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","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: muted jewel tones; exact palette ours.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: stylised botanical, figure-centred.","basis":"canonical_constraint","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form / motif / surface / technique: whiplash line; colour lithography.","basis":"canonical_constraint","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"surface-8","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"If ornament and structure are the same thing, then motion should reveal the line's continuity — a border that draws itself along its own path, at the pace of a hand. 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A line that describes a plant can also carry the lettering, frame the figure and hold the composition together, so decoration is never applied to a design that would work without it.","href":"a/art-nouveau.html","preview":true}},{"slug":"bauhaus","name":"Bauhaus","spec":{},"summary":"A fourteen-year experiment in how art, craft, technology and everyday life might be redesigned together.","rules":[{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Bauhaus typography stressed visual clarity; promotional materials used sans-serif type and photography as important graphic elements.","basis":"documentary","basisLabel":"Documented · Source not yet verified","ours":false,"claimKey":"t-clarity","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Moholy-Nagy's page design and essay 'The New Typography' in the 1923 exhibition catalogue are an early definitive statement of Bauhaus typography: asymmetric layout, sans-serif type, geometric organisation.","basis":"documentary","basisLabel":"Documented · Source attached","ours":false,"claimKey":"t-new-typography","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Bayer's 1925 Universal lettering built an alphabet from geometric logic and eliminated separate capitals.","basis":"documentary","basisLabel":"Documented · Source attached","ours":false,"claimKey":"t-universal","evidence":null},{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Bayer's 1926 Poelzig lecture poster uses sans-serif type, an underlying grid and asymmetric composition for rational organisation; 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The colour is not a palette choice: the cyanotype process produces exactly this, and a blueprint in another colour is a drawing that is not a blueprint.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached · disputed","ours":false,"claimKey":"bp-r1","evidence":null},{"area":"apparatus","areaKey":"raw:apparatus","areaLabel":"Apparatus","areaOrder":50,"text":"A ruled title block in the sheet corner carries drawing number, revision and owner. 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Every line weight, callout and panel exists so that a reader in another workshop can reconstruct the object exactly, and the blueprint is the quick, cheap contact copy that carries the drawing there: white line on Prussian blue is the chemistry of that copy, not a style.","href":"a/blueprint.html","preview":true}},{"slug":"broadsheet","name":"Broadsheet","spec":{},"summary":"Narrow justified columns, hairline rules, masthead, black ink on newsprint","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Composition: narrow justified columns; masthead.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"layout-3","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Editorial Modernism's serif-text / condensed-sans-furniture pairing, tightened. 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Consistent with Archival's refusal of editorial ranking, and equally unusual for a webpage.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Restrained cartographic conventions — contour brown, water blue, route red on a pale ground. 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A mark the reader cannot decode from the drawing itself is a defect, not a flourish.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"cg-r1","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"A label must be unambiguously associated with the feature it names, must not collide with another label, and must express the feature's extent. 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Every mark is placed where the thing is, and the legend exists so the reader can verify the code rather than trust it — which is why the apparatus is always shown rather than hidden.","href":"a/cartographic.html","preview":true}},{"slug":"cassette-futurism","name":"Cassette Futurism","spec":{},"summary":"Beige and amber CRT, chunky physical switches, low-resolution readouts, ruled panels","rules":[{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Typography: dot-matrix.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by bay position and label, not scale. Everything is roughly the same size, as on a real instrument panel; importance is carried by where a control sits and what is engraved next to it.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: amber on beige.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Schematic and diagrammatic rather than photographic, on the reasoning that the register's own surfaces would carry wiring diagrams and labels rather than pictures.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form / motif / surface / technique: switches, dials, plastic.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"Mechanical and stepped — toggle states that snap, readouts that increment in discrete jumps, occasional CRT flicker. 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Not a claim; reasoned from letterpress economics.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"color-5","evidence":null},{"area":"density","areaKey":"density","areaLabel":"Density","areaOrder":11,"text":"Density: fills the sheet.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"density-6","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form / motif / surface / technique: stripes, banners, bulbs.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"Chasing bulbs. The one motion the register genuinely implies, and it is periodic rather than triggered.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"motion-14","evidence":null},{"area":"register","areaKey":"context","areaLabel":"Context","areaOrder":99,"text":"The bill is the artefact: a stacked hierarchy of superlatives set in whatever display wood type the shop held, printed at poster scale to be read across a street.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"ci-r1","evidence":null}],"areas":["layout","typography","hierarchy","color","density","raw:form / motif / surface / technique","motion","context"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-bungee-shade-woff2","name":"Bungee Shade"},{"alias":"mxf-anton-woff2","name":"Anton"}],"colours":["#f0e4c8","#a8231b","#c8921e","#211a10","#ead9b0","#6b5a38"],"argues":"The bill must promise more than can fit on it. Every available surface is used to advertise abundance, and the design's job is to make a limited show read as an overwhelming one.","href":"a/circus.html","preview":true}},{"slug":"coquette","name":"Coquette","spec":{},"summary":"Bow and ribbon motifs, blush and cream, tulle and lace texture, soft film grain","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"The bow-as-structure reading — ribbons gather and terminate sections. A real compositional device rather than an applied motif, and the most interesting thing to build here.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"layout-3","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"And must not collapse to one face: script for display, fine serif for text.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by ribbon termination — what a ribbon ties off reads as a closed unit. No contrast ramp is available in the palette.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: blush and cream.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Still-life of material — fabric, ribbon, lace. Not figures, which is where the gender question becomes a representation question.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form/motif/surface: bow, ribbon, tulle, lace.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null}],"areas":["layout","typography","hierarchy","color","imagery","raw:form / motif / surface / technique"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-pinyon-script-woff2","name":"Pinyon Script"},{"alias":"mxf-bodoni-moda-woff2","name":"Bodoni Moda"}],"colours":["#faf3ec","#f3dfd8","#efd5ce","#e8c4bc","#6b4a44","#755049"],"argues":"Bow and ribbon motifs, blush and cream, tulle and lace texture, soft film grain","href":"a/coquette.html","preview":true}},{"slug":"cottagecore","name":"Cottagecore","spec":{},"summary":"Gingham and floral pattern, wildflower motifs, soft daylight, hand-lettered accents","rules":[{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Hand-lettered display over a plain soft serif. Inherited only as \"hand-lettered accents\" — the pairing is ours.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by pattern density — the plainest area reads as most important, because pattern is the ground everywhere else.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: muted pastel.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: soft daylight lifestyle.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Pattern-as-ground is the strongest instruction: gingham and floral should tile the surface, not sit in a corner.