Palmer. The interface is the wall, the objects are the art.

Palmer treats dinnerware like a museum exhibit on a warm cream canvas (#f5f6ee). The interface dissolves — no shadows, no chrome, no saturated accents — so hand-glazed ceramics become the only color in the room. Typography runs tight: TWK Lausanne at near-mono weights (300–500) with aggressive negative tracking that pulls letters together, including an enormous 120px display tier that functions more as editorial statement than UI label. Interactive elements are reduced to hairline borders and pill-shaped toggles, sitting at the edges of the viewport to leave the center completely uninterrupted. Everything below the fold assumes the same gallery logic: small text, thin rules, generous space between objects.