Paper, not screen
A cream ground with a warm border reads as printed stock, which makes a small business feel established before a single word is read.
Demo Site 5 — Retro
Retro takes its cues from the printed page: cream stock, a serif that was set with a composing stick, mustard and rust, and rules heavy enough to be seen from across the room.
Four habits that make a page feel like an object rather than a screen.
A cream ground with a warm border reads as printed stock, which makes a small business feel established before a single word is read.
Headlines and body share a family, the way a brochure does, so the page stays consistent without leaning on size alone.
A 2px border and a hard offset shadow do the separating, so depth comes from ink rather than from blur.
Rust, mustard and olive sit closer together than a modern palette would, which is what makes the page feel calm rather than busy.
Small, measurable decisions are what make a warm page feel deliberate rather than dated.
Rust, mustard and olive, all muted so none of them shouts.
Georgia for headings, body copy and labels alike.
A single heavy rule that reads at any distance.
Fluid rules hold all the way down to 320px.
A serif for everything, the way a printed piece would set it, with the specimen on the left using the same tokens as the page.
Set in a warm serif
A second, quieter voice
Card and section titles
The reading size. Comfortable for a long sit-down with a coffee.
Labels, notes and metadata
Six things that are already solved, so the work that remains is your own content.
Every colour, radius and shadow is a CSS variable, so the light and dark palettes live in a single block of overrides.
Landmarks, one h1, ordered headings and real lists, so assistive technology reads the page in the order you wrote it.
Every control is reachable with Tab and shows a visible 2px focus ring that is never removed.
Fluid type and grid rules hold from 320px. Breakpoints only handle the navigation and the mode switcher.
When the operating system asks for less movement, every transition on the page collapses to nothing.
No framework and no bundler. Open the file in a browser and it runs.
Four steps, usually two or three days for a small business site from brief to handover.
We settle on one paper tone and one ink tone before anything else, because everything else is judged against them.
One family at four weights, with the display size left deliberately tight so headlines do not sprawl.
Borders and offsets carry the structure, so the layout stays legible even before the colour loads.
We check contrast, keyboard order and a 320px viewport before the theme goes anywhere near production.
Retro is a strong opinion, so it is worth being honest about where it works and where it will fight you.
The things clients usually want to know before committing to a printed-page look.
Yes. The eight demos share css/styles.css and css/demo-themes.css. Each theme is one token block plus one character block, so copying a page and its theme gives you a working site with no wiring to redo.
Not quite. Vintage copies a decade; retro borrows the printing conventions that still work, which is why the palette is muted rather than faded and the rules are crisp rather than distressed.
Because that is what the printed reference does. Using one family for headings and body keeps the page consistent, and the contrast between sizes does the work that a second family would otherwise do.
It is a separate set of tokens, not an inversion. Light is cream paper in daylight; dark is a deep walnut ground with the same warm accents lifted, so text stays easy on the eyes at night.
Anything with a similar range of weights. The theme uses --display-font and --body-font, so you can point both at one family or run a second family for headings without touching the markup.
The light palette is checked token by token against the 4.5:1 ratio WCAG asks for, and dark mode is checked the same way. Focus rings are never suppressed, the FAQ uses real disclosure widgets, and every list on the page is a real list.
It looks like something our customers already trust, which is the whole point. We did not have to explain the design in the meeting.
Ten tokens, two palettes. The chips are painted with the same custom properties the page uses, and the code under each one is read live from the computed style, so the switch in the header updates both together.
Light mode is cream paper with rust and mustard. Dark mode drops to a deep walnut ground with the accents lifted, so the warm feeling survives the switch. The value under each chip is read live from the computed style.
The same content, seven other personalities. The mode you pick follows you between them.
Tell us what you do and what you would rather stop saying. We will send back a stripped-down first pass, a fixed price, and an honest note on anything we think should be cut.
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