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"register","areaKey":"context","areaLabel":"Context","areaOrder":99,"text":"An internet aesthetic named on Tumblr in 2018, built on a romanticised reading of Western agricultural life. Its documented critique is that the romance runs through European colonial history, and the imagery is of rural life with the labour removed.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"cc-r1","evidence":null}],"areas":["typography","hierarchy","color","imagery","raw:form / motif / surface / technique","context"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-caveat-woff2","name":"Caveat"},{"alias":"mxf-vollkorn-woff2","name":"Vollkorn"}],"colours":["#443b31","#fbf7ef","#e1c7c6","#dab9bb","#f7f0e3","#8a555c"],"argues":"Rural domestic life as it is imagined rather than lived. Pattern, wildflowers and handwriting present a version of the countryside with the labour removed, which is the point rather than an oversight.","href":"a/cottagecore.html","preview":true}},{"slug":"cyberpunk","name":"Cyberpunk","spec":{},"summary":"Neon on wet black, bilingual signage, glitch artefacts, dense overlay UI","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Composition: dense overlay UI.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"layout-3","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Two writing systems set together at different densities, neither subordinate. Reasoned from the claimed bilingual signage. Script pairing is a real craft hazard — the corpus has a script-safety pass; treat the second system as a real language, not decoration.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by luminance against wet black — the brightest reflected element leads. 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Technology without the decay is not this language.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"cp-r1","evidence":null},{"area":"register","areaKey":"context","areaLabel":"Context","areaOrder":99,"text":"Techno-orientalism is a central and documented critique of this genre, not a footnote: the convention sets futures in Asian landscapes and reads Asia as simultaneously advanced and dehumanised. 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The city is dense, wet and lit entirely by advertising, and the interface is something imposed on the viewer rather than designed for them — high technology in the hands of people it does not serve.","href":"a/cyberpunk.html","preview":true}},{"slug":"dark-academia","name":"Dark Academia","spec":{},"summary":"Low-light library imagery, Latin phrases, deep brown and oxblood, engraved ornament","rules":[{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Token rule — old-style serif with small caps. Small caps are the specific tell and are easy to drop.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by pool of light — the lit region leads, the rest recedes. 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Geological stacking as ranking.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: earthy gradient.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Landform and sky only. 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Density ranged from clustered to full-bleed within one art director's practice.","basis":"documentary","basisLabel":"Documented · Source attached","ours":false,"claimKey":"kcc:density-2","evidence":null},{"area":"surface","areaKey":"surface","areaLabel":"Surface","areaOrder":4,"text":"Vogue and Harper's Bazaar photographs reached readers as halftone on glossy coated paper, read as sleek, uninterrupted surfaces.","basis":"documentary","basisLabel":"Documented · Source attached","ours":false,"claimKey":"kcc:w2-surface-1","evidence":null},{"area":"form","areaKey":"form","areaLabel":"Form","areaOrder":9,"text":"Photographs were made in shallow studio space: models stood before shallow backdrops of simplified geometric forms, often split by a vertical or diagonal axis.","basis":"documentary","basisLabel":"Documented · Source attached","ours":false,"claimKey":"kcc:w2-form-1","evidence":null},{"area":"motif","areaKey":"motif","areaLabel":"Motif","areaOrder":7,"text":"Editors and advertisers of the period promoted simplicity over ornament.","basis":"documentary","basisLabel":"Documented · Source attached","ours":false,"claimKey":"kcc:w2-motif-4","evidence":null}],"areas":["imagery","layout","typography","color","technique","hierarchy","density","surface","form","motif"],"refusals":[],"depth":"rules","show":{"faces":[],"colours":[],"argues":"Fashion presented as story, atmosphere and attitude — where photography, styling, typography and composition become a single art-directed experience.","href":"a/fashion-editorial.html","preview":true}},{"slug":"flat-design","name":"Flat Design","spec":{},"summary":"Zero depth, solid fills, simple icon set, bright but limited palette","rules":[{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"With elevation unavailable, rank must come from colour weight and size alone.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: bright but limited.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: flat vector icon sets.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"depth","areaKey":"interface","areaLabel":"Interface","areaOrder":5,"text":"No simulated depth cue anywhere: no shadow, gradient, bevel or texture. Meaning is carried by colour, shape and position alone.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached · disputed","ours":false,"claimKey":"fd-r1","evidence":null},{"area":"register","areaKey":"context","areaLabel":"Context","areaOrder":99,"text":"A datable industry shift, not a movement: Microsoft's Metro language on Windows Phone 7 (2010), Google's Ice Cream Sandwich (2011), Apple's iOS 7 (2013). Its stated purpose was content over chrome and the abandonment of skeuomorphism.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"fd-r2","evidence":null}],"areas":["hierarchy","color","imagery","interface","context"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-schibsted-woff2","name":"Schibsted"}],"colours":["#009688","#f4762e","#22364a","#f7c948","#f5f6f4","#1d2a36"],"argues":"Interfaces should stop pretending to be objects. Removing every simulated depth cue leaves only colour, shape and position to carry meaning, which is honest about what a screen is and renders faster on the devices people actually use.","href":"a/flat-design.html","preview":true}},{"slug":"gilded","name":"Gilded","spec":{},"summary":"Metallic gold detail, deep black ground, monogram device, symmetry","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Composition: symmetry, monogram device.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"layout-3","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Typography: no position of its own is recorded; the brief defers to the neighbour Heritage.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by centrality and metallic weight — the monogram sits centred and everything else is subordinate linework.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: metallic on dark.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form/motif/surface/technique: metallic detail, monogram.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"A highlight travelling slowly across the metal. Restrained — animation is where \"casino\" begins.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"motion-14","evidence":null}],"areas":["layout","typography","hierarchy","color","raw:form / motif / surface / technique","motion"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-italiana-woff2","name":"Italiana"},{"alias":"mxf-spectral-light-woff2","name":"Spectral Light"}],"colours":["#0b0a08","#c8a24b","#e8d9a8","#f0e4bc","#8a7440","#070606"],"argues":"Expense is the entire message. A precious material rendered precisely against darkness makes a claim about value that needs no subject, no illustration and no explanation — the material is the argument.","href":"a/gilded.html","preview":true}},{"slug":"golden-era-hip-hop","name":"Golden Era Hip-Hop","spec":{},"summary":"Gold on black, chrome and graffiti lettering, grainy street photography, sleeve proportions","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"The square sleeve is a real constraint, and holding it against a responsive viewport is the interesting build problem, the same shape as Travel Poster's proportion.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"layout-3","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Typography: chrome display.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by metallic weight — the most fully chromed element leads, as on a sleeve.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: gold on black.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: grainy street portraiture.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form/motif/surface: chrome rendering, grain.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"A highlight travelling across chrome. Material behaviour, not a cultural claim.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"motion-14","evidence":null},{"area":"register","areaKey":"context","areaLabel":"Context","areaOrder":99,"text":"A datable and attributable period: roughly 1986-1993, with its visual identity substantially the work of named designers — Cey Adams, founding creative director at Def Jam, and The Drawing Board — who brought graffiti lettering across from the street into the sleeve.