ABOUT
B
ยฉ 2026 Yuval Maman
Role
01
UX / UI Case Study
A
02
03
01
01
04
01
Lior Adika
Responsive
Retail Website
05
06
07
08
Four numbered sections give the page a spine: who we are, what I believe, our vision,
our values. Photo and text alternate so no block of copy runs longer than a screen.
Halfway down, a full width navy band cuts into the white and holds the brand statement
on its own. It paces the scroll, and it marks the one sentence the page exists to deliver.
Departments: a symmetric grid becomes a lead-and-pair rhythm
Store finder: tabs and a split card become a swipe deck
Range without a catalogue
Responsive adaptation
The About page takes the same system into long reading, where the homepage's
card grids are no use.
Store experience
Nine departments, no online store,
no product database. I had to make
the range feel big using photos and
layout only.
โข Page structure and content order
Every desktop screen
The mobile version, rebuilt
not resizedA component library in Figma
Photo selection, cropping and
retouchingCampaign banners
Lior Adika is a chain of beauty and personal care stores with
branches across Israel. The brand was already strong in the
street. Online it had nothing that matched.
About page
Two very different widths
Content Hierarchy
A logo strip. Low prices
make people wonder about
quality. Brands they
recognise answer that.
I designed the site from the structure up: what goes where,
the whole visual layer, the mobile version, and the component
library in Figma. I was the only designer on it, working straight
with the marketing manager.
UX/UI Designer
Solo, start to finish
The site is in Hebrew, so everything reads right to left.
That affects more than alignment. Which way an icon points,
where a number sits in a row, which side a card opens from.
What's new
Choose a store
Color palette
04
Scope
Overview
What I designed
UI system
02
Mock-ups
A campaign banner.
Seasonal promotion,
or a new branch.
The only slot that changes.
Every branch is named and
visible at once, so you see
how far the chain reaches
without clicking anything.
No dropdown, nothing hidden.
โข Logo and brand identity
A colour palette already in use
Professional photos, unedited
A brief from the client
Copy, written by them
Lowest price in Israel is the entire
position, and it was sitting in tiny
type under the logo. It needed to
be the first thing you see.
The price promise was invisible
The store is the conversion
05
The founder's story over a
full width portrait. The trust
in this brand is a person,
so I led with him.
The mobile version isn't the desktop shrunk. Where a section stopped working in
one column I rebuilt it. The components, colours and type stayed the same in both.
On desktop the nine departments sit in a 3ร3 grid, with a shared background colour
per row. Squeeze that into one column and you get nine identical stacked cards:
a long flat scroll with no way to tell the groups apart. So each colour group leads
with one full width card and pairs the other two underneath. The colour bands
survive, the scroll gets a rhythm, and the lead card gives the biggest product
photo in each group room to breathe.
See what you need
Where to find us
Who we carry
What we sell
The Challenge
Address, hours and accessibility
in one card. Accessibility gets
the same weight as opening
hours instead of being buried
in a legal page.
What I was given
Who we are
02
A website for a national beauty and personal care chain
whose whole pitch is simple: same brands, lowest prices in
Israel. I designed it for desktop and mobile, in Hebrew.
Nothing is sold online, so the branch
is the goal. People look a store up on
their phone while they're already out.
That's the main job of the site.
The store finder.
The page ends on the
one thing that actually
converts: walking in.
Nine departments in a
colour banded grid.
The product photos do
the job a catalogue would.
One button at the end of the
card. Everything above it is
information. The only thing you
can press is the thing you
came to do.
03
Navigate
The store section took the longest. Store finders pull you towards complexity: filters,
sorting by distance, tables of data. None of that fits a brand whose whole promise
is that things are simple.
A wide desktop layout and a narrow
phone. Hebrew has no capital letters,
so weight and size do all the work of
hierarchy.
I was after something light enough to sound like the brand and still answer three
questions on one screen. Which store. What do I need to know about it.
How do I get there. What shipped is the plainest version I drew.
Homepage ยท About
Desktop + mobile
03
I ordered the homepage by what someone new to the brand needs to know, rather
than by what the business wants to say first.
Desktop shows every store as a tab and puts the map next to the details,
so you read location and information together. On a phone, a row of Hebrew
store names wraps onto two or three lines and loses its shape, and a map wide
enough to be useful leaves no room for anything else. So the tabs become a
swipeable deck with dots, and the map moves inside the card as a still image.
Enough to orient yourself. The real navigation is handed off to the maps
app by the button.
