Chase treats an interface like an edited broadsheet: ruled grids, captioned panels, and authored marginalia on a warm paper field. Ink carries the decisions. Colour is reserved for one mark at a time.
The method
A 4px stroke marks a decision, a 2px line frames it, a 1px hairline divides reading. Hierarchy is built before a single colour is spent.
A caption tab pins to the top-left of each panel and a hairline rule runs to the gutter — the screen reads like a marked-up page, not floating chrome.
Oxblood marks one active correction; cobalt marks one reference. Accents behave like a proofreader's pencil — never a decorative palette.
The signature
Loose type pies the moment you move it. The chase — an iron frame with quoins driven tight — holds the form rigid. Chase does the same for content: a folio rail, a main column, and a marginalia column, all aligned to black rules, so a dense page stays a single, liftable object.
Information is edited down; empty paper is allowed to speak as loudly as dense marks.
Colophon
A screen should feel like an edited broadsheet proof — precise islands of information on a quiet paper ground.— from the Chase compositor's note
Editions
Set a page in Chase and see the ink carry the decisions. No make-ready, no glass cards — just a disciplined, liftable page.