# Pulp — style guide for coding agents

> Generated from the Aesthetary record for **Pulp**.
> Research: **Partly sourced** · Build guidance: recorded in 6 of 8 research dimensions.
> 11 sources attached.

## How to use this

Paste this file into your agent as context before asking it to design or build something in this visual language. It states what is established, what is our interpretation, and what nobody has established. Treat all three differently.

**The most important section is "Not researched yet".** Its purpose is to stop you and your agent inventing rules that sound right and are not recorded anywhere.

## What this language is

**Defining:** Painted cover scenes, full-colour covers, angled banners, breathless display type

**Recognise it by:** A painted narrative scene of dramatic action, reproduced in full colour on a glossy cover that is glued around a thick, untrimmed block of coarse pulp paper, where the drawings are black line shaded with crosshatching or stippling. The diagnostic condition is the split between the two surfaces: colour and paint are spent on the cover that sells the story, and the pages inside get one ink on the cheapest paper. Travel Poster sells a place; this sells a story. Circus fills a sheet with a programme of acts; this concentrates on a single lurid scene.

**Family:** Editorial & Typographic
**Era:** mid-century
**Native medium:** print

**Scope:** The visual register of pulp magazines (1896–1957): hand-made cover art on slick stock, black-ink interiors on cheap paper, as Aesthetary's reading; angled banners are our translation, not the covers' history.

## What it is arguing

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.

**It refuses:** Refuses subtlety, restraint, and any production value the format cannot pay for.

## What it is not

Commonly confused with these. Getting the difference right matters more than getting the surface right:

- Travel Poster
- Western
- Mexican Graphic Vernacular — A graphic tradition with type and layout, distinct from the craft patterns
- Circus

## Established rules

Grouped by what kind of claim each is. A requirement of the language and our own interpretation are not interchangeable.

**How to read each rule.** Every rule states two separate things, and neither stands in for the other:

- **Kind of claim** (the heading): From our catalogue entry · Our reading · Documented · Source attached · Seen in the work.
- **Evidence** (how it is established): Graded by our research brief · No source attached (`DOCUMENTED`) · From our catalogue entry (`SUPPORTED`) · Our reading (`CURATORIAL`) · Not researched yet (`UNKNOWN`) · No grade recorded (no grade in the record). Where a claim has its own canonical label, the Evidence line gives that label instead of the grade.
- **Product area**: which of the twelve areas the rule belongs to (Layout, Typography, Color, Imagery, Surface, Interface, Motion, Motif, Technique, Form, Hierarchy, Density), mapped from its raw area label in bold. "Context" means the rule is about the Aesthetic (its name, origin, lineage) rather than a part of the design. "Not mapped" means the raw area has no single area yet.
- The code in brackets is the `grade` field at `implementationConstraints.tokenRules.value.rules[].provenance.grade` in https://aesthetary.com/data/pulp.json. "From our catalogue entry" means: Stated in Aesthetary’s existing catalogue entry. An outside source is named only where one is linked to the claim.

### From our catalogue entry

_Carried over from Aesthetary's original catalogue entry. The reasoning behind it was never recorded._

- **layout** — Composition: angled banners over a single image.
  - Kind of claim: From our catalogue entry · Evidence: From our catalogue entry · Product area: Layout

### Our reading

- **typography** — Heavy condensed display, squeezed to fit, mixed with a plainer secondary. Not claimed.
  - Kind of claim: Our reading · Evidence: Our reading · Product area: Typography
- **hierarchy** — Rank by banner angle and display scale — the most tilted, largest promise leads regardless of truth.
  - Kind of claim: Our reading · Evidence: Our reading · Product area: Hierarchy
- **color** — Colour belongs to the cover: a painted scene reproduced in full colour on coated stock. The pages inside carry black ink on cream pulp paper, and the constraint should read there, not on the cover.
  - Kind of claim: Our reading · Evidence: Our reading · Product area: Color

## Found in research

What research established from sources Aesthetary opened and checked. Each line names its area, how it is known, and where it is scoped. "Seen in the work" means the source documents particular works or products rather than the Aesthetic as a whole.

