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Terrafleura / Identity

ui/ux + visual design with a bold, editorial edge

I am a second-year design student building digital experiences that feel expressive, clear, and intentional. My work lives between user-centered thinking and strong visual storytelling.

UI/UX Design
Visual Design
Brand Systems
Intro
Vol. 01

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works
Selected Projects

a quick look at the projects inside

Inside this portfolio you will find projects focused on interaction, interface design, visual systems, and branding. Each one reflects how I approach research, concept development, and polished execution.

FocusDigital products
ApproachStrategy + craft
OutcomeMeaningful visuals
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Vol. 01

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est. 2024
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Discard this final card to open the full portfolio. There you can explore my work, see how I think as a designer, and get a stronger sense of my style for internship opportunities next year.

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Terrafleura

DIGITAL BROADCAST//TERRAFLEURA//UI/UX DESIGNER//VISUAL DESIGN//YOUR CURLY DUTCH DESIGNER//
I design digital experiences with structure, contrast, and personality.

Currently growing my practice in UI/UX design and visual design while building a portfolio for next year's internship applications.
Back to intro
I create digital spaces where user clarity meets strong visual identity.

My goal is to turn research, concept, and interface design into experiences that feel both useful and memorable.
About me
🖱️ Drag sticky notes to move them around!
DOC_REF: ABOUT_ME STATUS: CREATIVE! LAST_MOD: 2026.03.20

FLEUR
BLASE.

Portrait of Fleur Blase
UX/UI & Visual designer
⋮⋮ drag me
☕️ My first ever design project was making anime music video on an illegal sony vegas pro in 2013 at the age of 11 on an old laptop that could barely run paint. At least it stayed alive for that one project!
I

How did it all start?

My passion for creativity and design started at a young age. When I was seven years old, I entered a drawing competition at the local pharmacy, where I enthusiastically competed for the first prize: a large teddy bear that I really wanted to win. Winning the first prize sparked my love for drawing and inspired me to further develop my skills. Since then, my interest in the creative world has only grown. After obtaining my degree in Media Design and my current studies in Communication & Multimedia Design at the Rotterdam University of Applied Sciences.

I have gained extensive experience as a media designer at various organizations, including House of Urban Arts and Moos production house. Here I not only refined my technical skills, but also my ability to think creatively and translate my ideas into visual concepts. I am proficient in Adobe Creative Cloud, Procreate, Figma, and Canva, and I use these tools to bring my artistic vision to life. Whether it is graphic design, digital illustration or multimedia project development, I always strive for high-quality and visually appealing results. My ambition is to develop my creativity and skills continuously and to take on new challenges in the world of design.

⋮⋮ drag me
🏗️ The printing press was so loud I had to learn to read vibrations. Now I look for the same "rhythm" in a clean CSS grid. It has to feel solid.
Graduation photo
Graduated from graphic design!
All You Can Art summer school photo
All you can Art summer school!
Photo in the metro of Rotterdam
Me in the metro of Rotterdam!
II

My Philosophy

Portrait image for philosophy section
ME ON VACATION IN SEOUL, SOUTH KOREA - 2024

01. Design, to me, is not confined to one place. it is shaped by cultures, perspectives, and stories from around the world. My love for travel began at a young age. As a Ghanaian-Dutch woman, I grew up moving between the Netherlands and Ghana more times than I could count on my fingers. Over time, my journey expanded beyond West Africa to much of Europe, and more recently to East Asia, including Korea and Japan.

02. This constant exposure to different cultures has fueled both my curiosity and my creativity. It has taught me that design goes beyond aesthetics, it is deeply connected to people, environments, and the ways we experience the world. My curiosity doesn’t stop at language or borders; it drives me to remain open, empathetic, and inspired. Through design, I aim to reflect this global perspective while continuing to explore, learn, and grow.

III

Technical Skills within UX/UI Design

What I do Tools of the trade Some thoughts
UI Design Figma/Adobe XD, Adobe Package Intermediate // Always room for improvement!
UX Research Notion, Miro Intermediate // Talking to people and gathering insights is key!
Vibe coding Variant, Visual studio code Beginner // But it is so fun to code!
Brand design Sketching, Adobe Illustrator or Adobe InDesign, Canva Expert // Creating cohesive visual identities!
always curious for more!

