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Ahskid Portfolio

A portfolio for a makeup artist and creative director in Lisbon, made of red paperclips, paper prints and a signature.

The Ahskid portfolio on a laptop in a dark room: a red-and-black “Who am I” page with Diksha’s portrait and pinned prints of the work.
Client
Ahskid (Diksha)
Year
2026
Role
Design & Development
Services
Design, Development
Visit the live site

Overview

Ahskid is Diksha, a makeup artist and creative director in Lisbon. I designed and built the portfolio: black, one red, a signature that writes itself, and thirty-seven shoots that open in place. Every shoot, in Diksha’s own words.

What it is

Ahskid is the working name of Diksha, a makeup artist and creative director from Ludhiana, Punjab, now based in Lisbon. The work runs across magazine features, editorials, brand campaigns and runway.

I designed and built the site, from the first layout to the Cloudflare deploy.

The home page opening: the Ahskid signature in red script across a black screen, with a pair of red paperclips in the top corner.
The signature, and nothing else.

Diksha’s marks, not a template

The site is made of things that are already Diksha’s: the Ahskid signature, red paperclips and paper. Everything sits on black, in one red, #ED272B, with grey for the text. Century 725 Condensed sets the titles, Callheart the script, Jost the text and Courier Prime the labels.

The first visit opens with the signature writing itself in red, from Diksha’s own animation. It runs on CSS alone, so a broken script can never leave the site shut behind the overlay, and it plays once a session: a ceremony on arrival, not a toll booth on every page.

“Who am I” in red script above Diksha’s introduction, with Ahskid, Ludhiana, Punjab and “rooted in transformation” picked out in red, beside a portrait in a red frame.
Who am I, in Diksha’s words.

A pinboard, not a grid

The work sits on the home page as twelve shoots pinned to a board. Each is a small stack of paper prints under a paperclip, tilted by hand and placed one at a time, in four loose columns.

The board rests slightly turned down, and the card under the cursor comes up to full brightness and lifts. A touch screen has no cursor to single one out, so there nothing dims. Below 760px the board becomes a two-column scrapbook.

Twelve paper-print cards scattered across black at different tilts, each held by a silver paperclip and titled underneath, from LAZTS and Forever Your Doll to Stained and Thirst, with “See More” beside a pair of crossed red clips.
Twelve shoots, pinned by hand.

Paperclips for navigation

There is no nav bar. Two red paperclips in the corner open a full-screen menu, and swing into a cross to close it. The same crossed clips mark every close, every divider and the favicon.

The full-screen menu: Home, Projects, About and Contact in large red type over the darkened page, with the two paperclips crossed into an X in the corner.
The menu, and the clips crossed to close it.

Filed the way Diksha files it

Thirty-seven shoots and 384 photographs, in the six sections of Diksha’s brief: Magazine Features / Creative Direction, Creative Direction | MUA, Magazine Features, Editorials, Brand Campaign and Runway. Shoots that belong together sit under one name, like Adão and Etic School.

The projects page: a mono red label, “Magazine Features / Creative Direction”, above shoot titles in large red serif type, each beside a double paperclip.
The archive, in the brief’s own sections.

Every shoot opens in place

Diksha didn’t want a separate page for each project, so each one opens where it is. The title swipes right, and underneath come the publication, Diksha’s own statement about the shoot, the credits, and the photographs. The crossed clips fold it away again in one motion.

My Soul Is Burning Red, opened: the title on the right, “Selin Magazine” as a red masthead, Diksha’s statement in italics, photography and talent credits, and a row of three red-lit photographs above a larger one.
My Soul Is Burning Red, open.

Only what’s true

  • 01A credit appears only where there is a real name to print
  • 02Placeholder captions were removed, not left sitting in Diksha’s voice
  • 03The publication is set as a masthead, so it reads as a fact and not as part of the writing
  • 04Pages still waiting on real copy stay unlinked until it arrives
Three phone screens: the signature above the framed portrait, the pinboard as a two-column scrapbook, and Stained opened with Diksha’s statement and its photographs.
On a phone.

Contact, where people already talk

No form at the foot of the page. “Let’s Work Together!!” offers an email address, an Instagram DM, and a handwritten “let’s talk” that opens a WhatsApp chat with the first line already written.

“Let’s Work” and “Together!!” in large grey condensed type, with the email address and Instagram handle in red between them, a handwritten “let’s talk”, and crossed red clips.
Three ways in, none of them a form.

Underneath

Next.js 15 on Cloudflare Workers. The archive comes straight from Diksha’s shoot folders: a build script turns 2.5 GB of originals into web-sized photographs and the data file the projects page reads, so adding a shoot is a folder and a line, and only the web images ship.

Shoots in the archive
37
Photographs, from Diksha’s own folders
384
Pinned to the home page
12

The outcome

Every shoot in one place, filed the way Diksha files it and written in Diksha’s words, on a site that looks like it came from the same hands as the work. Live at ahskid.com.

Next project

Nepal Nexus

A redesign for a Kathmandu trekking company, rebuilt around the guide who founded it.

The Nepal Nexus home page on a laptop, standing on a wooden table in front of the Himalaya at sunrise.