- **Typography** — On the Donenfeld/Armer titles one letterer examined, logos were drawn per magazine and varied widely: bouncing block letters, Art Nouveau, fluid upper- and lower-case serif lettering.
  - Evidence: Seen in the work · Claim: `kcc:typography-1` · Covers Donenfeld/Armer group titles, c.1929-1938, as observed by one professional letterer.
- **Typography** — Secondary cover type on those titles was set in a stock display face, Cooper Black, rather than drawn.
  - Evidence: Seen in the work · Claim: `kcc:typography-2` · Covers Donenfeld/Armer group titles, early 1930s.
- **Imagery** — Covers were painted narrative scenes of dramatic, often lurid action meant to be read at a glance on the newsstand.
  - Evidence: Documented · Source attached · Claim: `kcc:imagery-1` · Covers covers.
- **Surface** — Interior pages were printed on cheap, coarse wood-pulp paper, from which the format takes its name.
  - Evidence: Documented · Source attached · Claim: `kcc:surface-1` · Covers interiors.
- **Surface** — Covers were a different, better surface: colour-printed on coated (slick) stock, not on the pulp paper of the text.
  - Evidence: Documented · Source attached · Claim: `kcc:surface-2` · Covers covers.
- **Surface** — Most pulps were left untrimmed, with ragged edges.
  - Evidence: Documented · Source attached · Claim: `kcc:surface-3`
- **Surface** — The yellowed, fragile look of surviving copies is an effect of age, not the surface as published; 'aged paper' describes the collector's object, not the newsstand one.
  - Evidence: Documented · Source attached · Claim: `kcc:surface-4`
- **Technique** — Cover images were original paintings in oil, gouache or pastel, reproduced in colour; the oil originals often measured over two feet high, much larger than the printed cover.
  - Evidence: Documented · Source attached · Claim: `kcc:technique-1` · Covers covers.
- **Technique** — Interior illustration was black line work adapted to absorbent paper, with shading limited to coarse crosshatching or stippling.
  - Evidence: Documented · Source attached · Claim: `kcc:technique-2` · Covers interiors.
- **Form** — The standard pulp was a thick, roughly 7 x 10 inch magazine about half an inch deep with untrimmed edges.
  - Evidence: Documented · Source attached · Claim: `kcc:form-1` · Covers standard format; later 'large pulp' titles ran about 11 x 8 inches (S4).
- **Form** — Construction: stapled signatures with a separately printed four-colour wraparound cover, mostly on lightweight coated stock, glued on; the cover was slightly larger than the text block and overhung it, so its edges creased and tore.
  - Evidence: Documented · Source attached · Claim: `kcc:form-2`
- **Form** — Some publishers later moved to a larger flat format to match slick magazines on the stands.
  - Evidence: Documented · Source attached · Claim: `kcc:form-3`

## Positions by area

The overall position recorded for each area. "No overall position recorded" means rules exist for the area but no position above them; the rules still apply. It is not the same as "Not established", which means nobody has researched the area.

- **Layout** — Specified
- **Typography** — Specified
- **Color** — Specified
- **Imagery** — Specified
- **Surface** — Specified
- **Motif** — Specified
- **Technique** — Specified
- **Form** — Specified
- **Interface** — Outside this language. The area does not apply; this is not a gap in the research.
- **Motion** — Outside this language. The area does not apply; this is not a gap in the research.

## Design grammar — web primitives

A starting grammar for a website in Pulp: colour and paint spent on the cover, one ink on cheap stock inside, heavy condensed display and angled banners ranking the promises.

Three kinds of line: **On the record** names a rule this record holds (its wording is under Established rules) and states what it becomes on the web. **Web translation** is Aesthetary's choice for the web, derived from the rules it cites; change it if you have a reason, keep the cited rule. **Not specified by the source** means the research reached this but the sources say nothing about it; **Not researched yet** means the research has not reached it yet. Either way, follow the instruction and do not invent a rule. Structured version: `designGrammar` in data/pulp.json.

### Colour

| Role | Value | Contrast | Use | Kind |
| --- | --- | --- | --- | --- |
| stock | `#E8D6A8` | — | The ground: cream pulp paper, as the interiors were printed. | Web translation |
| ink | `#1D2340` | 10.7:1 | Text, rules, line drawing: the one working ink. | Web translation |
| red | `#D2382B` | 3.4:1 | Banners and the second type plate; 24px display and up only. | Web translation |
| red-text | `#9E2418` | 5.4:1 | The red wherever it is small text. | Web translation |

- **On the record · Our reading** · `claim:dcc:color-5` → Spend colour on the cover image: a painted scene in full colour. Keep the pages inside to black ink on cream pulp paper.
- **Web translation** — Use one red for banners beside the working ink. _Why:_ The angled banner is the record's composition; a banner needs a colour the ink is not. Which red is ours. (`token_rule:layout-3`)
- **Not specified by the source** — The sources do not specify a cover palette. _Instead:_ Painted covers were reproduced in full colour; do not reduce the scene to two spot inks and call it period.
- **Not specified by the source** — Aged, yellowed paper is not the published surface. _Instead:_ Do not add foxing or stains; the aged look is the collector's copy.

