Named so the next page follows them deliberately instead of by imitation.
Headlines are set in heavy condensed caps at 80–110px with a hard offset shadow. They are not labels on a layout — they are the layout. Everything else negotiates around them.
Shadows are solid, zero-blur offsets in near-black — on text and on cards alike. Nothing glows, nothing blurs, nothing has a gradient. This is a press, not a screen.
The rupee figure lives inside the headline, not in a corner badge — WALK & TALK WITH ROHAN · ₹129. Cost is part of the offer's name, so nobody has to hunt for it.
Where an image meets a card body, the seam is a deckle tear, not a straight rule. Collage art gets ripped edges over flat colour blocks. The page should feel assembled by hand.
English carries the product; Hindi and Hinglish carry the feeling — Chai ho jaye?, Aapki awaaz, duniya tak. Never a translation of the same line. Always the aside that only a local would write.
Every card leads with a real person in a real place — a Kolkata street, a Mumbai seafront. The product is people. Icons and diagrams stay out of the hero.
A section sits on either cream or terracotta — never both, never a third. Everything else is a card fill or an ornament.
A poster shout, a hand-painted signboard, a plain speaking voice and a ticket stub. Each one has exactly one job and they never swap.
Every headline, card title, price and nav label. Always uppercase, tracking −0.015em. Leading is 1.0–1.08 — tighter than that and the offset shadow of one line lands on the cap-height of the next. On a coloured ground it always carries that shadow, so it never goes below 1.0.
The signboard voice. 900 italic for warm, personal offers; 900 roman caps for stately ones. One card in a row of four, not two — it is a change of key, not a second default.
Every sentence a human reads. Base 17px / 1.55 / weight 500. It is deliberately plain — the display type is doing the shouting, so the prose gets out of the way.
Pixel caps for eyebrows, stat chips, durations, category tags and section numbers. 10–13px, tracking +0.1–0.16em. Never longer than four words — it is a stamp, not a sentence.
Six moves that make a plain grid look printed. Use two or three per section — all six at once is a scrapbook.
The ornament layer. Everything above is the restrained press — cream, ink, one red. Truck art is what goes on top of it: the frames, the plaques, the dividers and the section headers. It is loud on purpose, so it is rationed on purpose.
The rule that keeps it from becoming a mela: one truck-art object per section. A framed plaque, or an ornate divider, or a decorated section header — never two, and never inside a creator card. The cards stay plain so the ornament reads as special.
Seven colours, used in threes. A truck-art object picks one dark (cobalt, emerald, vermilion), one bright (chrome, saffron, magenta) and white for the outlines — that triad is what makes the panels read as painted metal rather than as a colour test.
Emerald is a two-value token. #1E9E52 is the flat ornament green — fine for bands, frames and fields with no type on them. The moment text sits on it, drop to #15773D: bone white on the lighter green measures 3.1:1, on the darker one 5.0:1. Same principle as signal red in §02 — a colour sampled off painted metal is not automatically a colour you can set type on.
Use it for the one line per page that is pure brand voice — a manifesto, a CTA header, an empty state. Never for a price or a form label.
A truck-art border is never one line. It is a stack of thin strips — a dot row, then a chequer, then the wide motif band, then the chequer and dot row again. Eight strip types cover every border on the references, and all eight are one CSS background declaration each. No image assets, no SVG.
Five band types, mirrored about the wide one: chequer 12px, bead 20px, candy 14px, motif 76px, then the same three back out. The stack is always symmetrical and always odd-numbered, so there is one unmistakable centre. Nothing above 5 strips per side — at 7 it stops reading as a border and starts competing with the content.
Centre arch, flanked by identical medallion stacks, closed top and bottom by a bead row and a zigzag. That is the whole composition — one message in the middle, ornament mirrored either side. Scale it down to a 240px-wide badge or run it full-bleed as a page header; the proportions hold either way.
Primary is always solid signal red with cream caps. The secondary is bone on a 2.5px ink outline. They travel as a pair, red on the left. Hover lifts 2px into an ink shadow — there is no colour change on hover.
Three or four chips, never five. Each one is a single number plus one word. The meta row below is plain sans at 14px and carries trust signals only.
Nav labels are Anton caps at 13px, not sans — the poster voice runs all the way to the top of the page. Only the sign-up button takes red; log-in stays plain text. A search field sits between the links and the auth pair on wide screens.
The wordmark is the one place two typefaces touch: ava in Anton, TOK in Playfair italic red, with a hand-drawn underline beneath.
The two page shapes already in play, and the budget that keeps them from turning into a scrapbook.
Headline stack left with the second line in red, lede, button pair. Right half is a four-block torn-edge illustration collage. Three preview cards overlap the bottom edge. Vertical rail on the far right, ornament in the left margin.
Silkscreen eyebrow, two-line headline top-left with the second line in cream-on-shadow, supporting paragraph top-right. Four creator cards below, fills rotating teal → butter → oat → brick so no two neighbours match.