<\/p>\n\n\n\n Envato’s UI kit library<\/a> has glassmorphism component sets that give you a solid starting point.<\/p>\n\n\n\n Three-dimensional elements on the web are nothing new, but in 2026 they’ve crossed a threshold. What used to feel like a showpiece reserved for award-winning agency sites or high-budget campaigns is now showing up across e-commerce, SaaS, and brand marketing \u2014 and it’s being done with a level of polish and purpose that earlier attempts rarely achieved.<\/p>\n\n\n\n The shift is partly technical. Tools like Three.js, WebGL, and Spline have made it significantly easier to bring 3D into a browser without needing a team of specialist developers. Lightweight file formats and better compression mean these experiences load faster than before, even on mobile. But the bigger shift is in how 3D is being used. It’s no longer about showing off what’s technically possible. It’s about giving users something genuinely useful \u2014 a product they can spin around, a space they can explore, an interface that responds to how they move through it.<\/p>\n\n\n\n Lando Norris’s personal website<\/a> is a great example of 3D and interaction done right. The hero image reacts to your cursor as you move around it, tilting and getting revealed in a way that feels delightful. It’s a small interaction, but it immediately pulls you in and sets the tone for the rest of the experience. The Kriss.ai<\/a> website combines 3D scenery with user interactions to create a memorable, immersive user experience.<\/p>\n\n\n\n The Anime.js website<\/a> uses a scroll-driven 3D scene to introduce the library \u2014 a complex cylindrical object that deconstructs and reconstructs piece by piece as you scroll down the page, turning what could have been a dry documentation homepage into something that actually makes you want to explore further.<\/p>\n\n\n\n The e-commerce application is particularly compelling. Brands like Claris Virot<\/a> have been using interactive 3D to let users examine products up close and rotate them, and the approach scales well beyond fashion. AutoTrader Canada partnered with London Dynamics<\/a> to bring 3D visualization and AR (augmented reality) to car shopping, letting buyers explore and customize vehicles in detail before ever visiting a dealership. That kind of experience reduces purchase hesitation in a way that even the best photography can’t quite match.<\/p>\n\n\n\n Beyond shopping, 3D is being used for brand storytelling. Hero sections where abstract shapes respond to cursor movement, scroll-triggered scenes that unfold as you move down the page, and product launches that feel more like interactive films than web pages.<\/p>\n\n\n\n Cartier’s “The Fabulous Journey”<\/a> is a good example of 3D used for brand storytelling rather than product display. This is an interactive experience where you guide an airship through a richly illustrated world, collecting gems along the way. It’s more digital adventure than website, and it works because the immersion feels completely aligned with what Cartier is as a brand.<\/p>\n\n\n\n Envato has 3D assets, templates, and UI elements<\/a> that can give you a head start if you want to experiment with this direction.<\/p>\n\n\n\n AI has moved from a topic designers talk about to a tool they actually use day to day. The impact is showing up in two distinct ways.<\/p>\n\n\n\n The first is how designers work. Tools like Figma Make and Framer AI speed up the early stages of a project considerably. You can explore more layout ideas, generate component variations, and test directions faster than before. The role of the designer shifts a bit: less time executing, more time making decisions and directing where things go. The output of AI tools still needs a lot of editing and judgment to be genuinely good, but the speed advantage is real. If you want a broader picture of how AI is reshaping the creative industry beyond just web design, our AI Impact on Graphic Design<\/a> article covers it well.<\/p>\n\n\n\n The second is how websites get consumed. AI assistants and search tools are increasingly reading and summarizing websites on behalf of users, which means the structure and clarity of your content matters beyond just what a human visitor sees. This is sometimes called Machine Experience design, or MX design. Think of it as the counterpart to UX design: where UX is about making a website easy and pleasant for a human to navigate, MX is about making it easy for an AI system to read, understand, and accurately represent. UX asks “can the user find what they need?”, while MX asks “can the AI correctly summarize what this page is about?” Both matter now, and the good news is that designing well for one tends to help the other. Clear structure, logical hierarchy, and well-labelled content benefit humans and machines equally.