The website repeats choices made in the identity so that the two read as one thing. What carries over most are the subtle textures and the drop shadows, which together give the handmade impression of paper cutouts. The shadows and the cutouts also make depth: items are either popped up off the page or pushed back into it, which is what allowed the animation: receding shadows, so that hovering over something reads as motion rather than as a colour change.
The two patterns are doing opposite jobs. Both are texture, or illustrated wrapping paper, and both exist to break up larger spaces and to tie elements to each other. The subtler one shows enough to register as a surface without competing with the copy or the logo sitting on it. The darker diagonal line pattern is the reverse: it is not a surface at all, it is an edge, used to define a border, or the thickness of something.
The type works the same way the patterns do, as a unifying juxtaposition. Merriweather feels handcrafted and friendly; Open Sans is more subtle and modern. What connects them is how their letterforms are built technically, and a shared neatness. Headings take a bold Merriweather, which stands with impactful grace and the warmth of Renaissance typography. Everything else switches between a thick Open Sans (strong and precise, good on a button or a subheading and able to stand alone) and a thin, well-spaced weight that is easy to read on screen. Setting the thick and the thin side by side splits importance without needing a rule or a box to do it.
The colour is the identity’s own. The brown, beige and yellow do most of the welcome, and they also get out of the way: they drop back the moment something colourful and vibrant is on the page, which is what lets the illustrations and the work stand out. The orange-brown and the yellow are the hint of vibrancy that stops the whole thing going dull and reserved.