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"gh-r1","evidence":null}],"areas":["layout","typography","hierarchy","color","imagery","raw:form / motif / surface / technique","motion","context"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-anton-woff2","name":"Anton"},{"alias":"mxf-archivo-woff2","name":"Archivo"}],"colours":["#0b0a08","#171512","#c9a227","#8c7326","#efe6d0","#f4e9c0"],"argues":"Gold on black, chrome and graffiti lettering, grainy street photography, sleeve proportions","href":"a/golden-era-hip-hop.html","preview":true}},{"slug":"googie","name":"Googie","spec":{},"summary":"Starburst motifs, boomerang shapes, upswept roofs, neon signs","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"The diagonal lift is structural, not decorative.","basis":"canonical_constraint","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"layout-3","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Typography: script, signage role, oblique angle.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by height and angle — the element lifted highest and tilted most leads, regardless of size.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form / motif / surface / technique: boomerang, parabola, starburst, neon.","basis":"canonical_constraint","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"surface-8","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":" Sequenced neon, not easing.","basis":"canonical_constraint","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"motion-14","evidence":null},{"area":"register","areaKey":"context","areaLabel":"Context","areaOrder":99,"text":"Named by a hostile critic. Douglas Haskell coined it in House & Home, February 1952, satirising the style, after John Lautner's 1949 Googie's coffee shop in Los Angeles. Nobody working in it chose the name.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"gg-r1","evidence":null},{"area":"form","areaKey":"form","areaLabel":"Form","areaOrder":9,"text":"Forms are symbolic of motion: upswept roofs, boomerangs, parabolas, diagrammatic atoms, soft parallelograms. The building performs travel it cannot make.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"gg-r2","evidence":null}],"areas":["layout","typography","hierarchy","raw:form / motif / surface / technique","motion","context","form"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-caveat-woff2","name":"Caveat"},{"alias":"mxf-gabarito-woff2","name":"Gabarito"}],"colours":["#16323e","#f6eedd","#2fa8a0","#e8604c","#f2c230","#22303a"],"argues":"The building is an advertisement and must work at the speed of a passing car. Form is bent upward and outward to suggest motion and the near future, so that a coffee shop reads as optimism from two hundred feet away.","href":"a/googie.html","preview":true}},{"slug":"heavy-metal","name":"Heavy Metal","spec":{},"summary":"Sub-genre logo lettering, engraved horror imagery, near-black palette, symmetrical sigils","rules":[{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"The logo outranks all. Bilateral symmetry about a central vertical axis, with everything else subordinate and smaller.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"hierarchy-13","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: engraved horror imagery.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form / motif / surface / technique: symmetrical sigils.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"lettering","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"The logo is hand-drawn and bilaterally symmetrical, and its difficulty is constructed rather than incidental — the mark is built to reward a reader who already knows it.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"hm-r1","evidence":null},{"area":"register","areaKey":"context","areaLabel":"Context","areaOrder":99,"text":"Illegibility belongs to the black and death metal logo tradition. Thrash lettering is sharp and clean, and applying the illegible mark across all metal is a category error.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached · disputed","ours":false,"claimKey":"hm-r2","evidence":null}],"areas":["hierarchy","imagery","raw:form / motif / surface / technique","typography","context"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-metal-mania-woff2","name":"Metal Mania"},{"alias":"mxf-im-fell-english-woff2","name":"IM Fell English"}],"colours":["#0a0a0c","#d8d5cc","#8a8d96","#6e1420","#6e727c","#26262c"],"argues":"The logo is the band, and it names the scene before it names the band. The lettering follows its sub-genre's conventions, so the mark rewards those already inside with recognition; in brutal death metal that trade goes as far as legibility itself.","href":"a/heavy-metal.html","preview":true}},{"slug":"heritage","name":"Heritage","spec":{},"summary":"Armorial device or seal, founding date, engraved illustration, deep navy or burgundy","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Symmetry about a central axis, because symmetry is the cheapest available signal of permanence and the crest device already demands it. We do not claim Heritage requires a symmetrical grid. We claim it uses a crest and a date; the axis is our reading.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"layout-3","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Typography: traditional serif caps.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by centrality and enclosure — the crest sits highest because it is centred and framed, not because it is largest.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: deep navy or burgundy; engraved linework.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"density","areaKey":"density","areaLabel":"Density","areaOrder":11,"text":"Generous and unhurried. Crowding reads as commercial urgency, which contradicts duration.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"density-6","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: engraving, not photography.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form / motif / surface / technique: crest/seal; engraving.","basis":"historical_practice","basisLabel":"From our catalogue entry · disputed","ours":false,"claimKey":"surface-8","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"Minimal to none. Motion dates a page to its year of making, which the negation explicitly refuses. This is a case where the correct native behaviour is almost no behaviour, and saying so is a real art-direction instruction rather than an absence.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"motion-14","evidence":null},{"area":"device","areaKey":"raw:device","areaLabel":"Device","areaOrder":50,"text":"The founding date is the load-bearing device. It is the only element that makes the continuity claim, and without it the register is generic traditional styling.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"he-r1","evidence":null}],"areas":["layout","typography","hierarchy","color","density","imagery","raw:form / motif / surface / technique","motion","raw:device"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-prata-woff2","name":"Prata"},{"alias":"mxf-petrona-woff2","name":"Petrona"}],"colours":["#14213a","#0e1830","#efe8d8","#b08d3e","#c9c2b0","#a79f8c"],"argues":"Duration is the argument. An institution that has survived a long time has been tested, so the design's job is to make continuity visible and to look as though it has been in use longer than it has.","href":"a/heritage.html","preview":true}},{"slug":"industrial","name":"Industrial","spec":{},"summary":"Hazard stripes, stencil lettering, metal textures, heavy rules","rules":[{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Typography is a pairing rule and must not collapse to one face: stencil for display, heavy condensed grotesk for support. Using stencil for body copy breaks it.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by rule weight and zone, the way a panel is divided. Heavier rule means a more important boundary.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Safety yellow and black as the warning pair, steel greys as ground, with no third accent. Reasoned from inherited hazard grammar rather than claimed by the record.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"color-5","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form / motif / surface / technique: hazard stripes, metal, heavy rules.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"material","areaKey":"surface","areaLabel":"Surface","areaOrder":4,"text":"Surfaces are read as fabricated: exposed fastening, unfinished metal, and structure left visible rather than clad.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"in-r1","evidence":null}],"areas":["typography","hierarchy","color","raw:form / motif / surface / technique","surface"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-big-shoulders-stencil-woff2","name":"Big Shoulders Stencil"},{"alias":"mxf-big-shoulders-woff2","name":"Big Shoulders"}],"colours":["#f5c400","#43474d","#3a3d42","#5a5f66","#e8eaec","#ffffff"],"argues":"Where materials are heavy and the consequences of error are physical, the visual language is inherited from the safety and specification systems already on site. Warning grammar is used because it is the grammar that works there, not because it looks tough.","href":"a/industrial.html","preview":true}},{"slug":"internetcore","name":"Internetcore","spec":{},"summary":"A contemporary aesthetic that deliberately reconstructs and remixes the visual language of early personal computing and the web.","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Expose interface structure. Frames, bars and panels are visible, not hidden.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"L1","evidence":null},{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Let hierarchy feel digital rather than editorial.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"L2","evidence":null},{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Small modules can accumulate instead of becoming giant contemporary cards.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"L3","evidence":null},{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Layering is legitimate when the desktop metaphor supports it.