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Oxblood-and-bone specimen ledger: Marley reversed out of a deep red band, ten years of work cascading beneath in heavy small-caps slab.
Why
The phrase is Marley, "None but ourselves can free our minds." It is a line about self-determination, so the page does not shout it at the viewer; it sets the line as a standfirst and then shows the proof. That is why the hero object is the work index, not the statement: ten years of owned work, Spaceman through dougmar.ch down to the 2008 experiments, is the evidence that the mind was freed. The quote sits reversed out of a deep oxblood band at the top edge, Marley captioned beneath, and the index cascades below it as the largest type on the page.
The composition follows: a vertical masonry index, broken symmetry so featured work reads large and old experiments read small, and a single interrupted caesura between the professional register and the 2008 toys. Bitter-mulish carries it because a heavy slab is sturdy and warm at once, which is the exact register of a defiant line that is not angry; its real heavy cuts give the index titles gravity and the body Mulish answers the slab's width honestly rather than defaulting to a neutral sans. Small-caps and type-as-texture turn the oversized titles into the field itself, a specimen sheet, not a poster with one slogan.
The palette breaks the green mandate on purpose. Seven straight builds sat in green and teal and the measured repetition penalty was a hue collision, so I moved to oxblood at 8°, sixty degrees clear of every recent hue, carried in a duotone of oxblood and warm bone with a dot field for the specimen register. The down market renders in the same oxblood, which reads as honestly red, and the single-color mark sits in oxblood on the bone rail where it stays recognizable without fighting the flood.
Visual specification
1. Color Specification
#faf6f0, 100 #f3ece1, 200 #e8ddcc, 300 #d6c7b0, 400 #b8a488, 500 #948066, 600 #6e5e48, 700 #4e4232, 800 #332b20, 900 #1d1812#b44a3b, default #9a3729, dark #5f2017, glow #cc6a5b#faf6f0, card/surface #e8ddcc, band bgAlt #f3ece1, hero flood field #5f2017#3f1510, secondary #7c2a1f, muted/faint #6e5e48; reversed on the flood: bone #faf6f0, muted bone #e8ddcc2. Typography (bitter-mulish)
4xl step, Bitter display, small-caps, heavy, bone reversed out of the oxblood flood band at the top edge. "Bob Marley" caption directly beneath in sm Mulish, fieldInkMuted.5xl (clamp to ~120px at 1440), Bitter heavy small-caps, oxblood ink on bone. Section labels (SELECTED WORK, EXPERIMENTS) at md small-caps oxblood, with twice the space above as below. Years and roles at sm/base Mulish, tabular-nums for the years. Body/metadata at base (16px) Mulish, measure held 60–68ch. Micro labels at xs (≥12px). Mid-register is spent: 5xl titles, 4xl quote, md labels, base body, no gap from giant to tiny.3. Layout Specification
display: grid; grid-template-columns: 1fr 88px (content + right nav rail at 1440). Index: display: grid; grid-template-columns: repeat(12, 1fr); grid-auto-flow: dense; with featured entries spanning more columns/rows than experiments to produce the masonry.min-height: 42vh, full width of content columnwidth: 88px, height: 640px from topmax-width: none, padding: 72px 6vw on the content column4xl, ~56–72px at 1440).<SiteCallout /> sits below the work index and above the footer data strip, between the EXPERIMENTS block and the foot. I place it, I write nothing for it.4. Component Character
full reserved for the mark only.border (#d6c7b0) between index rows; borderStrong (oxblood 700) under section labels and above the data strip._hover fills an index row with a faint oxblood wash (accentAlt at low presence via a background swap to bone 100) and shifts the title to accent; links underline-grow.5. Signal Integration
xs textFaint, no score furniture.xs/sm tabular Mulish.Self-check
4xl and the index at 5xl both fit Bitter's range (128/160) at 1440 without overflow.3xl and the mark sit in the first 640px of the oxblood band before the index stacks.Rationale
The phrase is Marley, "None but ourselves can free our minds." It is a line about self-determination, so the page does not shout it at the viewer; it sets the line as a standfirst and then shows the proof. That is why the hero object is the work index, not the statement: ten years of owned work, Spaceman through dougmar.ch down to the 2008 experiments, is the evidence that the mind was freed. The quote sits reversed out of a deep oxblood band at the top edge, Marley captioned beneath, and the index cascades below it as the largest type on the page.
The composition follows: a vertical masonry index, broken symmetry so featured work reads large and old experiments read small, and a single interrupted caesura between the professional register and the 2008 toys. Bitter-mulish carries it because a heavy slab is sturdy and warm at once, which is the exact register of a defiant line that is not angry; its real heavy cuts give the index titles gravity and the body Mulish answers the slab's width honestly rather than defaulting to a neutral sans. Small-caps and type-as-texture turn the oversized titles into the field itself, a specimen sheet, not a poster with one slogan.
The palette breaks the green mandate on purpose. Seven straight builds sat in green and teal and the measured repetition penalty was a hue collision, so I moved to oxblood at 8°, sixty degrees clear of every recent hue, carried in a duotone of oxblood and warm bone with a dot field for the specimen register. The down market renders in the same oxblood, which reads as honestly red, and the single-color mark sits in oxblood on the bone rail where it stays recognizable without fighting the flood.
Composition rationale
The line is about freeing your own mind, so the page leads with the evidence of a self-directed career: the work index is the object, the quote the standfirst above it. I moved axis off the mandate's suggested radial onto the discouraged vertical because a ten-year work ledger reads top to bottom and the owner's own praised reference is "index as interface, one row per project" — radial orbit would fight that reading. symmetry: broken serves the masonry (featured work large, 2008 experiments small, a ragged edge), and rhythm: interrupted puts the one big caesura between the professional work and the old experiments.
Signal integration
xs textFaint, no score furniture.xs/sm tabular Mulish.03
oxblood
hsl(8 60% 34%)
Deep oxblood and warm bone carry the whole page because the last seven builds clustered in green and teal (148–188°) and the repetition check flagged the proximity; a committed warm red sits 60°+ from the entire recent window and matches the Redemption Song gravity of the line.
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Color — 2 ramps, 20 stops
oxblood
bone
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