<\/p>\n\n\n\n Animation in web design has been through a phase of overuse. Every element fading in on scroll, page transitions that take too long, hover effects on things that don’t need them. In 2026, the focus has shifted to animation that actually does something useful.<\/p>\n\n\n\n Micro-interactions are the small moments of feedback built into an interface: a button that responds when you press it, a form field that reacts to a validation error, a toggle that feels satisfying to flip. These details make the interface feel more responsive and easier to understand. They reduce the mental effort of figuring out if something worked.<\/p>\n\n\n\n Lusion’s website<\/a> is a masterclass in restraint. Every hover, scroll, and transition feels considered \u2014 animations that respond to what you’re doing rather than competing for attention, guiding you through their work without ever making the motion the main event.<\/p>\n\n\n\n MindMarket<\/a> strikes a nice balance between lively and professional. The illustrated characters animate very subtly \u2014 nothing dramatic, just enough movement to give them personality and make the page feel alive. The UI elements follow the same logic: small, well-timed reactions to hover that feel polished without drawing attention to themselves.<\/p>\n\n\n\n The difference between functional and decorative motion matters a lot here. Decorative motion (e.g. a loader animation that spins for no reason) adds visual noise without helping anyone. Functional motion guides attention, confirms actions, and makes complex flows easier to follow.<\/p>\n\n\n\n After a long stretch of muted, earthy, neutral palettes dominating web design, the direction has swung the other way. Saturated colors, neon gradients, high-contrast pairings, and vivid hues are showing up across lifestyle, beauty, gaming, and youth-focused brands. It’s sometimes called dopamine design, which captures the emotional intent: these colors are meant to create energy and a sense of joy.<\/p>\n\n\n\n Planeto\u00f1o<\/a> is a great example of dopamine design in full effect. The bold yellow, the fun typography, the 3D illustrated food characters \u2014 everything about it is loud, playful, and unapologetically fun. It’s the kind of website where the visual energy does the selling before you’ve even read the menu.<\/p>\n\n\n\n Get Hyped<\/a> proves that bold color choices and a restrained palette aren’t mutually exclusive. A handful of strong, saturated hues do all the work against a clean neutral background, keeping things vibrant without ever feeling overwhelming.<\/p>\n\n\n\n Part of this new direction comes as a reaction to AI-assisted design that’s producing a lot of cautious, safe color choices. Part of it is probably genuine nostalgia for the brighter visual culture of the late 90s and early 2000s. Either way, it’s a real shift and one with good results when it’s handled well. For a broader look at the palette directions taking over across all creative disciplines this year, the Color Trends 2026<\/em><\/a> article is worth a read.<\/p>\n\n\n\n Accessibility has moved into a different position in 2026. It’s no longer something that gets addressed at the end of a project as a compliance task. Designers who work at a high level are thinking about color contrast, focus states, keyboard navigation, and screen reader compatibility from the start, because it’s part of what makes a design genuinely good. The European Accessibility Act<\/a>, which came into effect for digital products in mid-2025, has pushed a lot of companies in this direction as well.<\/p>\n\n\n\n The practical shift is that accessibility is being built into design systems rather than retrofitted onto finished products. When it’s treated as a system concern rather than an afterthought, it stops feeling like extra work and starts feeling like good design practice.<\/p>\n\n\n\n2. Organic layouts and breaking the grid<\/strong><\/h3>\n\n\n\n
3. Glassmorphism, done properly this time<\/strong><\/h3>\n\n\n\n
4. 3D elements and immersive experiences<\/strong><\/h3>\n\n\n\n
5. AI in the design workflow (and designing for AI)<\/strong><\/h3>\n\n\n\n
<\/figure>\n\n\n\n6. Micro-interactions and motion that earns its place<\/strong><\/h3>\n\n\n\n
7. Bold color and expressive palettes<\/strong><\/h3>\n\n\n\n
8. Accessibility-first design<\/strong><\/h3>\n\n\n\n