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"L4","evidence":null},{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Imperfection should look intentional.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"L5","evidence":null},{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Three structural metaphors, each drawn from a source language: Document, Desktop, Portal.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"L-metaphors","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Internetcore does not require a pixel font. The typography must participate in the computing and internet reference.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"no-pixel-requirement","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Four families of reference: system sans, bitmap or display, monospace, and the browser-default serif.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"T-families","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"A pixel font everywhere is costume.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"T-costume","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"There is no canonical Internetcore palette. Colour inherits from the digital reference being quoted: browser default, desktop UI, personal homepage, or a reduced contemporary reinterpretation.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"palette-source","evidence":null},{"area":"interface","areaKey":"interface","areaLabel":"Interface","areaOrder":5,"text":"Rectangular interface primitives: hard edges, system-window geometry, pixel boundaries, native-control proportions. Rounded corners are not forbidden; they become suspicious when the interface reads as generic contemporary SaaS rather than obsolete computing.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"radius","evidence":null},{"area":"interface","areaKey":"interface","areaLabel":"Interface","areaOrder":5,"text":"Default-looking controls may retain browser and OS associations; windows, dialogs and floating elements can replace page sections.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"UI-controls","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Low fidelity should have a reason. Artefacts applied to everything are a filter, not Internetcore.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"lofi-reason","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Six image types: compressed raster, GIF-like animation, bitmap icon, primitive CGI, webcam or personal imagery, scanned image.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"I-types","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"A six-part motion vocabulary — blink, marquee travel, frame animation, loading and progress, cursor response, window movement — each either a historical behaviour or a contemporary recreation.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"M-vocab","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"Reduced motion should freeze the animation without removing the digital artefact that communicates the aesthetic.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"M-reduced","evidence":null}],"areas":["layout","typography","color","interface","imagery","motion"],"refusals":[],"depth":"rules","show":{"faces":[],"colours":[],"argues":"A contemporary aesthetic that deliberately reconstructs and remixes the visual language of early personal computing and the web.","href":"a/internetcore.html","preview":true}},{"slug":"japanese-minimalism","name":"Japanese Minimalism","spec":{},"summary":"Emptiness around a single subject, a withheld message, space left for the viewer to fill","rules":[],"areas":[],"refusals":[],"depth":"none","show":{"faces":[{"alias":"mxf-shippori-mincho-woff2","name":"Shippori Mincho"},{"alias":"mxf-shippori-mincho-600-woff2","name":"Shippori Mincho 600"}],"colours":["#f7f5f0","#1c1c1a","#6f6c66","#d9d5cc","#eeebe3"],"argues":"Empty area is content, not the absence of content. The message is withheld and the field left open so the viewer completes it; the emptiness does the work that a stated message does elsewhere.","href":"a/japanese-minimalism.html","preview":true}},{"slug":"kawaii","name":"Kawaii","spec":{},"summary":"Mascot characters, sparkle and heart motifs, pastel with one bright, everything rounded","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Composition: no position of its own is recorded; the brief defers to the neighbour Mascot-Led.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"layout-3","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by the single bright accent and character gaze — the accent marks the one important thing, and the mascot looks toward it.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour is a count constraint: pastel field plus exactly one bright. A second bright breaks the register — the same shape as Seventies Revival's accent prohibition, inverted.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: character illustration.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"No sharp corner anywhere, including interface furniture.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"register","areaKey":"context","areaLabel":"Context","areaOrder":99,"text":"The modern sense originates in a 1970s Japanese schoolgirl handwriting style — rounded fine-pencil forms decorated with hearts, stars and faces — which teenagers created themselves as a rebellion against a rigid education system before any industry adopted it.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"kw-r1","evidence":null},{"area":"construction","areaKey":"raw:construction","areaLabel":"Construction","areaOrder":50,"text":"Precision inside softness: the vocabulary is soft but the construction is exact. Loose execution reads as amateur rather than as kawaii.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"kw-r2","evidence":null}],"areas":["layout","hierarchy","color","imagery","raw:form / motif / surface / technique","context","raw:construction"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-mplus-rounded-500-woff2","name":"Mplus Rounded 500"},{"alias":"mxf-mplus-rounded-700-woff2","name":"Mplus Rounded 700"}],"colours":["#f0348b","#3f3347","#fff6f9","#6b5d72","#ffe3ee","#e0f5ea"],"argues":"Cuteness executed to a professional standard. Rounded form, mascot character and controlled pastel are a demanding craft with exact rules of proportion and spacing, and doing it properly is the point rather than an affectation.","href":"a/kawaii.html","preview":true}},{"slug":"manga","name":"Manga","spec":{"ground":"off-white","colour-roles":"single-ink","ink-contrast":"highest"},"summary":"Japanese serial comics grammar: right-to-left panels sized for pacing, monochrome line art, and tone sheets standing in for colour.","rules":[{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Interior pages are printed in a single black ink on off-white stock, with tone standing in for colour.","basis":"historical_practice","basisLabel":"Documented · Source not yet verified · disputed","ours":false,"claimKey":"monochrome-default","evidence":null},{"area":"reading_order","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Panel order is fixed by the binding direction and cannot be mirrored without inverting every sequence built on it. In right-bound Japanese publishing that order runs right to left and top to bottom, and panel, balloon and page turn all follow it.","basis":"canonical_constraint","basisLabel":"Necessary · our ranking","ours":false,"claimKey":"panel-progression","evidence":null},{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Panels of deliberately unequal size and shape. Size controls pacing.","basis":"canonical_constraint","basisLabel":"Necessary · our ranking","ours":false,"claimKey":"panel-size-pacing","evidence":null},{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Gutters are asymmetric: the gap between rows is larger than the gap between panels inside a row, which is what makes the eye complete a row before dropping to the next.","basis":"historical_practice","basisLabel":"No source attached","ours":false,"claimKey":"gutter-asymmetry","evidence":null},{"area":"page","areaKey":"raw:page","areaLabel":"Page","areaOrder":50,"text":"Production formats, stated as publishing facts rather than compositional choices: pages are drawn oversize on B4 manuscript stock (257 x 364 mm) and reduced for print. Magazine serialisation is B5; the collected tankoubon is B6, 128 x 182 mm.","basis":"historical_practice","basisLabel":"Documented · Source not yet verified","ours":false,"claimKey":"production-format","evidence":null},{"area":"image_treatment","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Tone is a screened field with cut edges — a halftone structure specified by frequency and density — rather than an unscreened continuous ramp. Gradation tone, in which dot size varies across the sheet, belongs to the screened family.","basis":"canonical_constraint","basisLabel":"Necessary · our ranking","ours":false,"claimKey":"tone-screened","evidence":null},{"area":"image_treatment","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"DO NOT specify a screentone LPI value for screen output.","basis":"contemporary_recommendation","basisLabel":"Web translation","ours":false,"claimKey":"no-screen-lpi","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Balloon text is set vertically and read right to left (tategaki).","basis":"canonical_constraint","basisLabel":"Necessary · our ranking","ours":false,"claimKey":"tategaki-balloon-setting","evidence":null},{"area":"line","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Black line art of varying weight underneath everything. Tone and speed lines presuppose it.","basis":"canonical_constraint","basisLabel":"Necessary · our ranking","ours":false,"claimKey":"line-art-substrate","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"In the print serial there is no enacted motion. Motion is depicted — by speed lines, focus lines and panel sequence — never animated.","basis":"canonical_constraint","basisLabel":"Necessary · our ranking","ours":false,"claimKey":"motion-depicted","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Sound effects are drawn as part of the artwork rather than typeset — lettering shaped, scaled and placed as a picture element (kakimoji).","basis":"canonical_constraint","basisLabel":"Necessary · our ranking","ours":false,"claimKey":"drawn-onomatopoeia","evidence":null},{"area":"motif","areaKey":"motif","areaLabel":"Motif","areaOrder":7,"text":"A conventionalized graphic vocabulary carries emotion, motion and emphasis: standalone icons readable without context (manpu — sweat drops, vein marks, nose bubbles) and context-dependent effects that need the surrounding drawing to mean anything (speed lines, focus lines). Together these are keiyu, shape metaphors.","basis":"canonical_constraint","basisLabel":"Necessary · our ranking","ours":false,"claimKey":"graphic-vocabulary","evidence":null}],"areas":["color","layout","raw:page","imagery","typography","motion","motif"],"refusals":[{"slot":"motion","presence":"not_applicable","area":"motion","areaLabel":"Motion"},{"slot":"form","presence":"not_applicable","area":"form","areaLabel":"Form"}],"depth":"rules","show":{"faces":[{"alias":"mxf-archivo-woff2","name":"Archivo"},{"alias":"mxf-archivo-latin-ext-woff2","name":"Archivo Latin Ext"}],"colours":["#f6f3ec","#d8d4ca","#c22d41","#4a4640","#111111","#b9b4a8"],"argues":"The page is a time-control device. Panel size, shape and sequence set the pace at which a reader moves, so composition is a matter of duration rather than of arrangement.","href":"a/manga.html","preview":true}},{"slug":"maximalism","name":"Maximalism","spec":{},"summary":"Clashing pattern on pattern, layered elements, full-bleed colour, no empty space","rules":[{"area":"composition","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"No rest area anywhere on the surface, and real content underneath the density. Density over thin content reads as noise rather than abundance.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"mx-r2","evidence":null}],"areas":["layout"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-abril-fatface-woff2","name":"Abril Fatface"},{"alias":"mxf-space-grotesk-woff2","name":"Space Grotesk"}],"colours":["#141014","#fff4dc","#f4b400","#ff6b4a","#d1167a","#0e7c5a"],"argues":"Density is itself the message. Abundance, layering and collision communicate generosity and confidence that restraint cannot.","href":"a/maximalism.html","preview":true}},{"slug":"mediterranean","name":"Mediterranean","spec":{},"summary":"Whitewash and cobalt, hard sun shadows, tile and terracotta, lemon and olive motifs","rules":[{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by shadow contrast — the most sharply lit element leads.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: hard-shadow photography.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"imagery-7","evidence":null}],"areas":["hierarchy","imagery"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-marcellus-woff2","name":"Marcellus"},{"alias":"mxf-work-sans-woff2","name":"Work Sans"}],"colours":["#1e2430","#fbf9f3","#1b4b9b","#ffffff","#b4552f","#a04a27"],"argues":"A place defined by its light, in Aesthetary's composite. Cycladic lime whitewash, valued as a disinfectant and for keeping interiors cool, and Revival stucco and red clay tile are the documented surfaces; setting them under one noon sun, with cobalt, is our reading, so the register is a claim about light before it is a claim about style.","href":"a/mediterranean.html","preview":true}},{"slug":"memphis","name":"Memphis","spec":{},"summary":"Squiggles, speckle and animal-skin laminates, unrelated shapes, loud colour paired against expectation","rules":[{"area":"pattern","areaKey":"motif","areaLabel":"Motif","areaOrder":7,"text":"Pattern is applied to a surface independently of the form beneath it; the decoration does not describe the object it covers.","basis":"historical_practice","basisLabel":"Documented · Source not yet verified","ours":false,"claimKey":"me-r1","evidence":null},{"area":"composition","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"No element in the composition subordinates another: the arrangement visibly refuses to resolve into a hierarchy.","basis":"historical_practice","basisLabel":"Documented · Source not yet verified","ours":false,"claimKey":"me-r2","evidence":null}],"areas":["motif","layout"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-archivo-woff2","name":"Archivo"},{"alias":"mxf-archivo-black-woff2","name":"Archivo Black"}],"colours":["#fdf9f0","#191512","#a8e6ce","#ff7b6b","#ffd94a","#2456e6"],"argues":"Decoration is legitimate content and good taste is an ideology worth attacking. Form is released from function so that an object can communicate rather than merely perform.","href":"a/memphis.html","preview":true}},{"slug":"mexican-graphic-vernacular","name":"Mexican Graphic Vernacular","spec":{},"summary":"Framed compartments in relief line, frame weight as rank, saturated flat colour","rules":[{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Typography: hand-painted signage.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by cell position and frame weight.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: saturated.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: relief engraving.","basis":"canonical_constraint","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Relief line and compartment are free. Calavera imagery is restricted: usable only in its documented festival context, never as generic skull ornament.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"register","areaKey":"context","areaLabel":"Context","areaOrder":99,"text":"Posada's calaveras were satire before they were festival imagery. La Calavera Garbancera mocked Mexicans who hid Indigenous roots to imitate European fashion; Rivera renamed and popularised her decades later, and the international profile came later still.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"mg-r1","evidence":null}],"areas":["typography","hierarchy","color","imagery","raw:form / motif / surface / technique","context"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-alfa-slab-one-woff2","name":"Alfa Slab One"},{"alias":"mxf-libre-franklin-woff2","name":"Libre Franklin"}],"colours":["#f4ecd8","#1d1d1b","#e4007c","#00a19a","#ffc20e","#ec5f24"],"argues":"Framed compartments in relief line, frame weight as rank, saturated flat colour","href":"a/mexican-graphic-vernacular.html","preview":true}},{"slug":"mid-century-modern","name":"Mid-Century Modern","spec":{},"summary":"Textured illustration, bright flat colour, organic shapes, confident negative space","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Composition: confident negative space.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"layout-3","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"A humanist or geometric sans with warmth, plus period script for accent. Not a claim about the register — reasoned from the era's lithographic practice.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by isolation. The element with the most space around it leads. Follows directly from the claimed negative space.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"density","areaKey":"density","areaLabel":"Density","areaOrder":11,"text":"\"confident negative space\" is an explicit density claim.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"density-6","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: textured illustration.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form / motif / surface / technique: organic shapes, print texture.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null}],"areas":["layout","typography","hierarchy","density","imagery","raw:form / motif / surface / technique"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-josefin-sans-woff2","name":"Josefin Sans"},{"alias":"mxf-yellowtail-woff2","name":"Yellowtail"}],"colours":["#f3ead7","#d19a3a","#2e7f7a","#e2b33c","#b5562b","#2b2622"],"argues":"Postwar optimism rendered domestic. Modernism's geometry is warmed by hand-made texture and organic form so that it belongs in a living room rather than in a manifesto, and confidence is shown by what is left empty.","href":"a/mid-century-modern.html","preview":true}},{"slug":"mod","name":"Mod","spec":{},"summary":"Concentric targets, bold stripes, flat colour fields, rounded bubble type","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Composition: concentric targets, stripes.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"layout-3","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Typography: display custom, blobby/circular, heavy.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by concentric position — the target centre leads. Radial rather than vertical, which is the interesting problem.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: primary, flat fields.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form / motif / surface / technique: target, stripe, hard edge.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"Rotation and concentric expansion. Nothing that introduces depth or easing softness.