Nanntu — conscious travel, Peru
A complete bilingual site draft for the travel designer Patricia Deza, built from her own materials — before her site had launched.
Design draft — gifted to Patricia Deza, not commissioned
The founder is the architecture
The research for this site was research about one person. Patricia Deza grew up on the shores of Lake Titicaca, in Puno; she has worked with the Ese Eja native community in the Madre de Dios jungle, and joined the Transformational Travel Council's study group in 2021.
The site's central section, “The descent,” retraces exactly that geography: it starts on the lake where she was born and ends in the jungle where she works — Titicaca, Colca, Cusco, Arequipa, Madre de Dios. The information architecture is her biography. A route company run by one designer shouldn't organize its site like a catalog; it should argue why this person's routes exist, and her line — you cannot protect what you do not know — became the manifesto the page opens with.
A palette with receipts
A brand this young has few true artifacts — so the palette was extracted from the ones that actually exist. The deep añil blue is measured from her logotype file: the dominant color bucket of the mark itself, taken exactly. The water cyan and the leaf green are sampled from the signature block of her real emails — the two colors every client of hers has already seen at the foot of her correspondence. The green is the ink of Un Árbol Una Vida, the reforestation alliance she partners with.
The warm tones come from Arequipa's building materials — sillar stone for the light ground, fired clay roof tile for the buttons — chosen as objects, not as a time of day: no sunset gradients, just the materials the route actually passes.
The quote is the poster
The section about Patricia carries no photograph of her — deliberately. No real portrait existed, and a stock stand-in for a real person is a small lie. Until a true portrait exists, her words hold the space: a pull-quote about designing routes that regenerate the places they explore, set large, in her voice.
Earth, not marble
Urbanist carries the site — a geometric sans with warmth at 400, real authority at 800. Her spoken lines are set apart in Source Serif italic: the founder's voice gets a different instrument. Kickers run in Chivo Mono, the apparatus voice.
The rejections carry the reasoning. Playfair Display was refused because — in the words of the design notes — this is earth, not marble. Marcellus was refused as the boutique-hotel Trajan cliché. And every face already carrying another piece in this portfolio was off the table: each business deserves its own voice, and a portfolio that repeats a typeface is quietly telling clients they're interchangeable.
Measured — and one exception, declared
The layout was verified across seven viewports, from 1440×900 down to 360×640. Motion respects reduced-motion preferences; images animate, text never does. Both languages ship together — Spanish and English, with proper alternates.
And one debt is on the record: with the light cover photograph, the hero text does not clear AA. The source declares it as a debt with an owner rather than quietly shipping it.