/* PAR artistic layer , Racim, 2026-08-23.
   One move: the customer gets the last word, and the last word is monumental.
   Every template already ends in a panel where OUR copy is the display type and
   the customer sits at 19px italic underneath. This inverts that one existing
   component, so 46 pages inherit it without a single new element. */

/* The closing panel is a FIXED dark band in BOTH themes (--band:#0C0C0C), so
   anything sitting on it must take DARK-palette ink whatever the theme is. The
   kit already knew this and hard-codes #fbf8f2 / #a7a199 on .cta h2 and .csub.
   I reached for var(--text) instead, which flips to near-black in light mode
   and made the quote invisible on the band. Tariq caught it.
   Naming them stops the next person repeating it. These belong in the kit. */
:root{--on-band:#FBF8F2;--on-band-mut:#A7A199;--on-band-dim:#79736B}

/* ---- THE CLOSER ------------------------------------------------------- */
/* PICKED 2026-08-23. Racim's move was to lift the customer AND demote our
   headline. Tariq looked at it and said the old panel was better, and he was
   right about the half that mattered: the lift is the good idea, the demotion
   is what made it feel wrong. So the panel keeps its composition exactly,
   centre, headline, size, and the only thing that changes is that the customer
   stops being the smallest voice in the room. 19px italic becomes 27px Fraunces.

   What this deliberately does NOT do: it does not left-align the panel, does
   not touch .cta h2, and does not reorder anything. Every one of those was in
   the version he rejected. */
.closer{margin:0 0 var(--sp-48)}
.closer q{quotes:none;display:block;font-family:Fraunces,Georgia,serif;
  font-weight:400;font-variation-settings:'opsz' 48;
  font-size:clamp(20px,2.2vw,27px);line-height:1.35;letter-spacing:-.008em;
  color:var(--on-band);text-wrap:balance;max-width:30ch;margin:0 auto}
/* The measure MUST sit on the quote itself. On the wrapper, `ch` resolves
   against the inherited 16px, so a 22ch box tried to hold display type and
   snapped it to one word per line. */
.closer .who{display:block;margin-top:var(--sp-12);font-size:var(--fs-cap);
  font-weight:500;letter-spacing:.14em;text-transform:uppercase;color:var(--on-band-dim)}
@media(max-width:767px){.closer q{max-width:none}}

/* ---- TWO VOICES, ONE INSTRUMENT --------------------------------------- */
/* Fraunces = a person is speaking. Inter = the shop's machinery.
   opsz carries DISTANCE: display rides to 144 where the face goes engraved and
   hairline, reading sits near 12 where it goes sturdy and ink-trapped. Measured
   before writing this: the axis was declared ZERO times across the whole kit,
   and 60 of 82 font-weight declarations were 600. Two variable fonts played as
   static ones on 46 pages. */
/* REVERTED 2026-08-23 (Tariq): opsz 144 + weight 300 read WEAK on the headline.
   H1 goes back to par-v4.css Fraunces 600 with automatic optical sizing. */
h2:not(.cta h2){font-variation-settings:'opsz' 96}
.cs-num,.lgr{font-variation-settings:'opsz' 144;font-weight:300}
/* reading Fraunces: the owner's own paragraphs and the customers' words */
.rvcard blockquote,.talk .msg,.ownwords p{font-variation-settings:'opsz' 12}

/* ---- LEDGER NUMERALS --------------------------------------------------- */
/* This brand argues in numbers and the fear it answers is being overcharged.
   Numbers that are a PROMISE speak in one engraved voice. Hard ration: one
   monumental number per screen, which is why this is a class and not a rule. */
.lgr{font-family:Fraunces,Georgia,serif;font-variant-numeric:tabular-nums;
  letter-spacing:-.02em;color:var(--text-strong)}

/* ---- THE 172 ----------------------------------------------------------- */
.said-nothing{margin-top:var(--sp-32);font-size:var(--fs-body);color:var(--muted-2);
  max-width:52ch;line-height:1.6}