Set entirely in Fraunces, a single contemporary serif by Undercase Type, self-hosted as a variable file. Display weights run loud at the cover, body sits at a calm 16px, and small-caps with tracked-out letters do the work usually given to a separate label face. One typeface for the whole gallery — every change in voice comes from weight, italic, or small-caps, not from a second family fighting for attention.
Three voices on the cover and listing — paper, ink, and a single cobalt monosignal — and a fourth voice inside the work itself: each piece is curated into one of four rooms (sage, terracotta, slate, ochre) whose colour saturates the canvas region while the editorial column stays on paper. The principle is quiet shell, loud content: the chrome holds still, the work flares.
A 12-column grid with a 24-pixel gutter, 96-pixel margins on desktop and 24 on mobile. Hairline rules instead of filled boxes; whitespace separates sections, not chrome. Headlines and pieces are allowed to break the column rhythm — a piece sits at 8 of 12, an essay at 5 — and large numerals in the margin do the work that a graphic system would otherwise demand.
Earning the page. Every element justifies its presence or gets cut. The first version of this gallery was loud — neon CRT scanlines, four saturated colours at once, type that asked for attention rather than holding it. It worked as a prototype tell and stopped being charming the moment a stranger landed on the page expecting real art. The second version reverses the rule: a quiet frame, generous space, a single signal where one is needed, and pieces that are allowed to be neon, glitchy, or strange because the chrome around them isn't competing.