ยฉ 2026 Yuval Maman
ยฉ 2026 Yuval Maman
08
Four numbered sections give the page a spine: who we are, what I believe, our vision,
our values. Photo and text alternate so no block of copy runs longer than a screen.
Halfway down, a full width navy band cuts into the white and holds the brand statement
on its own. It paces the scroll, and it marks the one sentence the page exists to deliver.
Departments: a symmetric grid becomes a lead-and-pair rhythm
Store finder: tabs and a split card become a swipe deck
Range without a catalogue
Responsive adaptation
The About page takes the same system into long reading, where the homepage's
card grids are no use.
Store experience
Nine departments, no online store,
no product database. I had to make
the range feel big using photos and
layout only.
โข Page structure and content order
Every desktop screen
The mobile version, rebuilt
not resizedA component library in Figma
Photo selection, cropping and
retouchingCampaign banners
Lior Adika is a chain of beauty and personal care stores with
branches across Israel. The brand was already strong in the
street. Online it had nothing that matched.
About page
Two very different widths
Content Hierarchy
A logo strip. Low prices
make people wonder about
quality. Brands they
recognise answer that.
I designed the site from the structure up: what goes where,
the whole visual layer, the mobile version, and the component
library in Figma. I was the only designer on it, working straight
with the marketing manager.
UX/UI Designer
Solo, start to finish
The site is in Hebrew, so everything reads right to left.
That affects more than alignment. Which way an icon points,
where a number sits in a row, which side a card opens from.
What's new
Choose a store
Color palette
04
Scope
Overview
What I designed
UI system
02
01
Mock-ups
A campaign banner.
Seasonal promotion,
or a new branch.
The only slot that changes.
Every branch is named and
visible at once, so you see
how far the chain reaches
without clicking anything.
No dropdown, nothing hidden.
โข Logo and brand identity
A colour palette already in use
Professional photos, unedited
A brief from the client
Copy, written by them
Lowest price in Israel is the entire
position, and it was sitting in tiny
type under the logo. It needed to
be the first thing you see.
The price promise was invisible
The store is the conversion
05
The founder's story over a
full width portrait. The trust
in this brand is a person,
so I led with him.
The mobile version isn't the desktop shrunk. Where a section stopped working in
one column I rebuilt it. The components, colours and type stayed the same in both.
On desktop the nine departments sit in a 3ร3 grid, with a shared background colour
per row. Squeeze that into one column and you get nine identical stacked cards:
a long flat scroll with no way to tell the groups apart. So each colour group leads
with one full width card and pairs the other two underneath. The colour bands
survive, the scroll gets a rhythm, and the lead card gives the biggest product
photo in each group room to breathe.
See what you need
Where to find us
Who we carry
What we sell
The Challenge
Address, hours and accessibility
in one card. Accessibility gets
the same weight as opening
hours instead of being buried
in a legal page.
What I was given
Who we are
02
A website for a national beauty and personal care chain
whose whole pitch is simple: same brands, lowest prices in
Israel. I designed it for desktop and mobile, in Hebrew.
Nothing is sold online, so the branch
is the goal. People look a store up on
their phone while they're already out.
That's the main job of the site.
The store finder.
The page ends on the
one thing that actually
converts: walking in.
Nine departments in a
colour banded grid.
The product photos do
the job a catalogue would.
One button at the end of the
card. Everything above it is
information. The only thing you
can press is the thing you
came to do.
03
Navigate
The store section took the longest. Store finders pull you towards complexity: filters,
sorting by distance, tables of data. None of that fits a brand whose whole promise
is that things are simple.
A wide desktop layout and a narrow
phone. Hebrew has no capital letters,
so weight and size do all the work of
hierarchy.
I was after something light enough to sound like the brand and still answer three
questions on one screen. Which store. What do I need to know about it.
How do I get there. What shipped is the plainest version I drew.
Homepage ยท About
Desktop + mobile
03
I ordered the homepage by what someone new to the brand needs to know, rather
than by what the business wants to say first.
Desktop shows every store as a tab and puts the map next to the details,
so you read location and information together. On a phone, a row of Hebrew
store names wraps onto two or three lines and loses its shape, and a map wide
enough to be useful leaves no room for anything else. So the tabs become a
swipeable deck with dots, and the map moves inside the card as a still image.
Enough to orient yourself. The real navigation is handed off to the maps
app by the button.
UX / UI Case Study
Lior Adika
Responsive
Retail Website
01
B
02
Role
A
03
01
04
05
06
07
UX / UI Case Study
Lior Adika
Responsive
Retail Website
A website for a national beauty
and personal care chain
whose whole pitch is simple:
same brands, lowest prices in
Israel. I designed it for
desktop and mobile, in Hebrew.
