A note on how this site was made, and what it owes to the people and works that shaped its visual language.
The mark
I drew this mark in 2012, in a high school art class in the United States, taught by a teacher I will call Miss G. She had a strong impact on me. The mark was made not long after, in the classroom where some important conversations happened.
The site uses a recoloured version of it as a favicon: every facet preserved, the blue translated to terracotta. The original remains as it was drawn.
Typography
Headings are set in Source Serif 4, a contemporary serif by Frank Grießhammer for Adobe, drawn in the lineage of transitional book faces and chosen here for its quiet authority at large sizes.
Body text is set in IBM Plex Sans, a humanist sans by Mike Abbink for IBM, chosen for its readability across long passages and its slightly serious register.
Both faces are available under open licenses. Neither was chosen for being fashionable. Both were chosen for getting out of the way.
Visual language
The layout takes cues from two traditions.
From the print book: a single reading column with margin notes, the conventions of the colophon, sharp corners on every shape, and a restrained palette of sand and Atlantic blue with terracotta as the only accent.
From the watch dial: Nomos Glashütte’s Ahoi in particular, a watch whose rectangular hour markers and quiet typographic confidence I have admired for years. The terracotta accent on this site is a deliberate echo of an Atlantic-blue Nomos lume marker seen from the wrong angle.
Images
The artworks reproduced across the site are from the Bauhaus and its near company. They appear because the questions they ask about form, attention, and patient experiment are the same questions the work is asking.
László Moholy-Nagy, Composition, 1946 — homepage. László Moholy-Nagy, EM 2 (Telephone Picture), 1923 — contact page. Paul Klee, Highway and Byways, 1929 — 404 page. Paul Klee, figures from the Pedagogical Sketchbook, 1925 — resume. Walter Cieluszek, Weiterungen dynamischer Art, Bauhaus student exercise — teaching page. Gertrud Preiswerk, Exercise in subdividing squares, 1926 — teaching page. László Moholy-Nagy, Photogram, 1926 — research focus page. Oskar Schlemmer, Abstract Figure, 1921 — research focus page. Anni Albers, design for wall hanging, 1926 — research focus page. László Moholy-Nagy, Construction AL6, 1933–34 — publications page. Wassily Kandinsky, On White II, 1923 — publications page. Paul Klee, Ad Parnassum, 1932 — teaching page.
All works are in the public domain or reproduced under fair use for educational and non-commercial purposes. Original sources are linked from the relevant pages where available.
Build
The site runs on WordPress with a custom Reapse Child theme, written and refined iteratively over many evenings in 2026.
Design, content, and most of the styling were done by me. Implementation assistance with the PHP and CSS came from collaborations with AI tools used as careful, instructable colleagues rather than as oracles.
Impressum
Information according to § 5 TMG and Article 14 of Regulation (EU) 2022/2065 (Digital Services Act).
Responsible for content:
Michal Hron
Ghent, Belgium
Contact: see the contact page.
Disclaimer: The views expressed on this site are personal and do not represent the position of Ghent University or any other institution. External links are provided for reference; I am not responsible for the content of external sites.
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