### Typography

Family: heavy condensed display (the record's curatorial reading), with Libre Franklin for text. Stack: `"Anton PL", Impact, "Arial Narrow", sans-serif`

| Role | Size | Weight | Line height | Case | Tracking | Measure | Use |
| --- | --- | --- | --- | --- | --- | --- | --- |
| display | clamp(2.25rem, 6vw, 4rem) | 400 | 0.95 | uppercase | not specified | — | Titles and banners, squeezed to fit. |
| banner | 1.5rem | 400 | 1.15 | uppercase | not specified | — | Promises set on the angled banner. |
| text | 1.125rem | 500 | 1.55 | not specified | not specified | 68ch | Everything read at length, in Libre Franklin. |

- **On the record · Our reading** · `token_rule:typography-4` → Set display heavy and condensed, squeezed to fit, beside a plainer secondary face.
- **Web translation** — Use Anton for display and Libre Franklin for text. _Why:_ The room's own faces: a heavy condensed display and a plain secondary, as the type reading asks. (`token_rule:typography-4`)
- **Not specified by the source** — One period face is observed, not a system. _Instead:_ Cooper Black set the secondary lines on one publisher group's covers, and logos were drawn per title; neither is a rule for every page.

### Grid and layout

A cover, not a grid: one painted image under angled banners, then the pages inside in single, ruled columns.

Tokens: measure `68ch` · banner-tilt `-4deg`

- **On the record · From our catalogue entry** · `token_rule:layout-3` → Compose the lead as angled banners over a single image.
- **On the record · Our reading** · `token_rule:hierarchy-13` → Rank by banner angle and display scale: the most tilted, largest promise leads.
- **Not specified by the source** — The sources do not specify a column system. _Instead:_ Set the inside in one ruled column; say so if you add a grid.

### Shape and geometry

Tokens: radius `0` · rule `2px solid #1D2340` · section-rule `6px double #1D2340` · edge `untrimmed`

- **Web translation** — Divide sections with double rules in the ink; square corners throughout. _Why:_ The inside is one ink; rules are the only ornament it can afford. (`claim:kcc:technique-2`, `claim:dcc:color-5`)
- **Web translation** — Let edges that stand for the magazine run ragged. _Why:_ Most pulps were left untrimmed, with ragged edges. (`claim:kcc:surface-3`)

### Imagery

- **On the record · Documented** · `claim:kcc:imagery-1` → On the cover, use a painted narrative scene of dramatic, often lurid action, read at a glance.
- **On the record · Documented** · `claim:kcc:technique-1` → Treat cover images as paintings reproduced in colour, not photographs.
- **On the record · Documented** · `claim:kcc:technique-2` → Inside, draw in black line, shaded only with coarse crosshatching or stippling.
- **Web translation** — Build interior shading as CSS or SVG hatching that scales. _Why:_ Coarse hatching and stippling in one ink; a pattern that scales keeps it coarse at any zoom. (`claim:kcc:technique-2`)

### Two surfaces

The magazine is two papers: a coated cover printed in colour and glued around a block of cheap, untrimmed pulp. Keep them apart.

Tokens: cover-ground `#1B2150` · interior-ground `#E8D6A8`

- **On the record · Documented** · `claim:kcc:surface-2` → Print the cover on a better surface than the text: colour on coated stock.
- **On the record · Documented** · `claim:kcc:surface-1` → Print the pages inside on cheap, coarse pulp paper.
- **Web translation** — Give the cover area its own ground and keep the reading pages on the cream stock. _Why:_ Covers and interiors were different surfaces, with colour only on the cover. (`claim:kcc:surface-2`, `claim:kcc:revision-pu-r1`)

### Components

Anatomy, tokens and states below are Web translation: Aesthetary's specification for the screen. Each value line after them says whether it restates a rule this record holds.

#### Button

A blue-black plate with the red plate landing a few pixels off, the way the cover prints its type.

