Dan Arad, coaching site
A business card became a decision path. Seven sections, in the order a visitor asks the questions. An AI agent built the options; choosing between them stayed the job.
A business card, not a decision
The old site answered one question well: who Dan is. The six that actually decide a purchase went untouched. Two cards, biography and contact, with phone, email and WhatsApp competing as equal actions.
Seven questions, in the order a visitor asks them
Someone landing here is at a hinge: a role change, a team that stopped working, a decision they cannot say out loud yet. Not another list of certifications. Their questions, in the order they occur.
Seven sections, seven questions. The order is the design. Naming who it is not for was the section Dan questioned most, and the one that does the most work: a stated boundary is what makes the rest believable.
Six screens, or one path
Mapping the offer before any high-fidelity UI made the problem visible: six planned screens meant six places to start and none to finish.
Six entrances, no route
One route, one exit
Cost of the fold: fewer standalone pages to rank, in exchange for a shorter distance from recognition to trust to action. FAQ stayed out so the home page could read as one story. Hebrew and English share the structure exactly.
Same family. Different subject.
Dan teaches with T-Group Israel and asked to start from their visual language. I did, and stayed closer than he expected. Then I changed the one thing that mattered.
T-Group Israel
The starting point
Dan Arad
ShippedTwo hex values apart on the background, deliberately: someone who has sat in a T-Group room should feel the continuity. The differentiation is not the palette, it is the subject. T-Group sells a room you walk into, so the room is the photograph. Dan sells a person you talk to, so Dan is in the frame. Borrowed authority stayed, demoted to one item in the trust line.
Six palettes on one hero, so colour was the only variable. We took 03. It held at hero size and stopped holding at page size: in full composition navy carried most of the surface and the site read like a consultancy. A palette is a ratio, and a hero does not show you the ratio. The second pass kept the colours and inverted the proportions.






Who built the options, and who picked one
The agent edited the Figma file directly, never autonomously. Left column, material it produced. Right column, judgments it could not make.
Options got cheap. The decision did not. The agent cannot see its own output, so it reports success from a response body, not from the frame. Closing that loop by hand is the job.
Where the partner failed
What the audit changed
Not a feeling that the file got cleaner. A count, before and after.
| Measure | Before | After |
|---|---|---|
| Fills bound to a colour token | 2 | 457 |
| Spacing values off the scale | 43 / 89 | 0 |
| Colour pairs failing AA | 2 / 15 | 0 |
| Touch target, navigation | 31px | 44px |
| Button variants | 3 | 2 |
| Sizes in the type scale | unset | 9 |
The AA fix forced the useful split: gold for small text darkened to #7A6229, gold for surfaces left alone. One colour doing two jobs, the same mistake the hero made at page scale. A good system is not measured in tokens. It is measured in decisions you stop making twice.
Four screens, two languages
An intro call, six sessions, then a real decision to continue or stop
Fit and non-fit, side by side, so the boundary is visible
The same structure, mirrored, from one stylesheet
Live, and still an open question
Handed over and launched on 12 August 2026, in both languages. It has been public for hours, not months, so there is no conversion result to report and no honest way to invent one.
What this proves
The architecture was the design. Which seven questions, in which order, is what turned a business card into something a visitor can act on. The agent made options cheap enough to argue with. It never chose the audience, resolved the positioning, or noticed when a palette stopped working.