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Fedor Molot
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Self-initiated concept·UX/UI, prototyping, 3D and animation·2025·3 min

LEGO — a brand-led redesign concept

A self-initiated concept exploring how a catalogue with enormous visual variety can still feel like one system. Interface design, a component set and 3D motion, built to test whether LEGO's playfulness survives being put on a strict grid.

Self-initiated conceptVisual designConcept3D and motion

What this is

LEGO's digital presence has to carry two things that usually fight each other: a catalogue of thousands of products with wildly different photography, and a brand built on play. Push it towards order and it goes corporate. Push it towards play and it stops being usable.

This concept was an exercise in holding both — a redesign that keeps LEGO's signature yellow and red and its sense of motion, while putting every product, collection and page on one strict, quiet grid underneath.

It is a visual and motion exploration, not a process case study. There is no research behind it and nothing was tested. I am showing it because the craft is the point: the component work, the type scale, and the 3D and motion that carry the brand's energy without the interface having to shout.

The main page

The main page, running. The layout underneath barely moves — the energy comes from the 3D scene it sits in and from the transitions between collections.

The interesting constraint is that almost none of the visual variety can live in the interface. Product photography already brings colour, texture and chaos, so the frame around it has to give way. Everything is built from a small set of blocks that repeat: a collection header, a product card, a detail panel, a promotional tile.

The component set: one collection block at three type sizes, product cards, a product detail panel, quantity steppers, promotional tiles and the footer columns — all on the same five-colour palette of yellow, black, light grey, off-white and red
The component set: one collection block at three type sizes, product cards, a product detail panel, quantity steppers, promotional tiles and the footer columns — all on the same five-colour palette of yellow, black, light grey, off-white and red.
The same system on mobile: hero, cross-sell, and the footer
The same system on mobile: hero, cross-sell, and the footer. The display type is allowed to get very large, because it is the one place the layout is permitted to be loud.

The product page

The product page. “You may also like” is the moment the grid has to hold the most different kinds of photography at once — a ship, a BrickHeadz figure, a helmet — which is exactly why the card around them is as plain as it is.
The specification block — item number, piece count, age, points — is set as data rather than prose, so a page works the same whether the set has 80 pieces or 8,000
The specification block — item number, piece count, age, points — is set as data rather than prose, so a page works the same whether the set has 80 pieces or 8,000.

Motion is the brand voice here

The renders and animation are mine as well, built in Blender and After Effects. They exist to answer a specific question: whether the brand's physicality — the weight and click of the bricks — can be carried by the page rather than by the product photography alone.

A single transparent brick, tumbling. Rendered rather than photographed, so the same lighting and palette could run across every hero on the site.
The product hero treatment: the set turning slowly enough to read as an object rather than as an animation.

Motion also does quiet work at the smallest scale. The menu is not a hamburger icon with a LEGO skin on it — it is a brick, and it behaves like one.

The menu control. Studs that snap together, at the size of a 16-pixel icon.
Display type embossed into a moulded surface — brand voice delivered as an object rather than as a headline
Display type embossed into a moulded surface — brand voice delivered as an object rather than as a headline.

Honest scope

This is the concept in the portfolio I would defend the least in a process interview, and I would rather say so than dress it up. It has craft and it has a coherent system, but it has no problem statement, no research and no measured outcome — because it was never trying to have those.

For that kind of work, read the Paggy case study or the freelance banking concept instead.

The full visual presentation is on Behance.