Three slides sit on screen at once: the middle one square-on, the outer two turned away and dimmed so the eye knows where to land. Arrows, tick dots and a counter are each optional, autoplay carries its own pause label, and arrow keys and swipe both step it. Best on portfolios where the next piece should tease rather than compete.

Vertical panels stay compressed to their labels until one opens and squeezes its neighbours, so six sections fit in the height of one. A layout control flips the whole thing to a stacked arrangement, open-on-hover can be switched off for touch, and you pick which panel is open when the page loads. A counter can sit above or below.

A full-bleed photograph with the caption fading in half a beat after the image lands, so the picture reads first and the words only confirm it. Autoplay with a progress line, keyboard steps and swipe are all built in, and images below the fold load lazily. Made for hero areas where the picture carries the message, not long galleries.

A stack of offset cards where the top one lifts and peels away to the side. The depth left behind is how people judge what remains, so no counter is needed. Every card carries a badge, a price and a note, you set how many stay visible in the stack, and an optional hint tells first-timers to drag. Next and Back are labelled text.

The frame splits down the centre and the two halves travel in opposite directions, uncovering the next pairing as they pass each other. A loud move: use it once, near the top of a page, rather than for a twelve-image gallery. Keyboard, swipe and a progress read come with it, and screen readers are told which pair is showing.

The scroll wheel drives the slides, and the page takes the scroll back the moment you reach either end, so nobody gets trapped in the section on the way down. Arrow keys and swipe do the same job. Best on vertical stories where reading order matters more than letting people jump about, and reduced-motion turns it into a plain step.

Cards turn on their vertical axis to show a second face, so one slide does the work of two: front for the pitch, back for the specification. Dots track position, arrow keys and swipe step through, and reduced-motion visitors get the swap without the spin. Both faces are editable. Good for product specs, pricing detail and team bios.

Slides ride the rim of a circle anchored below the viewport, arriving level and tipping away as they leave, so it reads as motion along a path rather than along a track. Wheel, keyboard and swipe all drive it and a counter marks position. Suits image-led sets where the movement is part of the pitch; reduced-motion flattens the curve.

Uneven tiles swap positions instead of sliding sideways, so the composition changes shape while the frame stays put. Keyboard and swipe both move it, and reduced-motion gets a plain cut. Suits a gallery where no single image has to come first — the set is the point, and ranking would only get in the way. Tile sizes are set in the panel.

Grab and throw, with momentum and no snap points, so the strip stops wherever your flick leaves it. Wheel and keyboard work too, and a counter keeps position honest. The half-visible slide at the edge is what tells people to keep pulling — without that overhang, free-drag rows read as static. Keyboard users get discrete steps instead.

Two panels draw apart to uncover the slide already sitting behind them. Nothing travels horizontally, so it stays calm inside a dense page where a sliding track would fight everything around it. Keyboard steps, swipe and reduced-motion handling are built in. Best with strong single images; busy compositions get lost behind the panels.

Items travel a full circle around a fixed centre and finish where they started, with a counter marking position on the way round. Keyboard and swipe both step it, and reduced-motion drops the orbit for a plain change. Keep it for content that genuinely loops — a process, a cycle, a year — where returning to the start is the point.

One picture fills the stage and the slides swap instantly, so there is nothing to stutter on a slow connection or fall out of sync when Elementor re-renders. The only design here with a link on every slide plus one shared call-to-action label. Eighty-five controls cover the scrim, dots, arrows, counter, keyboard and swipe.

A column of entry rows beside a single plate; picking a row swaps the image, the stamp and the caption, which makes the list itself the navigation. Select-on-hover is a switch, worth leaving off wherever a stray pointer will cross it. Built for catalogues, archives and lists of works. 110 controls sit across eighteen sections.

One large plate under a thumbnail strip, with a sticky panel beside it holding the caption and a frame-data table: place, time, lens, aperture, shutter, ISO, every label editable. Frames are replaced outright, nothing slides. The strip is the real control; the arrows are there for people who want them. There are 127 controls in the panel.

Nine item boxes paged three at a time, with a segment rail that shows position and jumps straight to a page. Each box holds an image, category, title, copy and a stat pair. The repeating unit is the page rather than the item, which is the trade for the free tier: nine boxes across three content sections. The rail can be hidden.

A tab strip over editorial panels — figure and caption, kicker, title, lede, body copy, a three-row facts table and a byline. Real ARIA tablist semantics with roving tabindex, so arrow keys and screen readers behave the way people expect. Closer to a magazine spread than a slider, and better for long copy. 131 controls.

A quote beside its portrait, stepped with chevrons that can name whoever speaks next instead of just pointing somewhere. A progress bar and a running tally track position. The quote mark is a text control rather than a fixed glyph, so it can match the site's language or be emptied out entirely. Five fields per voice, three voices.

Entries pinned to a dated axis, with tick spacing computed from the years you type rather than spread out evenly, so the quiet decades stay visible as gaps. A decade comb above the rule gives that spacing a scale to read against. The widest panel in the set at 143 controls, the axis styled on its own. Nine fields per entry.

One item held large with the others waiting beside it. Click a satellite and it promotes into the feature slot, the boxes moving into their new places with a FLIP animation instead of teleporting there. The feature carries a plaque of three facts; each satellite shows only its number and name. Built for rooms and rotating exhibits.