Ticketing flows for a white-label platform, from picking a seat or a time slot to passing a ticket to a friend.
Every TicketSocket client sold events in its own way: a stadium with seats, a light show with time slots, a team with season tickets. One storefront had to work for all of them and still look like each client’s brand.
Built for how each client sells. I designed the flows for seated and recurring seated events, timed ticketing, season tickets, and add-ons, plus the details that break a purchase when they’re wrong: sold-out tickets, pricing rules, and ticket descriptions.
A rule that came from a rejected idea. Our first time-slot picker used arrows. The client pushed back because the arrows confused buyers. Valentina and I landed on a rule: under 10 slots, show them all; over 10, a dropdown. Showing every slot was out, since some sellers run more than 30 a day.
After the purchase, too. In the customer account I designed transfers, refund requests, upsells, and personal information on both sides: the buyer asking and the admin handling it. The transfer flow started in the MVP and grew into the full version.
One system, many brands. The same flows were dressed for clients like National Geographic, Titanic: An Immersive Journey, Funbox, FIBA, and Kōsoku.
All 13 flows shipped, on both sides of the purchase, under each client’s brand.
TicketSocket sells white-label ticketing: each organizer sells under its own brand. Over the years, every new client brought its own way of selling, and features were added one at a time. The new storefront, Platinum, had to answer that with flows a client could configure instead of rebuild.
Valentina García Aiello led design and validated every decision. I designed the flows on this page, from 2023 to 2025 at Halo Media.
For seated events I owned the pieces that decide whether a purchase goes right: each ticket’s description, what happens when a ticket sells out or carries an add-on, and pricing rules. Recurring seated events, like a run of shows at the same venue, I designed almost entirely: the date list, the calendar view, and picking seats for each show.
For timed events, like immersive exhibits or light shows, the flow runs from date to time slot to tickets to add-ons to checkout. Our first time-slot picker used arrows to step from one time to the next. The client pushed back: the arrows confused buyers.
Valentina and I tried the opposite, showing every slot, and found its limit: some sellers run more than 30 a day, and the page filled up. So the rule came in two parts. Under 10 slots, every one shows as a button; over 10, they move into a dropdown.
Season tickets came in three shapes: the same tickets for every event, a partial season where each buyer picks their dates, and different tickets for each event. Add-ons, like parking or a T-shirt, could have variations and had to stay clear all the way to checkout. After the purchase, the ticket went to Apple Wallet under each client’s brand.
In the customer account I designed ticket transfers, refund requests, upsells, and personal information. The transfer started in the MVP with the minimum, picking a ticket and who gets it, and grew to cover the person receiving it: the email, the sign-in, and the ticket waiting in their account.
Refunds and transfers have two sides. On the other side is whoever runs the event, so I also designed how they show up and get resolved in the admin portal.
TicketSocket asked for features through our delivery lead. Valentina set the direction and validated; I designed the flows and their states, and we handed them to the developers in Figma. Design and code shared Tailwind, so handoff focused on behavior and states instead of rebuilding components.
Because the products were white label, we often fitted the storefront and the other products to a client’s brand: National Geographic, Titanic: An Immersive Journey, Funbox, FIBA, Kōsoku, the Grand Junction Jackalopes, and more.
All 13 flows shipped, on both sides of the purchase, under each client’s brand.
No metrics were shared with me. What I can show is the whole journey: choosing, paying, getting the ticket, passing it on, or asking for your money back.
I learned to design for the seller as much as the buyer. Every storefront screen has a counterpart in the admin, and a clear rule, like the time-slot one, works for a client with three shows a day and one with thirty.
Buying a ticket is the first step toward something you’ve been waiting for. I want that step to feel that good.