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"motion-14","evidence":null}],"areas":["layout","typography","hierarchy","color","raw:form / motif / surface / technique","motion"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-chango-woff2","name":"Chango"},{"alias":"mxf-rubik-woff2","name":"Rubik"}],"colours":["#d7262b","#1d3f9a","#f6c700","#ffffff","#111111"],"argues":"Sharpness is the whole point. A small number of flat colours in crisp geometric relationships, executed cleanly, signals modernity and youth without needing ornament or texture to carry it.","href":"a/mod.html","preview":true}},{"slug":"modern-saas","name":"Modern SaaS","spec":{"radius":"consistent-free-magnitude","elevation":"one-step","target-size":"min-24","colour-roles":"one-accent-primary-only"},"summary":"The commercial default of contemporary B2B software marketing. Measurement finds no characteristic hue, radius or ground — what recurs is one restrained accent and a page that shows the product.","rules":[{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Most often a near-white ground. The register also occurs dark-first, and neither ground is required.","basis":"contemporary_recommendation","basisLabel":"Our reading","ours":false,"claimKey":"ground-light-default","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Secondary text must still meet 4.5:1. The characteristic grey-on-white secondary text is the register's most common accessibility failure.","basis":"contemporary_recommendation","basisLabel":"Not part of the aesthetic","ours":false,"claimKey":"secondary-text-contrast","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Aurora field is background only and may never be the contrast source for text.","basis":"contemporary_recommendation","basisLabel":"Not part of the aesthetic","ours":false,"claimKey":"gradient-not-contrast-source","evidence":null},{"area":"radius","areaKey":"interface","areaLabel":"Interface","areaOrder":5,"text":"One consistent corner radius across components. No magnitude is characteristic.","basis":"editorial_operationalization","basisLabel":"Our reading · disputed","ours":true,"claimKey":"radius-consistent","evidence":null},{"area":"shadow","areaKey":"interface","areaLabel":"Interface","areaOrder":5,"text":"Exactly one elevation step. Large blur, low opacity, small downward offset.","basis":"editorial_operationalization","basisLabel":"Our reading · disputed","ours":true,"claimKey":"one-elevation-step","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Sans-serif throughout, two weights, tight tracking on display sizes.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"sans-serif","evidence":null},{"area":"spacing","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Section rhythm from a consistent base unit, commonly 4 or 8 px.","basis":"contemporary_recommendation","basisLabel":"Our reading","ours":false,"claimKey":"spacing-base-unit","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"The hero is usually occupied by the product interface itself rather than by photography or illustration.","basis":"contemporary_recommendation","basisLabel":"Our reading · disputed","ours":false,"claimKey":"product-screenshot-hero","evidence":null},{"area":"target_size","areaKey":"interface","areaLabel":"Interface","areaOrder":5,"text":"Interactive targets at least 24 by 24 CSS px.","basis":"contemporary_recommendation","basisLabel":"Not part of the aesthetic","ours":false,"claimKey":"target-size","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"One saturated accent, reserved for the primary action rather than for decoration. NO HUE IS CHARACTERISTIC — choose freely.","basis":"contemporary_recommendation","basisLabel":"Seen in the work","ours":false,"claimKey":"single-accent","evidence":null}],"areas":["color","interface","typography","layout","imagery"],"refusals":[{"slot":"motif","presence":"not_applicable","area":"motif","areaLabel":"Motif"},{"slot":"technique","presence":"not_applicable","area":"technique","areaLabel":"Technique"},{"slot":"form","presence":"not_applicable","area":"form","areaLabel":"Form"}],"depth":"rules","show":{"faces":[{"alias":"mxf-geist-woff2","name":"Geist"},{"alias":"mxf-geist-mono-woff2","name":"Geist Mono"}],"colours":["#5b6270","#f7f7f8","#0f1115","#f5a524","#c9ccd3","#ffffff"],"argues":"Signals category membership and operational competence by looking like the other credible products in the category. Legibility of the offer matters more than distinction from competitors.","href":"a/modern-saas.html","preview":true}},{"slug":"neo-baroque","name":"Neo-Baroque","spec":{},"summary":"Ornamental frames, chiaroscuro imagery, gold detailing, centred symmetry","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Composition: centred symmetry, framed.","basis":"historical_practice","basisLabel":"From our catalogue entry · disputed","ours":false,"claimKey":"layout-3","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"High-contrast serif capitals, letterspaced, centred. Not a claim — Neo-Baroque has no rule.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by illumination. The lit subject leads; everything else recedes into shadow. Light does the work scale usually does.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: jewel tones, gold, deep ground.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"density","areaKey":"density","areaLabel":"Density","areaOrder":11,"text":"\"theatrical rather than dense.\" Neo-Baroque is not maximalist. It is ornate around a clear focal subject, with the ornament concentrated at edges and frames.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"density-6","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: chiaroscuro.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form / motif / surface / technique: ornamental frame, gilt.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null}],"areas":["layout","typography","hierarchy","color","density","imagery","raw:form / motif / surface / technique"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-bodoni-moda-woff2","name":"Bodoni Moda"}],"colours":["#14100c","#c9a24b","#efd48a","#efe6d2","#4a1f2e","#b9ae96"],"argues":"Grandeur is produced by staging. A symmetrical frame, a subject lit out of darkness, and gold at the edges compose an image that behaves like a theatre set — the viewer is placed in front of something arranged to impress them.","href":"a/neo-baroque.html","preview":true}},{"slug":"neo-brutalism","name":"Neo-Brutalism","spec":{},"summary":"Thick black outlines, hard unblurred shadows, clashing candy colour, chunky buttons","rules":[{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by outline weight and shadow offset — the element with the biggest offset sits \"highest\". Quoted depth used as a ranking system.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: saturated, high-contrast flat colour.","basis":"historical_practice","basisLabel":"Documented · Source attached","ours":false,"claimKey":"color-5","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"Elements pressing into their own shadow on interaction — the offset collapsing to zero. Native to the shadow logic, and not generic easing.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"motion-14","evidence":null},{"area":"depth","areaKey":"interface","areaLabel":"Interface","areaOrder":5,"text":"The offset shadow is solid and unblurred — a displaced shape behind the element, never a soft elevation. It quotes depth rather than simulating it.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"nb-r1","evidence":null},{"area":"surface","areaKey":"surface","areaLabel":"Surface","areaOrder":4,"text":"Components carry thick, solid, dark outlines with square corners.","basis":"historical_practice","basisLabel":"Documented · Source attached","ours":false,"claimKey":"nb-outline","evidence":null}],"areas":["hierarchy","color","motion","interface","surface"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-archivo-black-woff2","name":"Archivo Black"},{"alias":"mxf-space-grotesk-woff2","name":"Space Grotesk"}],"colours":["#fff4e0","#000000","#ff90e8","#ffc900","#7bf1a8","#90a8ed"],"argues":"Interface conventions can be exaggerated into ornament. Taking the border, the shadow and the button — the plainest furniture of a web page — and making them thick, hard and loud turns usability signals into decoration while leaving them perfectly usable.","href":"a/neo-brutalism.html","preview":true}},{"slug":"new-wave-typography","name":"New Wave Typography","spec":{},"summary":"Stepped shapes, layered film collage, letterspaced and angled type, deliberate grid breaks","rules":[{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Typography: deliberate_rule_violation; letterspacing, intra-word weight change.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by departure magnitude — the element furthest from where the grid would have put it reads as most important.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: layered photo-montage.","basis":"canonical_constraint","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"Elements snapping to and away from grid positions, so the violation is shown as a violation.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"motion-14","evidence":null}],"areas":["typography","hierarchy","imagery","motion"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-archivo-woff2","name":"Archivo"}],"colours":["#111111","#f2f0ea","#ffd500","#b8006a","#5e5c57","#e6007e"],"argues":"The Swiss grid is a set of rules, and rules can be investigated by violating them precisely. Someone who knows exactly what the system forbids can break it deliberately and produce something that still reads as typography rather than as accident.","href":"a/new-wave-typography.html","preview":true}},{"slug":"occult","name":"Occult","spec":{},"summary":"Celestial linework, moon-phase motifs, gold on deep purple","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Radial, organised about a centre — the diagrammatic logic the signature names.