Under Construction

THIS SECTION IS BEING BUILT // CHECK BACK SOON // THIS SECTION IS BEING BUILT // CHECK BACK SOON // THIS SECTION IS BEING BUILT // CHECK BACK SOON // THIS SECTION IS BEING BUILT // CHECK BACK SOON //
001

CATFEEDER APP

Catfeeder App
UX/UI DESIGN / VISUAL DESIGN RELEASE_2024
002

AUTOFIT

Autofit
USER-CENTERED DESIGN / PROTOTYPING RELEASE_2025
003

MOHOKO-SHOE BRAND

Mohoko Shoe Brand
BRAND DESIGN / MARKETING STRATEGY RELEASE_2025
004

010 PASS-DIGITAL CHILD RIGHTS

010 Pass Digital Child Rights
UX RESEARCH / UI DESIGN RELEASE_2026
005

AMSTERDAM TRAVEL STORIES

Amsterdam Travel Stories
GRAPHIC DESIGN RELEASE_2025

→ 01. THE BRIEF

This project challenged me to design a smart cat feeder app for millennials and Gen Z pet owners — a group that adopted cats during lockdowns but now struggles to keep up with daily care after returning to work or school. I focused on creating a solution that lets owners remotely feed their cats, monitor them through a built-in camera, and communicate via a microphone, all within a simple feeding schedule.

As part of a four-person team (later three), I took ownership of key sections of the brief and used SWOT analysis to identify my strengths. After each iteration, I gathered tester feedback and refined the app so the experience stayed clear, consistent, and usable throughout the project.

The Brief
FIG. ATHE BRIEF

→ 02. DESIGN REQUIREMENTS

Because the target audience is millennials and Gen Z, I shaped the design direction around a playful yet modern aesthetic — minimalist, clear, and welcoming rather than visually overwhelming. During moodboarding, I independently gravitated toward rounded forms, and I later confirmed that choice through other pet and wellness apps, where soft shapes communicate safety and approachability.

For the colour palette, I drew inspiration from the coats of four iconic cat breeds: the Khao Manee (white), Bombay (black), Maine Coon (orange), and the Calico (mixed). I chose Gibson Medium and Anna Pro Subhead to reinforce the warm, minimalist style guide I was building.

Design requirements
FIG. BDESIGN REQUIREMENTS

→ 03. THE PROTOTYPE

My responsibility within the prototype was the feeding schedule and, partially, the cat profiles. After two of the five sections went uncovered, I took on combining both into a cohesive flow.

The final feeding schedule is a week-calendar view — simple but designed. This came from mid-fidelity feedback: the earlier version was cluttered with a blog function and a "nutrition bar" that hurt usability. Based on tester input and a presentation critique, I stripped it back and added a month-view toggle via a calendar icon.

For schedule management, my teammate suggested analysing the Philips Hue app UI. Its pattern — toggling days, repeating schedules, editing times — translated directly to our smart feeder context. The final edit screen lets users rename a schedule, set the time, select active days, toggle repeat, adjust food intake, and link a specific feeder to a cat profile.

The Prototype
FIG. CTHE PROTOTYPE

→ 04. RECOMMENDATIONS

At the final exposition, the clients responded positively to the prototype's clarity and functionality. The key personal takeaway: I knew the app so well that I guided the clients through it rather than letting them explore independently. Future iterations should include onboarding elements — an interactive tutorial or contextual tooltips — so new users can discover the app on their own terms.

An additional avenue worth exploring: comparing the experience of a cat owner with a smart feeder against one without. Observing how behaviour changes — both for the owner and the cat — could surface friction points and improvements not visible through standard usability testing alone.