- Anatomy: blue-black field; label in the condensed display face, capitals; red offset impression behind (6px, 5px)
- Tokens: background `#1D2340` · color `#E8D6A8` · offset `6px 5px 0 #D2382B` · radius `0`
- State, default: Blue plate, red impression offset down and right.
- State, hover: The red closes to 3px 2px: nearer register.
- State, focus: 3px blue-black outline, 6px outside the plate.
- State, active: The red sits under the plate: in register for the moment of the press.
- State, disabled: Stock field, dashed blue-black edge, no red plate.
- Accessibility: Label on the blue-black plate at 10.7:1.
- Accessibility: The red offset is decoration; nothing is read from it.
- Accessibility: At least 44px tall.
- **Web translation** — Print the button as two plates slightly out of register. _Why:_ The record's type reading pairs a heavy display with the press; the offset is the page's declared register, not a documented pulp practice. (`token_rule:typography-4`, `claim:dcc:color-5`)
- **Web translation** — Set the label in the heavy condensed display face. _Why:_ Heavy condensed display, squeezed to fit, is the record's curatorial type reading. (`token_rule:typography-4`)

#### Card

A magazine on the rack: a painted scene in colour on top, the title in heavy display, the lower edge left untrimmed.

- Anatomy: full-colour image area (a painting, not a photograph); title in the display face; one line of plain text; ragged lower edge
- Tokens: border `3px solid #1D2340` · edge `ragged (clip-path)` · ground `#E8D6A8`
- State, default: Blue-black frame, painted image, ragged foot.
- State, hover: The title's red impression shifts: the misregistration widens.
- State, focus: 3px outline outside the frame.
- Accessibility: The whole card is one link.
- Accessibility: The image has a text alternative that names the scene.
- **Web translation** — Lead with a painted narrative scene of dramatic action, readable at a glance. _Why:_ The cited rule belongs to the Aesthetic's own medium; applying it to a screen component or motion is our translation. (`claim:kcc:imagery-1`)
- **Web translation** — Leave the card's lower edge ragged. _Why:_ Most pulps were left untrimmed, with ragged edges; the card is the magazine. (`claim:kcc:surface-3`)
- **Web translation** — Put colour in the card's image and keep the rest in one ink on stock. _Why:_ Colour belongs to the cover; the pages inside carry black ink. (`claim:dcc:color-5`)

#### Input

A ruled box on the interior stock, in one ink, its label above in the plain text face.

- Anatomy: 2px blue-black rule; stock field; label above in the text face; error as a line of heavy red text below
- Tokens: border `2px solid #1D2340` · background `#E8D6A8` · radius `0` · height `2.75rem`
- State, default: 2px blue-black rule.
- State, focus: 4px rule and an outline.
- State, error: Message in the heavy red (5.4:1), beginning "Error:".
- State, disabled: Dashed rule.
- Accessibility: The label is real text above the field.
- Accessibility: Error text is words, not colour alone.
- **Web translation** — Rule the field in one ink on the interior stock. _Why:_ The pages inside are black ink on cream pulp paper; a form is an interior thing. (`claim:kcc:revision-pu-r1`, `claim:dcc:color-5`)
- **Not specified by the source** — The sources do not specify pulp forms or coupons. _Instead:_ Do not dress the field as a period coupon; keep it a plain ruled box.

#### Navigation

The cover strip: a blue-black band with the sections in heavy display capitals, the current one on a red banner.

- Anatomy: blue-black band; links in the display face, capitals; current page on a red banner, tilted
- Tokens: background `#1D2340` · color `#E8D6A8` · current `#D2382B` · tilt `-2deg`
- State, default: Stock-coloured capitals on the band.
- State, hover: Underline, 2px.
- State, focus: 3px stock-coloured outline.
- State, current: Red banner behind the label, tilted -2deg.
- Accessibility: aria-current on the current page.
- Accessibility: Labels at 10.7:1 on the band; the red banner carries 24px display type only.
- **Web translation** — Mark the current page with an angled red banner. _Why:_ The record ranks by banner angle and display scale; the current page is the promise that leads. (`token_rule:hierarchy-13`, `token_rule:layout-3`)

### Motion

- **Web translation** — Do not animate. State changes are instant shifts of the red plate. _Why:_ A cover does not move; the record gives motion no place. (`claim:motion-reason`)

### Deliberately not added

- **A cover palette, and which red** (color): Covers were full-colour paintings; the sources specify no palette. The red is ours.
- **A typeface for all pulps** (typography): Logos were drawn per title; one publisher group used Cooper Black for secondary lines. Observed, not a rule.
- **A column system** (gridLayout): The record holds a cover composition, not a grid.
- **Interface conventions** (components): The research record does not establish them. The four components are contemporary translations of documented rules.
- **Any position on screen motion** (motion): A cover does not move. Choosing none is this grammar's translation.