UX/UI Designer
Solo, start to finish
Role
Scope
Homepage ยท About
Desktop + mobile
01
Overview
Lior Adika is a chain of beauty
and personal care stores with
branches across Israel.
The brand was already strong
in the street. Online it had
nothing that matched.
I designed the site from
the structure up: what goes
where, the whole visual layer,
the mobile version, and
the component library in Figma.
I was the only designer on it,
working straight with the
marketing manager.
The site is in Hebrew,
so everything reads right to left.
That affects more than
alignment. Which way an
icon points, where a number
sits in a row, which side a card
opens from.
โข Logo and brand identity
A colour palette already in use
Professional photos, unedited
A brief from the client
Copy, written by them
What I was given
โข Page structure and content order
Every desktop screen
The mobile version, rebuilt
not resizedA component library in Figma
Photo selection, cropping and
retouchingCampaign banners
What I designed
02
The
Challenge
Lowest price in Israel is the
entire position, and it was
sitting in tiny type under
the logo. It needed to be
the first thing you see.
The price promise
was invisible
Range without
a catalogue
The store is the
conversion
Nine departments, no online
store, no product database.
I had to make the range feel
big using photos and
layout only.
Nothing is sold online, so the
branch is the goal.
People look a store up on
their phone while they're
already out. That's
the main job of the site.
Two very
different widths
A wide desktop layout
and a narrow phone.
Hebrew has no capital letters,
so weight and size do all the
work ofhierarchy.
03
Content
Hierarchy
What's new
A campaign banner.
Seasonal promotion,
or a new branch.
The only slot that changes.
01
The founder's story over a
full width portrait. The trust
in this brand is a person,
so I led with him.
Who we are
02
What we sell
Nine departments in a
colour banded grid.
The product photos do
the job a catalogue would.
03
A logo strip. Low prices
make people wonder about
quality. Brands they
recognise answer that.
04
Who we carry
05
Where to find us
The store finder.
The page ends on the
one thing that actually
converts: walking in.
04
Responsive
adaptation
The mobile version isn't the desktop shrunk. Where a section stopped working in
one column I rebuilt it. The components, colours and type stayed the same in both.
The mobile version isn't the
desktop shrunk. Where a
section stopped working in
one column I rebuilt it.
The components, colours and
type stayed the same in both.
A
Departments:
a symmetric grid
becomes a
lead-and-pair rhythm
On desktop the nine
departments sit in
a 3ร3 grid, with a shared
background colour
per row. Squeeze that
into one column and
you get nine identical
stacked cards:
a long flat scroll with no way
to tell the groups apart.
So each colour group leads
with one full width card
and pairs the other two
underneath. The colour bands
survive, the scroll gets
a rhythm, and the lead card
gives the biggest product
photo in each group room
to breathe.
B
Store finder: tabs and
a split card become
a swipe deck
Desktop shows every
store as a tab and puts
the map next to the
details,
so you read location
and information together.
On a phone, a row
of Hebrew
store names wraps
onto two or three lines
and loses its shape,
and a map wide
enough to be useful
leaves no room for
anything else. So the
tabs become a
swipeable deck with dots,
and the map moves
inside the card as a
still image.
Enough to orient
yourself. The real
navigation is handed
off to the maps
app by the button.
Choose a store
01
Every branch is named and
visible at once, so you see
how far the chain reaches
without clicking anything.
No dropdown, nothing hidden.
02
See what you need
Address, hours and accessibility
in one card. Accessibility gets
the same weight as opening
hours instead of being buried
in a legal page.
One button at the end of the
card. Everything above it is
information. The only thing you
can press is the thing you
came to do.
03
Navigate
05
Store
experience
The store section took
the longest. Store finders
pull you towards complexity:
filters, sorting by distance,
tables of data. None of
that fits a brand whose
whole promise
is that things are simple.
I was after something light
enough to sound like the
brand and still answer three
questions on one screen.
Which store. What do
I need to know about it.
How do I get there.
What shipped is the
plainest version I drew.
06
UI system
Color palette
07
About page
The About page takes the
same system into long reading,
where the homepage's
card grids are no use.
Four numbered sections give
the page a spine: who we are,
what I believe, our vision,
our values. Photo and text
alternate so no block of copy
runs longer than a screen.
Halfway down, a full width
navy band cuts into the white
and holds the brand statement
on its own. It paces the scroll,
and it marks the one sentence
the page exists to deliver.