IMAGE — 04. RECOMMENDATIONS

→ 05. APPENDIX — ITERATION 1 TESTING

Test session 1
FIG. KITERATION 1 — SESSION 01
Test session 2
FIG. LITERATION 1 — SESSION 02
Test session 3
FIG. MITERATION 1 — SESSION 03
Test session 4
FIG. NITERATION 1 — SESSION 04
Test session 5
FIG. OITERATION 1 — SESSION 05
Test session 6
FIG. PITERATION 1 — SESSION 06

→ 06. APPENDIX — ITERATION 2 TESTING

Iter 2 session 1
FIG. KITERATION 2 — SESSION 01
Iter 2 session 2
FIG. LITERATION 2 — SESSION 02


↓ 01. THE BRIEF

This project was commissioned by the ANWB under the name AutoFit, with the goal of contributing to social innovation and affordable mobility. The assignment was to design and prototype one or more accessible, visually attractive web pages that give users a simple overview of their car's maintenance status. The target audience: Dutch people with a low to modal income who depend on their car daily — think single parents, elderly users, or young people who recently got their licence. A key characteristic of this group is limited technical knowledge combined with limited financial headroom, causing them to repeatedly delay maintenance until costs spiral.

We started with in-depth interviews to understand user needs, where maintenance tends to fail, and how people prefer to receive information. From this, we prioritised clarity and simplicity: clear UI elements, icons, and colour coding to make information accessible regardless of the user's age or background.

↓ 02. DESIGN REQUIREMENTS

Several core requirements emerged from the briefing and interviews. The platform needed to be accessible for people with little technical knowledge, transparent about expected costs, and visually supported — for instance through a 3D car model and icon-based component identification. Functionally, AutoFit needed to flag when specific parts (tyres, oil, brakes) required attention, while maintaining a minimal UX flow so users never feel overwhelmed. Navigation had to be as shallow as possible: users should reach their answer in the fewest clicks.

For the visual style, we aligned with the ANWB brand identity while pushing toward a futuristic and minimalist direction — calm, clear, and approachable through consistent typography, iconography, and colour coding.

↓ 03. THE PROTOTYPE

AutoFit offers two entry points: logging in with an existing ANWB account (which unlocks repair history and saved maintenance data) or continuing without an account by simply entering a licence plate. This keeps the experience fast and accessible for users who just want a quick answer.

Once a licence plate is entered, the user's own car appears on screen — in our prototype, an Audi Q6 e-tron. Our empathy mapping revealed that many users see their car as something personal, almost like a "child." Showing their specific car immediately strengthens that sense of ownership and trust. From the home screen, users can access four main functions: a Check-up showing the last and next scheduled service; a Repair History (login required, for privacy); a Maintenance Questionnaire that walks users through their symptoms to estimate likely issues and costs; and a direct component browser for users who already know what they're looking for.

The 3D car viewer was inspired by automotive showroom configurators from brands like Audi and Mercedes, but deliberately scaled back for accessibility. Users can rotate the car and click on specific parts — such as a tyre, door, or brake — to get detailed maintenance information. The interaction was also informed by open-world games with item inspection functions, adapted to a non-technical audience. Clicking on "brake maintenance" opens a dedicated panel with explanatory text, a traffic-light severity system (red = needs professional help, orange = important to monitor, green = easy DIY), a how-to video, and a cost estimate ranging from €300 to €600 depending on the vehicle. A map of nearby garages is shown at the bottom for an immediate next step.

AutoFit home screen
FIG. AHOME — LICENCE PLATE + CAR VISUALISATION
AutoFit brake maintenance screen
FIG. BBRAKE MAINTENANCE — TRAFFIC LIGHT SYSTEM

↓ 04. RECOMMENDATIONS

Feedback from the expo and test rounds pointed to several improvements. Visitors suggested adding more small visual elements — info buttons and icons — to make information more scannable. The questionnaire needed a progress bar so users know how many steps remain and don't drop off halfway through. The client (ANWB) noted that the house style should be more prominently present throughout, particularly in colour and typography choices.

One structural gap we identified ourselves: the distinction between the questionnaire flow and the direct component browser was clear to our team but confusing to outside users. More visual guidance is needed to differentiate these paths. Looking ahead, the most valuable missing feature would be a savings and future-cost overview — giving users a running total of what maintenance has cost them and what to budget for. This was cut due to time constraints but would meaningfully close the loop for the target audience.