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"layout-3","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by radial position — centre outward.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: gold on deep purple.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: celestial linework.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Moon phases and orbital geometry are astronomical and usable. Sigils are excluded by protocol, not by taste.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"Slow cyclical rotation, phase progression. Native to the lunar device and semantically empty, which is why it is safe.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"motion-14","evidence":null},{"area":"symbol","areaKey":"motif","areaLabel":"Motif","areaOrder":7,"text":"Sigils are a system, not a vocabulary of shapes. European alchemical, astrological and hermetic sigils are documented in the thousands with stable meanings, so a sigil used decoratively is a legible error to anyone who reads them.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"oc-r1","evidence":null}],"areas":["layout","hierarchy","color","imagery","raw:form / motif / surface / technique","motion","motif"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-cinzel-woff2","name":"Cinzel"},{"alias":"mxf-eb-garamond-woff2","name":"EB Garamond"}],"colours":["#1c1030","#130a22","#2a1848","#241438","#c9a64e","#eadbb0"],"argues":"Celestial linework, moon-phase motifs, gold on deep purple","href":"a/occult.html","preview":true}},{"slug":"pop-art","name":"Pop Art","spec":{},"summary":"Ben-Day dots, thick black outlines, primary colours, speech-bubble devices","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Panel-derived, with a single enlarged subject per field and captions in borrowed comic devices. Reasoned from the signature's comic sources. Not a claim.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"layout-3","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by outline weight and dot scale — the most heavily outlined, largest-dotted element leads.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: primaries, flat.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: halftone dots, mass-culture source.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"The Ben-Day dot must be countable — large enough to read as individual dots, not as a texture. A fine halftone screen is ordinary printing; the enlargement is the argument. ","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"reproduction","areaKey":"motif","areaLabel":"Motif","areaOrder":7,"text":"The machinery of mass printing is the subject at magnified scale: the halftone dot is enlarged until countable, not used to reproduce a tone. A halftone at working size is reproduction; a halftone as subject is this.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"pa-r1","evidence":null},{"area":"register","areaKey":"context","areaLabel":"Context","areaOrder":99,"text":"The term was a critic's, not the artists'. Lawrence Alloway of the Independent Group (ICA, London) coined it in the 1950s-60s, and the movement began as British discussion of AMERICAN consumer culture before the American painters it is now identified with.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"pa-r2","evidence":null}],"areas":["layout","hierarchy","color","imagery","raw:form / motif / surface / technique","motif","context"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-bangers-woff2","name":"Bangers"},{"alias":"mxf-archivo-narrow-woff2","name":"Archivo Narrow"}],"colours":["#e4202c","#ffe01b","#0b5fb0","#000000","#ffffff","#ffd5cf"],"argues":"Commercial reproduction is the subject, not the medium. Enlarging the machinery of mass printing — the dot, the outline, the flat primary — until it is impossible to overlook makes an argument about what images are made of and what they are worth.","href":"a/pop-art.html","preview":true}},{"slug":"psychedelic","name":"Psychedelic","spec":{},"summary":"Liquid warped lettering, vibrating complementary colour, radial symmetry, hand-drawn borders","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Composition: radial symmetry; hand-drawn borders.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"layout-3","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Typography: hand lettered, warped.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"There is deliberately almost no hierarchy. Everything competes at once, and the reader resolves it over time. Stating \"no hierarchy\" is itself the instruction.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Carries a hard technical requirement: the vibration only occurs when complementaries sit at equal value. A designer who picks complementary hues at differing lightness gets no optical effect and the register fails. ","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form / motif / surface / technique: warped field, hand-drawn border.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"Slow continuous warp or colour cycling. Never scroll-triggered — the effect must be present, not revealed.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"motion-14","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Complementary colours are set at equal value so their shared edge vibrates optically. Equal value is the mechanism; a merely bright palette is not this.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"ps-r1","evidence":null},{"area":"lettering","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Lettering is hand-drawn and warped to fill an irregular field until letterform and ground share a contour. Legibility is treated as a spectrum to be spent, not a requirement to be met.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"ps-r2","evidence":null},{"area":"lineage","areaKey":"context","areaLabel":"Context","areaOrder":99,"text":"The Art Nouveau descent is documented, not inferred: Time named the style 'Nouveau Frisco' in 1967 and Wilson's work was directly influenced by Art Nouveau.","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"ps-r3","evidence":null}],"areas":["layout","typography","hierarchy","color","raw:form / motif / surface / technique","motion","context"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-shrikhand-woff2","name":"Shrikhand"},{"alias":"mxf-karla-woff2","name":"Karla"}],"colours":["#f84f33","#00aab4","#cd3ec6","#3e9f24","#fff4de","#2a1330"],"argues":"The poster should reproduce an altered perceptual state rather than describe one. Reading it slowly, with effort, in the presence of optical vibration, is the experience being advertised — so difficulty is the product, not a defect.","href":"a/psychedelic.html","preview":true}},{"slug":"pulp","name":"Pulp","spec":{},"summary":"Painted cover scenes, full-colour covers, angled banners, breathless display type","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Composition: angled banners over a single image.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"layout-3","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Heavy condensed display, squeezed to fit, mixed with a plainer secondary. Not claimed.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by banner angle and display scale — the most tilted, largest promise leads regardless of truth.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null}],"areas":["layout","typography","hierarchy"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-anton-woff2","name":"Anton"},{"alias":"mxf-libre-franklin-woff2","name":"Libre Franklin"}],"colours":["#e8d6a8","#1d2340","#d2382b","#9e2418","#cdb98a"],"argues":"The cover must sell a cheap magazine from a crowded rack at a glance, so the money goes there: a painted scene of lurid action, printed in full colour on coated stock. Inside, the budget is one black ink on coarse pulp paper, and every drawing works within that.","href":"a/pulp.html","preview":true}},{"slug":"quiet-luxury","name":"Quiet Luxury","spec":{},"summary":"An aesthetic of understated quality: value communicated through material, proportion, craftsmanship, fit, detail and restraint rather than conspicuous branding or decorative display.","rules":[{"area":"motif","areaKey":"motif","areaLabel":"Motif","areaOrder":7,"text":"Logo-less, high-quality clothing.","basis":"documentary","basisLabel":"Documented · Source attached","ours":false,"claimKey":"ql.doc.logo-less","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Neutral business-casual staples.","basis":"documentary","basisLabel":"Documented · Source not yet verified","ours":false,"claimKey":"ql.doc.neutral","evidence":null},{"area":"motif","areaKey":"motif","areaLabel":"Motif","areaOrder":7,"text":"'No logos whatsoever' is not a rule; branding is not the primary value signal.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"ql.syn.no-logo-rule-refused","evidence":null},{"area":"motif","areaKey":"motif","areaLabel":"Motif","areaOrder":7,"text":"Identity emerges through typography, photography, materials, tone, proportion, art direction and product design rather than repetition of a name.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"ql.syn.recognition-without-repetition","evidence":null},{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Composition is editing: what deserves attention, what can disappear, what needs room, what detail rewards inspection. 