07
Mock-ups
ยฉ 2026 Yuval Maman
01
UX / UI Case Study
UX/UI Designer
Solo, start to finish
Role
Lior Adika
Responsive
Retail Website
A website for a national beauty
and personal care chain
whose whole pitch is simple:
same brands, lowest prices in
Israel. I designed it for
desktop and mobile, in Hebrew.
01
Scope
Homepage ยท About
Desktop + mobile
02
03
Overview
What I was given
What I designed
04
The
Challenge
Lowest price in Israel is the
entire position, and it was
sitting in tiny type under
the logo. It needed to be
the first thing you see.
Lior Adika is a chain of beauty
and personal care stores with
branches across Israel.
The brand was already strong
in the street. Online it had
nothing that matched.
I designed the site from
the structure up: what goes
where, the whole visual layer,
the mobile version, and
the component library in Figma.
I was the only designer on it,
working straight with the
marketing manager.
The site is in Hebrew,
so everything reads right to left.
That affects more than
alignment. Which way an
icon points, where a number
sits in a row, which side a card
opens from.
โข Logo and brand identity
A colour palette already in use
Professional photos, unedited
A brief from the client
Copy, written by them
The price promise
was invisible
Range without
a catalogue
โข Page structure and content order
Every desktop screen
The mobile version, rebuilt
not resizedA component library in Figma
Photo selection, cropping and
retouchingCampaign banners
The store is the
conversion
Two very
different widths
A
B
Content
Hierarchy
05
06
Responsive
adaptation
07
07
ยฉ 2026 Yuval Maman
Nine departments, no online
store, no product database.
I had to make the range feel
big using photos and
layout only.
Nothing is sold online, so the
branch is the goal.
People look a store up on
their phone while they're
already out. That's
the main job of the site.
Store
experience
A wide desktop layout
and a narrow phone.
Hebrew has no capital letters,
so weight and size do all the
work ofhierarchy.
UI system
Color palette
What's new
A campaign banner.
Seasonal promotion,
or a new branch.
The only slot that changes.
The founder's story over a
full width portrait. The trust
in this brand is a person,
so I led with him.
Who we are
02
What we sell
Nine departments in a
colour banded grid.
The product photos do
the job a catalogue would.
03
A logo strip. Low prices
make people wonder about
quality. Brands they
recognise answer that.
04
Who we carry
05
Where to find us
The store finder.
The page ends on the
one thing that actually
converts: walking in.
About page
Mock-ups
The mobile version isn't the
desktop shrunk. Where a
section stopped working in
one column I rebuilt it.
The components, colours and
type stayed the same in both.
Departments:
a symmetric grid
becomes a
lead-and-pair rhythm
On desktop the nine
departments sit in
a 3ร3 grid, with a shared
background colour
per row. Squeeze that
into one column and
you get nine identical
stacked cards:
a long flat scroll with no way
to tell the groups apart.
So each colour group leads
with one full width card
and pairs the other two
underneath. The colour bands
survive, the scroll gets
a rhythm, and the lead card
gives the biggest product
photo in each group room
to breathe.
Four numbered sections give
the page a spine: who we are,
what I believe, our vision,
our values. Photo and text
alternate so no block of copy
runs longer than a screen.
Halfway down, a full width
navy band cuts into the white
and holds the brand statement
on its own. It paces the scroll,
and it marks the one sentence
the page exists to deliver.
Store finder: tabs and
a split card become
a swipe deck
Desktop shows every
store as a tab and puts
the map next to the
details,
so you read location
and information together.
On a phone, a row
of Hebrew
store names wraps
onto two or three lines
and loses its shape,
and a map wide
enough to be useful
leaves no room for
anything else. So the
tabs become a
swipeable deck with dots,
and the map moves
inside the card as a
still image.
Enough to orient
yourself. The real
navigation is handed
off to the maps
app by the button.
Choose a store
01
Every branch is named and
visible at once, so you see
how far the chain reaches
without clicking anything.
No dropdown, nothing hidden.
02
See what you need
Address, hours and accessibility
in one card. Accessibility gets
the same weight as opening
hours instead of being buried
in a legal page.
One button at the end of the
card. Everything above it is
information. The only thing you
can press is the thing you
came to do.
03
Navigate
The About page takes the
same system into long reading,
where the homepage's
card grids are no use.
I was after something light
enough to sound like the
brand and still answer three
questions on one screen.
Which store. What do
I need to know about it.
How do I get there.
What shipped is the
plainest version I drew.
The store section took
the longest. Store finders
pull you towards complexity:
filters, sorting by distance,
tables of data. None of
that fits a brand whose
whole promise
is that things are simple.