Dynamic Isometric Illustration for website
Publicada el 2026-07-24
Descripción de la oferta
I’m building Crewsmith, a company that provides AI employees to small service businesses — roofing companies, plumbers, dental practices, property managers. Instead of buying software, the owner hires staff: one that answers every phone call day or night, one that chases unpaid invoices, one that handles paperwork. I need a centerpiece illustration for the homepage: a looping isometric cutaway view of a busy small-business office. Six faceless figures working, phones ringing, paper moving, screens glowing. It sits behind annotation lines that I’ll add later, pointing out where the business is losing money. The idea the scene has to sell This is the most important thing in the brief. The story is not that these people are lazy or that the office is empty. It’s the opposite. Everyone is working flat out. Nobody is idle. And money is still falling through the cracks, because there physically aren’t enough hands. A business owner needs to look at this and think that’s my Tuesday. Busy, overloaded, human — before he reads a single word. Art direction The reference point is a technical cutaway or architectural section drawing, not the rounded pastel isometric style you see on most software marketing sites. Precise, measured, unsentimental. • True 30 degree isometric, orthographic, no perspective, no camera tilt • Line-art dominant, hairline strokes carrying the drawing, fills flat and sparing • Two colors only — near-black on off-white, with mid-greys for depth. No color anywhere in the scene, and this is firm. • Cutaway floor slab with two low back walls, no ceiling, low partitions between zones so the whole operation is visible at once • No gradients, drop shadows, texture, or gloss • No readable text, signage, or screen content Furnish it like a real small business that’s been running fifteen years, not a startup office. Filing cabinets, a printer, a whiteboard, mismatched desks, stacked boxes, chunky older monitors, a coffee maker, paper everywhere. No plants, no beanbags, no exposed brick. The layout Five zones on one floor plate: front desk, dispatch, billing, records, and the owner’s desk. An entry point where work comes in. The figures Six people. Faceless — no eyes, mouth, or any facial features. Simplified geometric construction, no fingers, no hair detail, same graphite as the furniture so they read as part of the drawing rather than characters sitting on top of it. All the humanity comes from posture. These need to read as specific, recognizable working people through body language alone: • One hunched into a phone, other arm raised toward a second ringing line • One turned away from a ringing phone because they’re already on a call • One mid-stride between zones carrying a stack of paper • One leaned back with both hands up, staring at a screen • One seated with a hand on their forehead, surrounded by paper • One standing at the owner’s desk, looking out over the room The animation A seamless 20–30 second loop that runs continuously while someone reads the page. Not scroll-driven — I handle the scroll behavior separately. Motion should be small, slow, constant, and irregular. The office needs to look inhabited rather than animated. If any single element draws the eye on its own, it’s too strong. Even repeating rhythm reads as a screensaver; uneven staggered timing reads as a real workplace. That distinction is what separates a good delivery from a mediocre one. What moves: subtle idle motion on the figures — weight shifts, small torso rotations, an arm adjusting. One figure walks a short repeating route between two zones; the rest stay in place. Phone handsets vibrate when ringing. Paper stacks grow a sheet at a time. The printer ejects a page periodically. Screens flicker faintly. A chair swivels a few degrees. No walk cycles across the floor for more than one figure. No bouncing, no exaggerated squash and stretch. These are tired people at work, not mascots. The camera never moves. Deliverables 1. Main scene as a Lottie animation exported from After Effects via Bodymovin. Vector shapes only, no rasterized images or embedded photos. Target under 400KB since this loads on phones over cellular. 2. A second “solved” version — same office, same camera, same furniture, but calm. Phones not ringing, paper stacks small and static, figures in relaxed rather than strained postures. This appears later on the page as the “after” state, so it has to register as unmistakably the same room. Please build both from the same source composition rather than recreating it later. 3. A layered static SVG of one frame, using the same layer names as the animation. 4. A short list of coordinates marking where each phone, paper stack, screen, and zone center sits in the scene, so I can position my annotation lines accurately. 5. All source files — the After Effects project and the Illustrator artwork, fully editable. Important technical note Every zone, figure, phone, paper stack, and screen needs to be a separately named layer or precomp that can be individually addressed. I need to hide, dim, or highlight any single element from code at runtime. A beautiful file I can’t control isn’t usable for this, so please confirm you’ve structured files this way before.
Skills
Fuente original: freelancer