Evidence resolves out of noise.

Nearly all UI chrome is an eyebrow. Four steps and nothing else: the prototype pages had thirteen distinct letter-spacing values plus three in raw pixels. Tracking scales inversely with size. Shown on all three surfaces. The accent eyebrow names a state, decided 9 Oct. It is for a label that says what the accent already means: evidence held (Ingested, Tier 1), a verdict (Correct, Decided), something live (Now in pilot). Section labels, card categories and numbered lists stay neutral, however important.

Every corner in the system is 4px: buttons, inputs, cards, pills, chips, badges, the focus ring. It was two steps, 2px for small things and 4px for anything with an interior, until 15 October. One answer is one fewer place for two components to disagree, and a chip and the button beside it now read as the same family of object. Round things, a status dot or an avatar, take --r-full, because a dot is not a corner. The token names all stay, so a component keeps the name that says what it is; never write a literal in place of one.

The system has one tone besides the page, a wash of ink, and one line, the hairline. They never do each other’s job. A tone says “set back”: a band, the console’s sides, the recess a choice sits in. An edge says “object”: a card, an input, a library entry, and its face is the page tone, so on a ground it is the brightest thing and reads as lifted. Warm is the exception, kept for callouts and violators.

Renamed on 16 October. The tone was called --panel, a name that means a raised board, while the console used it as a background. Both uses mean “quieter than the page”, so the tone keeps one meaning and the names now say which job is being done. Three small objects are filled with it, a badge, an avatar and your own message, because each is meant to be quieter than what is beside it: your question is quieter than the answer. That is the tone’s meaning at object size, not a second meaning, so it does not dilute the language. What would: a card filled with it on the page, or a ground with an edge round it.

A card is raised by its edge: a hairline at --line-2 around the page tone, with no shadow until it can be acted on. That is .card as it ships, and it was .surf--edge in the comparison that settled it. Corners, the second treatment, and the five surfaces weighed against the edge are in the archive.

Those two, and nothing else; the third, the gradient fields, was removed on 15 October. A warm card in a grid of cards is the old system leaking through.

Two rules cover all of them. Weight is state: a 1px line is structure, a 2px line marks where you are or what is evidence. Colour is role: --line decorates, --line-2 bounds what you act on and opens a group, --ink-35 is an edge under the pointer, ink is position, the accent is evidence.

The same dashed grid, developing cell by cell as its band scrolls in and dissolving as it leaves: scroll-linked, never looped, in ink only. Cells arrive in an organic order, white noise mixed with a slow value noise, so the texture assembles in patches the way an image develops. It keeps the vignette, and nothing legible depends on it: with script off or motion reduced, the still grid shows instead.

One line, chosen 16 October from seven, for clarity and trust with an institutional reader. It goes wherever the brand speaks in a few words: under the logo, on the brand board, a report’s cover, a deck’s title slide, a badge. It is a sentence, so it ends with a full stop, and it is set in the serif in sentence case, never in capitals.

Clear evidence for consequential decisions.

On a page, the logo and the line are .brand-sign: the logo’s img, then p.brand-line at --t-h2. Home’s footer opens with it, on the dark logo.

A subject shot on white, a dove or an object on a seamless, dithered and blended into the page so the ground disappears and the subject floats with no box and no edge. It is a quality of the page rather than an object on it, so it sits behind type, and the copy over it needs no opaque face. Its still form, .vmap--still, maps a photograph of a subject through the same monochrome ramp; Home and Rotary use it for figures. The video map, footage that fills its frame, is retired for now and in the archive.

Greyscale, multiply onto the paper, at .18 for a hero; below about .10 the subject disappears. The grain is the original site’s: a veil master is about 1.5× narrower than the width it is drawn at, with a 2px baked cell, so it lands on the 3px brand cell on screen. The edges always fade, and the mask is part of the class: a veil with a hard boundary is a video element. One moving clip per page; past two on screen the cost of compositing the upscaled frames climbs steeply.

A subject shot on a seamless, mapped through the clips’ ramp so its ground drops into the page. On Rotary’s “From idea to application” one motif, the olive branch, runs through all five, so five images read as one story told in steps: the sprig alone, then round the globe, across the evidence, under the clipboard’s clip, and resting on the result. Give a series one recurring subject; five unrelated objects would read as clip art.

02

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For every part of your project we find what has been tried in comparable places and what happened, and say plainly whether the evidence is strong, mixed or untested.