Branding Project — Lifestyle Footwear Academic Year 2024–2025

Mo
Hoko

Designed for the Journey.
Movement as a philosophy of life.

Mo Hoko is a conceptual footwear brand that blends Scandinavian calm with Japanese minimalist precision — designed for the modern adventurer navigating the space between work, family, and freedom. This is the story of how that brand came to life.

Mo Hoko shoe product concept render
FIG. 00 Mo Hoko — product concept render, designed for the journey

↓ 01. The Starting Point — Why Mo Hoko?

Most shoe brands pick a side: either performance or style. Athletic labels like Nike focus on output; fashion labels like Common Projects focus on aesthetic prestige. What's missing is the middle ground — a shoe that keeps up with your daily journey, from the morning meeting to the riverside run.

Mo Hoko starts with a simple belief: movement is a form of freedom. Whether you're running mountain trails or rushing to pick up your child from school — every step tells a story. The brand is built around that story, not around the shoe itself. The shoe is the vehicle; the journey is the point.

↓ 02. Brand Identity — The Golden Circle

The brand identity was built using Simon Sinek's Golden Circle framework: from the inside out, from meaning to product. Rather than starting with what we sell, we began with why it matters.

Why

Mo Hoko believes that movement is a form of freedom. Our mission: to design shoes that embrace adventure, comfort, and connection.

How

By balancing Scandinavian simplicity with Japanese calm — sustainable materials paired with technical innovations that guarantee comfort.

What

Lifestyle-performance shoes: stylish enough for daily use, functional enough for adventure. From city streets to mountain paths.

The name "Mo Hoko" was chosen deliberately: it sounds universal, carries an Asian tonal quality that reflects the Japanese design influence, and is short enough to remember. The logo — a stylised mountain peak set within a bold letter H, the brand's initial — tells the brand's story in a single glance: nature and identity fused into one mark.

↓ 03. Visual Identity — The Moodboard

Mo Hoko's visual DNA is built on a tension: the cool, misty tones of the Scandinavian north set against the warm, earthy hues of a Japanese mountain. No loud colours, no noise — just stillness, texture, and calm.

Wheat
#E8DFC8
Olive
#6B7C3B
Sienna
#8B4513
Kobicha
#5C3317
Xanthous
#C9A227
Burnt Wd
#3D2B1F

The palette is deliberately earthy and restrained — no accent that shouts, but tones that work together like the layers of a landscape. Wheat fields as a neutral base, Olive tree for sustainability, Sienna and Kobicha for warmth and depth, Xanthous as a subtle golden-hour highlight.

Mo Hoko typography system
FIG. BScandinavian calm tones
Mo Hoko colour palette
FIG. CJapanese minimalist forms

Typographically, Mo Hoko opts for a clean, geometric sans-serif for headings — functional and clear — paired with an organic body typeface that adds warmth. No decorative fonts, no flourishes: the typography serves the product, never the other way around.

↓ 04. Target Audience & Value Proposition

At the heart of the strategy is a clear understanding of who the wearer is. Mo Hoko speaks to young professionals between 25 and 40 — people seeking balance between career, family, and personal freedom. They are design-conscious, sustainability-minded, and refuse to choose between style and function.

Not just shoes — but moments of movement. Emotional Utility Footwear.

What sets Mo Hoko apart is the concept of "Emotional Utility Footwear": a term that captures the product's dual value. Functional value (lightweight, ergonomic, sustainable materials) combined with emotional value — a sense of connection to your own rhythm and path through life.

↓ 05. The Design Process — Step by Step

Mo Hoko didn't start from a sketchpad — it started from a philosophy. The process ran from meaning to identity to product, consistently inside-out in line with the Golden Circle model.

01
Define the Brand Philosophy

Starting point: what does Mo Hoko believe? "Movement is freedom" as the core conviction. Every subsequent choice traces back to this.

02
Moodboard & Visual DNA

Scandinavian + Japanese as directional inspiration. Soft textures, natural light, human contact with the earth. Colour palette drawn from landscape, not from trend.

