Alalaam

The wordmark is set in Newsreader at weight 700 with −2.5% tracking; the Arabic wordmark is Reem Kufi and is never letter-spaced. The medallion beside it carries the glyph of the current subject — خ for al-Khwarizmi.

Accents are never decorative: a colour always answers “what kind of person, what kind of link?” New accents must share the chroma and lightness of this row (derive in oklch, vary hue only).

One system, three intensities. Editorial is the product default; Museum and Illuminated remain available as presentation moods. All three stay on parchment — Alalaam has no dark surface in product UI.

The Majlis is not a decoration — it is an argument. Every visual property encodes one claim about the historical record, so a reader can reason about certainty at a glance. This grammar is fixed; new features must reuse it, never contradict it.

Medallion size tracks proximity to the subject (inner ring largest); a brass halo marks the current selection. Glyph is always the initial of the figure's Arabic name, set in Amiri.

Focal figures become anchors. People who belong to two or more of their circles gather in the shared centre — the overlap is the point. Each anchor's private circle collapses into a +N badge; a bold brass line between anchors means the record names them in each other's circle. In Compare, a brass-tinted chip always means “this fact is shared by both lives.”

Motion explains structure, then gets out of the way. The map assembles once — centre first, then nodes in a ~35ms stagger, then the lines that connect them — so the reader watches the argument being built. Panels rise 10px and fade over ≈400ms.

Scholarly but warm; certain about uncertainty. We say “may have crossed paths”, never “knew”, when the record only permits maybes. Claims are worded as evidence: “a source he read”, “an heir of his method”.