Brand.

The OB monogram, drawn in characters — the mark is the engine's first picture. It lives in the navbar: it decodes in as the page loads, its quarter turns as you scroll, and it scrambles under your cursor. The quarter is always the other theme showing through: white on black, black on white. Only the favicon keeps a solid cut — too small to hold characters.

What the program prints when it starts. OBEAJ set in ANSI Shadow, the figlet face CLIs use for their banners — drawn cell by cell in SVG so it lines up in every font.

Obeaj Beige is #D0BEA1. Read the hex: 0BEA1 — the 0 is an O, the 1 is a J. The colour spells the name. Every beige fill is this exact colour, on black and on white, and text on it is always black. It is the only beige: headline accents, lines and the mark are this same colour on white as on black. Black and White are the grounds.

The OB monogram anchors the navigation and the practice section. Project imagery resolves through a brief character wipe, while the portrait lets you reveal the photograph beneath its ASCII surface. The featured work uses real project imagery.

Two voices: a geometric display face for people, a monospace for the machine.

The name, spelled in music. The French method — the one Ravel used for Haydn's name — keeps A to G as notes and wraps the rest of the alphabet under them. O·B·E·A·J becomes A·B·E·A·C: a rising phrase in A minor.

It plays on a soft, felt-piano tone. Turn on scroll music and the page plays the motif over Am–F–C–G. Scroll back up and it plays in reverse.

Clear words for the work and the people behind it. Monospace captions retain the engineering character; generous imagery and typography give the projects room to speak.