## Coverage — what has been looked at

One row per research dimension a research pass considered. "Not researched yet" (`UNKNOWN`) means exactly that; a dimension can carry an Aesthetary recommendation and still be unresearched, and those are different things.

| Research dimension | Evidence | Resolved by | Carries a rule |
| --- | --- | --- | --- |
| Composition | Specified · From our catalogue entry | follows the recorded claim | yes |
| Typography | Specified | Aesthetary decided | yes |
| Hierarchy | Specified · Our reading | Aesthetary decided | yes |
| Colour | Specified · From our catalogue entry | follows the recorded claim | yes |
| Density | Not specified by the source | Aesthetary decided | no |
| Imagery | Specified · From our catalogue entry | follows the recorded claim | yes |
| Form / motif / surface / technique | Specified | follows the recorded claim | yes |
| Motion | Not specified by the source | — | no |

Unresearched: Typography. Where a rule appears for one of these it is Aesthetary's implementation recommendation, not a property of the language, and its Evidence line above says so.

## Not researched yet

Every area of this record has a recorded position. That is unusual — most records do not.

## Grade your own work

16 checks: 7 mechanically testable, 7 needing a person to look, 0 needing a source Aesthetary does not hold, 2 with no recorded position. 2 further research dimensions produced no rule (Density, Motion). This rubric is silent on them. Scores do not add up. A failure against a required rule and a departure from something we invented are not the same result, and no total should let them cancel.

### Recognition — does this read as the intended Aesthetic?

- **[visual_human · recognition signature · Evidence: No grade recorded]** Strip every logo, word and borrowed image out of your work, then show it to someone who knows the collection. Do they land on this Aesthetic? The signature to hold is: A painted narrative scene of dramatic action, reproduced in full colour on a glossy cover that is glued around a thick, untrimmed block of coarse pulp paper, where the drawings are black line shaded with crosshatching or stippling. The diagnostic condition is the split between the two surfaces: colour and paint are spent on the cover that sells the story, and the pages inside get one ink on the cheapest paper. Travel Poster sells a place; this sells a story. Circus fills a sheet with a programme of acts; this concentrates on a single lurid scene.
  - _If it fails:_ The work may be competent and still read as a different Aesthetic, or as none. Nothing below matters until this passes.

### Fidelity — are its defining rules present?

- **[unassessable · no recorded position · Evidence: Not researched yet (`UNKNOWN`)]** Nothing is recorded as a requirement of this Aesthetic. There is no rule here that your work must hold — which means nothing you do can fail this dimension, and nothing you do can satisfy it either. That is missing research, not freedom: our research brief does record failure modes to avoid, listed under avoidance below. They are recorded judgement, not requirements.
  - _If it fails:_ Not applicable. An empty dimension is an absence of research, never a pass and never a failure.

### Implementation — were those rules translated appropriately into this medium?

- **[visual_human · From our catalogue entry · Evidence: From our catalogue entry]** Your work may depart from this — but knowingly, not by accident. Composition: angled banners over a single image.
  - _If it fails:_ A defensible departure, and you should be able to say why you made it.
- **[visual_human · Our reading · Evidence: Our reading]** Your work may depart from this — but knowingly, not by accident. Heavy condensed display, squeezed to fit, mixed with a plainer secondary. Not claimed.
  - _If it fails:_ Nothing. No one has researched the dimension yet, and this is only what Aesthetary would do. Departing from it costs you nothing.
- **[visual_human · Our reading · Evidence: Our reading]** Your work may depart from this — but knowingly, not by accident. Rank by banner angle and display scale — the most tilted, largest promise leads regardless of truth.
  - _If it fails:_ A defensible departure, and you should be able to say why you made it.

