Capture & KeepMemories, beautifully kept
The type system

Three faces, and only one of them does any shouting.

Kalso runs on two: a fat didone for the moment, a typewriter mono for everything else. Capture & Keep needs a third, because it has real reading to do.

Display  ·  Bodoni Moda  ·  500 for the year, 700 for headings
1938 1961

Every story is worth keeping, before it is lost.

At 900, not 500. The 500 in the first draft looked nothing like the Kalso year: too fine, too much hairline, no weight in the stems. This is the weight to judge it at.

Bodoni Moda 900  ·  in use here
1938
Abril Fatface  ·  the fatter alternative
1938

Abril is a true fat face and sits a shade closer to Kalso’s own. It has one weight and no italic, so headings would have to come from Bodoni anyway, which means two didones on one page. Bodoni Moda 900 keeps it to one family and covers the year, the headings and the step numbers. One line changes it if you want the fatter one.

Labels and furniture  ·  Courier Prime  ·  400 and 700

ONE LIFE  ·  START TO HERE  ·  FROM £250

Navigation, eyebrows, captions, prices, buttons, dates

A true typewriter face, wider and softer than Inconsolata, and the reason these pages read as archival rather than expensive. On this site it does a second job: a typewriter face on a label reads as something filed and kept, which is the business.

Reading  ·  Fraunces  ·  300 and 400  ·  kept from the current site

I started on the factory floor at sixteen, sweeping metal shavings for four pounds a week, and thirty-eight years later they gave me a clock and a cup of tea in the same building. In between there was a wife, three children, a strike I still have opinions about, and more good men than bad ones. Nobody had ever asked me to say any of that out loud before, let alone write it down.

The one face that stays. The site has long guides and a hundred questions on it, and neither Bodoni nor a mono will carry that much reading. Keeping it also means the restyle is a restyle and not a rebrand.

Paper and ink

The palette moves two steps, and keeps the green.

Paper
#E7E2D6

Paper, band
#DDD7C8

Ink
#363435

Green, kept
#435C53

Live site today
#FBF8F2

The current ivory is nearly white and photographs badly against a white browser chrome. The Kalso paper is two steps warmer and a shade darker, which is what makes a torn black shape sit on it like a shape on a page rather than a graphic on a screen. The green survives as the one accent, so buttons, links and the logo do not have to be redrawn.