Cut from the same cloth:
Icons that extend the
typefaces they accompany.

Small details often set a brand apart. Customers may never name them, but they feel the care that holds the experience together.

A specimen, not anyone else’s product. Both screens are set in the same typeface at the same size, and the arbitrary side is a competent icon family drawn to its own logic rather than a bad one chosen to lose the comparison. The letters below the screens are outlines read from the actual reference files, not a web font standing in for one. It demonstrates formal coherence. It does not measure usability.

The letterform is the outlined contour of the actual reference file, not a web font substitution, and the metric rail is read from that same file. The icon beside it is the approved master path with its fill-rule intact, and the icon under The application is the same file shown under The translation. Ratios are computed from the authored path data using true curve extrema rather than control points, so they are measured rather than asserted. Character transfers; geometry does not — where the two agree the record says by how much, and where the icon departs from the letter it says what changed.

The working suites

The atlas

Every size above is the size actually rendered in CSS pixels, not an SVG source unit: the box is set to 16, 20, 24 or 32 and the artwork scales inside it. No master was modified to pass this test.

Concept pictograms

Satoshi Black is the weight the artwork was drawn to, not the color it is printed in. They sit in Bone on the dark ground, the same as every other symbol on this page; Acid is reserved for the mark under examination in the anatomy above. The ten masters carry color="#000000" on their own root element, which overrides anything the page sets, so the controller strips the root presentation attributes on inline and lets the plate decide the ink. Path data and fill rules are untouched. The pictograms adapt Phosphor Bold anatomy and take Satoshi Black as formal direction.