Where things sit,
and how they behave.
The grid decides positions; the components decide what fills them. Both follow the same discipline as the rest of the brand — structure clear enough to look like decoration, ornament that turns out to be architecture.
Where things sit.
Twelve columns and an eight-pixel rhythm. Every page on this system, every printed piece, every collateral object sits on this scaffold.
The base grid.
Twelve columns, equal width, with a 24-pixel gutter. Editorial layouts subdivide into 4-4-4 (triptych), 8-4 (lead + side), or 5-7 (asymmetric pair).
Eight-pixel rhythm.
All spacing — margins, padding, gaps — derives from a single eight-pixel base unit. Half-steps (4px) are allowed only at the smallest scale.
Three editorial layouts.
Each is a starting point — a known-good arrangement of grid, type, and image. Modify the content; do not modify the proportions.
A line drawn from the air
Shifting Sands — a body of work.
The work is divided across four sequences: dunes at first light; the wadi after rain; coastline at dusk; the saltflats, which keep their own time.
How they behave.
Buttons, forms, cards, tokens — the working parts of the site. Each follows the typographic discipline rather than the conventions of UI. Restraint scales down to the smallest interaction.
Three weights.
Primary (filled), Secondary (outline), and Tertiary (underline). Always tracked uppercase with a 12px label and a 1.5em hit area.
Inputs as rules.
Form fields are a single underline. The label sits above in tracked caps; help text below in monospace. No filled boxes.
The portfolio unit.
The recurring container across portfolio listings. A frame, a number, a title, a year, and a single line of metadata.
Position is meaning.
The grid is the brand's spine, the components are its joints. Both are silent unless they're broken — which is exactly the point.
