White on nearly-white. The surface has a warm, slightly yellow-gray tone that reads as linen or unbleached paper. The difference between background and surface is almost imperceptible. But that's the point. Subtle layering creates depth without contrast. It's the visual equivalent of tasting the difference between two single-origin beans.

Inter at 400 for everything. The heading letter-spacing at 1.6 pixels positive tracking is the surprise move. Most modern design tightens headings. Pourover opens them up. That wide tracking creates an editorial, almost architectural quality. Headlines feel like they're etched into stone, not printed on screen. It's refined. It's quiet. It's confident.

The type scale at 1.5 is generous, creating significant size jumps between hierarchy levels. Large headlines. Moderate body. The contrast does the work that color and weight refuse to do. This is a system where every typographic decision is load-bearing.

No shadows. None. Elements exist through color separation alone. The white surface sits on the white background with only the faintest gray border to distinguish them. This is extreme flatness as a philosophy. Depth is replaced by whitespace. Weight is replaced by proportion. It's demanding design that rewards patience. Darken on hover is the only concession to interaction. Even the transitions are fast, like they don't want to interrupt your reading.