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loud goods promote it to signal to outsiders.","basis":"documentary","basisLabel":"Documented · Source attached","ours":false,"claimKey":"kcc:w2-hierarchy-2","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"In Succession, a Burberry bag is ridiculed as 'monstrous', which Euronews attributes to its vintage check making it all too recognisable, while the men wear logo-free baseball caps.","basis":"documentary","basisLabel":"Documented · Source attached","ours":false,"claimKey":"kcc:w2-hierarchy-3","evidence":null}],"areas":["motif","color","layout","typography","imagery","surface","form","hierarchy"],"refusals":[],"depth":"rules","show":{"faces":[],"colours":[],"argues":"An aesthetic of understated quality: value communicated through material, proportion, craftsmanship, fit, detail and restraint rather than conspicuous branding or decorative display.","href":"a/quiet-luxury.html","preview":true}},{"slug":"retrofuturism","name":"Retrofuturism","spec":{},"summary":"The future imagined through the technological and cultural assumptions of the past.","rules":[{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Typography must belong plausibly to the source era or its imagined extension.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"type","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour derives from source, technology, materials, process, associations and the future imagined.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"colour","evidence":null},{"area":"form","areaKey":"form","areaLabel":"Form","areaOrder":9,"text":"Teach extrapolation instead of imitation: period form → extrapolation → future form.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"form","evidence":null},{"area":"surface","areaKey":"surface","areaLabel":"Surface","areaOrder":4,"text":"Materials belong to particular branches and periods; no universal chrome rule.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"chrome","evidence":null},{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Derive layout from the era’s organising logic, then translate it responsively.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"layout","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"Motion derives from imagined technology; the source era determines it.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"motion","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"The eight-part vocabulary; motion derived from imagined technology; no universal set.","basis":"synthesis","basisLabel":"Our reading","ours":true,"claimKey":"motion-vocabulary","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Historical futures ranged in mood from buoyant optimism to dark despair; retrofuturism is not uniformly optimistic.","basis":"documentary","basisLabel":"Documented · Source attached","ours":false,"claimKey":"kcc:imagery-6","evidence":null},{"area":"technique","areaKey":"technique","areaLabel":"Technique","areaOrder":8,"text":"Period futures were made by several techniques: a scale model built by hundreds of artists and craftspeople, commissioned illustration, and gouache on board.","basis":"documentary","basisLabel":"Documented · Source attached","ours":false,"claimKey":"kcc:technique-1","evidence":null},{"area":"motif","areaKey":"motif","areaLabel":"Motif","areaOrder":7,"text":"Wikipedia says retrofuturism does not provide a unified thematic purpose or experience; the absence of an umbrella motif set is Aesthetary's inference.","basis":"documentary","basisLabel":"Documented · Source attached","ours":false,"claimKey":"kcc:motif-1","evidence":null}],"areas":["typography","color","form","surface","layout","motion","imagery","technique","motif"],"refusals":[],"depth":"rules","show":{"faces":[],"colours":[],"argues":"The future imagined through the technological and cultural assumptions of the past.","href":"a/retrofuturism.html","preview":true}},{"slug":"rustic","name":"Rustic","spec":{},"summary":"Unfinished wood and bark, twig and log work, rough cloth, deep rich colours","rules":[{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Hand-painted signage is claimed: drawn with a brush, not set.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by material weight — heavier, rougher surfaces read as more structural.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"The sole cross library entry and the whole discriminator against the parent.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"material","areaKey":"surface","areaLabel":"Surface","areaOrder":4,"text":"Material over pattern: the surface is identified by what it is made of, not by what is printed on it.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"ru-r1","evidence":null}],"areas":["typography","hierarchy","raw:form / motif / surface / technique","surface"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-rock-salt-woff2","name":"Rock Salt"},{"alias":"mxf-zilla-woff2","name":"Zilla"}],"colours":["#efe8da","#412a1b","#57391f","#cfc5b2","#33302a","#eae3d1"],"argues":"Materials that have been used should look it. Unpeeled wood, bark, twigs and rough cloth signal that a thing was made by hand from what was at hand, to be handled rather than admired, and hand-painted signage says a person made it rather than a system.","href":"a/rustic.html","preview":true}},{"slug":"scandinavian-minimalism","name":"Scandinavian Minimalism","spec":{},"summary":"Pale neutrals, daylight photography, rounded corners, functional clarity","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Composition: balanced, not asymmetric.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"layout-3","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by quiet emphasis — modest scale steps and generous but not extreme spacing. No dramatic ratio anywhere.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"color","areaKey":"color","areaLabel":"Color","areaOrder":2,"text":"Colour: pale neutral, warm.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"color-5","evidence":null},{"area":"density","areaKey":"density","areaLabel":"Density","areaOrder":11,"text":"Density: \"less empty than Japanese\".","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"density-6","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: daylight interiors.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form/motif/surface/technique: rounded corners, wood tone.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"register","areaKey":"context","areaLabel":"Context","areaOrder":99,"text":"Whether a unified 'Scandinavian design' exists or was assembled for export is a live scholarly dispute, not a settled fact. The joint marketing is dated and documented: Heal's 'Scandinavia Design for Living' (London, 1951) and the touring 'Design in Scandinavia' (1954-57).","basis":"historical_practice","basisLabel":"Graded by our research brief · No source attached","ours":false,"claimKey":"sm-r1","evidence":null},{"area":"position","areaKey":"context","areaLabel":"Context","areaOrder":99,"text":"Defined by position between neighbours: warmer and more balanced than Swiss Style, less empty and less asymmetric than Japanese Minimalism. Content remains on the page.","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"sm-r2","evidence":null}],"areas":["layout","hierarchy","color","density","imagery","raw:form / motif / surface / technique","context"],"refusals":[],"depth":"rules","show":{"faces":[{"alias":"mxf-familjen-woff2","name":"Familjen"}],"colours":["#2f2b27","#f5f1ea","#fbf8f3","#ece5d9","#5e574f","#eef1f4"],"argues":"Restraint without severity. The same reduction that modernism performs, softened by daylight, pale wood tones and rounded form, so the result reads as habitable rather than as doctrinal.","href":"a/scandinavian-minimalism.html","preview":true}},{"slug":"scientific","name":"Scientific","spec":{},"summary":"Figure numbering, inline data plots, numbered references","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Composition: column-width panels; figure + caption unit.","basis":"canonical_constraint","basisLabel":"Documented · Source not yet verified","ours":false,"claimKey":"layout-3","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by order of first citation. 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","basis":"editorial_operationalization","basisLabel":"Our reading","ours":true,"claimKey":"hierarchy-13","evidence":null},{"area":"imagery","areaKey":"imagery","areaLabel":"Imagery","areaOrder":3,"text":"Imagery: scanned ephemera.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"imagery-7","evidence":null},{"area":"form / motif / surface / technique","areaKey":"raw:form / motif / surface / technique","areaLabel":"Form / motif / surface / technique","areaOrder":50,"text":"Form/motif/surface/technique: sticker layers, washi tape.","basis":"historical_practice","basisLabel":"From our catalogue entry","ours":false,"claimKey":"surface-8","evidence":null},{"area":"motion","areaKey":"motion","areaLabel":"Motion","areaOrder":6,"text":"Items added on interaction, landing rotated on top of the pile. 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Nothing is laid out properly because nothing can be; every layout decision is a workaround for a missing capability.","href":"a/web-1-0.html","preview":true}},{"slug":"web-brutalism","name":"Web Brutalism","spec":{},"summary":"No border radius, default system fonts, default blue links, visible structure","rules":[{"area":"layout","areaKey":"layout","areaLabel":"Layout","areaOrder":0,"text":"Composition: document flow made visible.","basis":"historical_practice","basisLabel":"From our catalogue entry · Source attached","ours":false,"claimKey":"layout-3","evidence":null},{"area":"typography","areaKey":"typography","areaLabel":"Typography","areaOrder":1,"text":"Typography: the system's own faces at scale, its sans stack or its monospace.","basis":"historical_practice","basisLabel":"Documented · Source attached","ours":false,"claimKey":"typography-4","evidence":null},{"area":"hierarchy","areaKey":"hierarchy","areaLabel":"Hierarchy","areaOrder":10,"text":"Rank by raw scale and rule weight. 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