03
Target Audience Analysis

Primary group: young professionals 25–40, active lifestyle. Secondary group: design enthusiasts and conscious consumers. Need: functional aesthetics without compromise.

04
Logo & Naming

Name chosen for sound and universality. Logo: a mountain peak set within a bold letter H, the brand's initial — nature and identity merged into one mark. White on dark as the primary application.

05
MVP & User Validation

First prototype: not a physical shoe, but a conceptual brand presentation. Tested with one respondent: strong positive reaction to aesthetic and sustainability value. Key finding: price perception among young consumers calls for a more accessible entry-level option.

06
Go-to-Market Strategy

Soft launch via Kickstarter → limited edition drop with local artists → storytelling via Instagram → pop-up experience stores.

Mo Hoko brand moodboard
FIG. GBrand moodboard — visual identity & colour palette
Mo Hoko logo variations
FIG. HLogo variations & mark exploration

↓ 06. Sustainability — CSRD Integration

Mo Hoko is more than a beautiful brand — it is a position. The CSRD (Corporate Sustainability Reporting Directive) is not a compliance obligation but an opportunity to demonstrate transparency to the audience that matters most.

// CSRD FRAMEWORK — MOHOKO POSITION ENVIRONMENT (E):  Recycled EVA + natural mesh materials
                    Locally produced soles + circular design method

SOCIAL (S):         Fair wages, safe working conditions
                    Focus on long-term supplier partnerships

GOVERNANCE (G):    Transparent supply chain communication
                    Annual impact reporting

> STATUS: EMBEDDED IN BRAND IDENTITY
> SLOGAN: "We design for the journey, not the landfill."

At Mo Hoko, sustainability is not a marketing layer applied after the fact — it is a founding pillar of the brand philosophy. The circular design methodology means the end of a shoe's life is considered at the moment of its creation. Longevity is treated as equally important as the initial sustainability of the materials themselves.

↓ 07. Financial Feasibility

Mo Hoko's financial approach has been kept deliberately conservative in the first phase. By selling directly online through a pre-order model, inventory risk is minimised while margin is maximised.

The initial investment of €50,000–€100,000 covers development, production, and marketing. The break-even point sits at 500 pairs sold in the first year — achievable with a committed community of early adopters activated via Kickstarter. The cost price per shoe (€120–€150 for the complete pair) and the retail price are intentionally close in the first phase, with direct online sales increasing the margin by removing the retailer from the equation.

↓ 08. Reflection — What Did This Project Teach Me?

The most valuable insight from this project: brand identity is built from the inside out, never the reverse. It was tempting to start with the surface — the colours, the logo, the name — but once the philosophy was clear, every visual decision fell naturally into place.

The validation confirmed the strength of the concept, while also surfacing a real challenge: price positioning for a young audience. The recommendation — a more accessible entry-level line or flexible payment options — immediately becomes a strategic next step that flows logically from the research.

Mo Hoko is more than a shoe. It is a philosophy of conscious movement — sustainable, comfortable, and meaningful.

If this project proved one thing, it is that a strong brand begins with a clear answer to the question: why does this exist? Mo Hoko has that answer. Everything else is craft.

This project came together through more than just research and design work — it was shaped in large part by the knowledge and guidance I received during two workshops that I found genuinely inspiring.

The Brand Identity workshop with Mathijs van Haagen gave me the tools to think about a brand as something deeper than a logo or colour palette. It taught me how to build meaning from the inside out — a lesson that became the backbone of everything Mo Hoko stands for. The workshop pushed me to ask harder questions about who a brand is for, what it believes in, and how those beliefs translate into visual and verbal language.

The Start Your Business workshop with Robert Heilbron grounded the creative vision in commercial reality. Learning to think about go-to-market strategy, financial feasibility, and value propositions gave Mo Hoko structure and direction it wouldn't otherwise have had. It bridged the gap between a beautiful concept and a viable business.

Both workshops left a clear mark on this project — and on how I approach entrepreneurship and design thinking moving forward.

Workshop I Mathijs van Haagen Brand Identity
Workshop II Robert Heilbron Start Your Business