The still is a figure, tier three: it sits beside copy, never behind it, and one is on screen at a time. On a scrolling page it swaps as each step is read (.scrolly, Pl. 12); on a phone the figure leads once and the steps run under it. Masters are 200px with the cell baked in, so the mapped figure lands on the brand’s 3px cell at the sizes above and should not be drawn much larger than the scrolly’s column.

The product, in the brand, as a working prototype of its own: console.html. Chats, projects with their context, memory and artifacts, sharing, search, the library. All of it is Stable as of 16 October, projects and search included; CONSOLE.md writes it down.

A chat, citing the library A project’s page

Try, in console.html a project in the railSearch chats, or press ⌘K inside the consoleNew chat here, under an open projectInstructions, Context and Memory, in the panel at its rightAdd: upload files, add a note, or pick from the librarydropping a file on the consoleChats and Artifacts, under its composerExport › Save as an artifact, on any chatthe microphone, beside the sendShare

Settings, Filters and the top bar’s links are drawn but not wired, and the microphone shows that it is listening but hears nothing. Nothing leaves the page: an upload stays in the browser and an invitation sends nothing. State resets on reload. Best at desktop width: under 1080px the console keeps only its middle column, as the product does, and a project’s panel moves into its page.

Adopted 16 October. Under 620px the console’s input took 180px of an 844px screen, and the console’s four links ran off the edge of the top bar. Under 1080px the chats and the library were put away with no way back to either. Each is answered below, after Claude’s app; the desktop is unchanged.

A citation in an answer, or a row in the library, opens the paper in the pane. Production has two screens for it, a quick view and the full entry of an ingested paper; both are in the system as of 16 October. Tap a citation in any of the frames, or a row in the library.

Each section keeps a margin of its own for a mark and its short name, and a 2px tab on the section’s hairline over it, so the margin always says what you are reading. On 16 October Matt asked for the strip of contents across the top to go, and for the margin to try the brand’s moving images in place of the pixel icons, larger than the icon’s footprint. Decided 16 October: the moving image (it was 16 · M1; the pixel icons, M2, were not taken). A document in the console keeps its strip, because its numbered sections need a contents list; a page no longer has one. The running head, the drawn columns and the section rule are in the archive.

Every picture in the system so far is an object on a white seamless: a dove, a glass, an olive branch. The corpus is about real places, and an institution paying for it will expect to see one. One way to carry a documentary photograph in the brand’s own treatment, both on the same picture of a street in Mosul’s Old City after the war with the Islamic State, chosen because it shows a place and its damage and no one in it. It replaced a view across the Tigris on 16 October: its sky and water were one flat tone each, and the dither had nothing to work on; rubble is detail from edge to edge.

18 · A1Dark, monochrome, dithered, on a dark band · the glitchExplorationthe scene mapped through a compressed dark ramp · .vmap.doc-dark on .on-dark

Mosul, 2019

What rebuilding has worked after a city is fought over?

Evaluations of reconstruction programmes in post-conflict cities, read side by side, each finding traced to its source.

Picked 16 October: 18 · A1 as the archive had it, with the first glitch (AR 20 · C in the archive). On a dark band the ramp is compressed and stops at 56% of the band’s ink, so the brightest thing in the picture is still darker than the type beside it, and the picture cannot compete with the headline. A second, smaller picture can sit under the first. Every two to six seconds, while it is on screen, a burst of four to nine frames slips bands of rows sideways, then the picture settles back exactly as it was; reduced motion leaves it still. The glitch is adopted as the one timed effect in the system, for documentary pictures only (16 October). The white and off-white pages, the colour screen and the other twelve glitches are in the archive (AR 20). Home’s corpus band is the first page to carry it, as figure.doc-fig with its caption.

The top bar as an object: set in from the top and both sides of the window, with an edge round the page tone, opaque (made so on 16 October: a translucent, blurred bar is the glass every generated page wears). Scrolling down, it pulls in to the logo alone, dove and wordmark, centred on the page (19 · B, 16 October; at the body’s left edge was 19 · A); scrolling up, tapping the logo, or tabbing into it opens it again, and at the top of the page it is always open. The logo never moves, so the eye has nothing to follow; only the bar’s right end travels.

Pl. 19The floating barExplorationscroll inside the frame · .fnav[data-fnav]

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Decided 16 October: it compacts to the logo alone, dove and wordmark, and tapping the logo opens the full bar. It is on Home, the first page to carry it; Landing and Rotary keep .nav, and the console keeps its fixed bar, which is part of the app shell.