Hero plate on paper

A hero with no photograph and no cover in it. A full-bleed band of your theme's paper, with generous air on all four sides, holds ONE inset plate of your contrast colour, and the plate carries the whole hero: a tracked eyebrow, the h1, a lede on a 34rem measure and two buttons.

The plate is the entire section and the paper around it is a mount, so the hero reads as something placed on the site rather than as the site's own first surface. Nothing else in this catalogue does that: the covers lay a plate on a photograph, and this lays one on nothing at all, which is why the composition has to carry it. The paper stays visible on all four sides at every width, including 390, where the band's clamp(1.25rem, 4vw, 4rem) side padding is 20px of mount and the plate keeps its own 1.5rem of internal air.

The authority is entirely in the ink ground and the air around it. There is no rule, no accent, no image and no ornament anywhere in the pattern.

• Moss and cream: a moss plate on cream paper, a Georgia headline, and a pale green eyebrow and primary action. The copy and layout stay fixed.
• Paper plate: the colour axis, by inversion. The band becomes ink and the plate becomes paper with ink type, so the MOUNT inverts rather than the card. Same composition, opposite reading, and the only colour move that arrives intact in every theme, because base and contrast are the only universal slugs.
• Offset plate: the composition, not the colour. The plate stops being centred and sits flush to the left of the band inside a 50rem wrapper with justifyContent: left, so the whole remaining margin of paper falls on its right and the mount is asymmetric. Below 782px it is identical to the base, because the wrapper is already narrower than the screen.

Inherits: every colour, the typeface, the spacing scale. Decides: the proportion (a 13px tracked eyebrow at 0.24em, the h1 from 40px to 76px at 1.02 line-height and -0.035em, a 16px to 18px lede at 1.6 on a 34rem measure), the plate's 60rem width, its padding, and the size of the mount around it.

Every colour is a two-rung chain: base → white for the paper and for the type on the plate, contrast → black for the plate's ground and for the band's own text. The plate states its own text colour AND every heading inside it states its own again, because a theme's heading element style beats an inherited group colour: that is exactly how a headline ends up the same colour as the ink it sits on, at ratio 1.0, with nothing to flag it.

Both buttons are chained for an ink ground and both cases were considered. The solid one is paper with ink type, so it is the brightest thing in the section. The outline one is transparent with base type and a 1px currentColor border, so the rule follows the plate's own text colour and cannot blank; on a paper plate (the paper-plate variation) the same two buttons invert with the plate, ink solid and an ink hairline, and neither one is ever an outline in the same colour as its ground.

No plain <a> appears in any paragraph here. A text link is repainted by the theme's a:where(:not(.wp-element-button)) rule, which on an ink plate is routinely ink on ink; both actions are core/button anchors so they can carry an explicit chain. Neither button carries a typography attribute, which does not stay valid across editor versions; they are sized with padding.

A cover needs one because its bottom edge is the edge of a photograph and the page has to be shown continuing past it. Here the mount IS the hand-off: the band's paper runs past the plate on all four sides in the buyer's own base colour, so the section already shows where it ends and what the page under it is made of. Adding a row below the plate would put a second thing in a pattern whose whole idea is that there is one.

The headline and the two button labels. After that, the mount: widen the band's top and bottom padding and the card floats further from whatever sits above it; narrow it and the plate starts behaving like a full-bleed band instead, which is the thing this pattern exists not to be.