### Avoidance — known failure modes, neighbour drift, cloning

- **[mechanical · recorded failure mode · Evidence: No grade recorded]** Check your work against this: No photograph where the cover needs a painted scene.
  - _If it fails:_ A failure mode recorded in our research brief: recorded judgement about what weakens this Aesthetic, not a requirement of the language.
- **[mechanical · recorded failure mode · Evidence: No grade recorded]** Check your work against this: No clean registration.
  - _If it fails:_ A failure mode recorded in our research brief: recorded judgement about what weakens this Aesthetic, not a requirement of the language.
- **[mechanical · recorded failure mode · Evidence: No grade recorded]** Check your work against this: No tasteful duotone.
  - _If it fails:_ A failure mode recorded in our research brief: recorded judgement about what weakens this Aesthetic, not a requirement of the language.
- **[mechanical · recorded failure mode · Evidence: No grade recorded]** Check your work against this: No generous margins.
  - _If it fails:_ A failure mode recorded in our research brief: recorded judgement about what weakens this Aesthetic, not a requirement of the language.
- **[mechanical · recorded failure mode · Evidence: No grade recorded]** Check your work against this: No restraint in the display line.
  - _If it fails:_ A failure mode recorded in our research brief: recorded judgement about what weakens this Aesthetic, not a requirement of the language.
- **[visual_human · recorded failure mode · Evidence: No grade recorded]** Have you made any of these changes? Each one moves the work into a neighbouring Aesthetic: Against Travel Poster: story versus place; press limitation versus lithographic control. Against Western: Western is a subject and a period; this is a production economics register that often carries that subject. Anti-signature: clean registration and a chosen palette make it Travel Poster.
  - _If it fails:_ You have built the neighbour. That may be fine — but name which Aesthetic you are in.
- **[mechanical · declared closure · Evidence: No grade recorded]** Check your work against this: Not open: colour on the interior pages.
  - _If it fails:_ This one is closed, not open. The record says generation must not go here.
- **[mechanical · declared closure · Evidence: No grade recorded]** Check your work against this: Not open: clean printing..
  - _If it fails:_ This one is closed, not open. The record says generation must not go here.
- **[visual_human · neighbour drift · Evidence: No grade recorded]** Could your work be mistaken for Mexican Graphic Vernacular? That language is: A graphic tradition with type and layout, distinct from the craft patterns
  - _If it fails:_ Not necessarily wrong, but you are closer to Mexican Graphic Vernacular than to this Aesthetic.
- **[visual_human · neighbour drift · Evidence: No grade recorded]** Could your work be mistaken for Circus? That language is: Showmanship; bulbs and banners are the tell
  - _If it fails:_ Not necessarily wrong, but you are closer to Circus than to this Aesthetic.

### Accessibility — the Aesthetic preserved without its inaccessible practice

- **[unassessable · no recorded position · Evidence: Not researched yet (`UNKNOWN`)]** Does this Aesthetic conflict with any usability floor? Nobody has recorded one for it.
  - _If it fails:_ Nothing — and that is the problem. An unrecorded conflict is not an absent one. Hold AA on reading matter and decide the rest on other grounds.

**Not covered at all:** Density: Not specified by the source; Motion: Not specified by the source. These research dimensions produced no rule, so there is no check. Treat them as unscored, never as passed and never as failed.

## Rules for the agent

1. Do not invent rules for any area listed under **Not researched yet**.
2. Do not treat an absent position as permission to do anything you like — say that the language has no position, and decide on other grounds.
3. Keep our interpretations separable from the language's own requirements. If asked to justify a choice, cite which kind of claim it came from.
4. If you need something this record does not contain, say so rather than producing a confident answer from the aesthetic's name.
5. When you self-score against "Grade your own work", score only checks marked `mechanical`. Declare `visual_human` and `evidence_dependent` checks unjudged rather than guessing, and never score an `unassessable` one.
6. Evidence "Not researched yet" (`UNKNOWN`) is never a failure. It means nobody researched the dimension, so departing from what is written there costs nothing and must not be reported as a defect. "No grade recorded" is not a grade either: do not treat it as our decision or as an outside source.
7. In **Design grammar**, a "Web translation" line is our choice for the web and may be changed with a reason; the rules it cites may not. Never present a translation as a property of the language.

## Provenance

- Record: `pulp` · status `draft` · research `not_researched`
- Full structured record: https://aesthetary.com/data/pulp.json
- Human-readable record: https://aesthetary.com/a/pulp.html
- This file is a snapshot. The record may have changed since; check the page above.

_Aesthetary is an alpha. Where a page says nothing, nobody has done the work yet._