Thirty-one layouts. One vocabulary.

Use once, first. Wordmark top-left, the display pair, one framing sentence, entity + framing + date in mono at the base. The framing line and date are per-cut variables.

The workhorse. Kicker, one display headline, one to three sentences, an optional figure, the pull quote at the base. A statement without a figure is fine; a statement that needs two paragraphs is two slides.

When one line deserves its own surface. The body left, a surface block right. The callout is a flat surface: 0.5px border, no stripe, no shadow.

A movement, in three beats. Three numbered nodes with hairline arrows, a chip beneath. A metaphor and nothing more — never annotate the mechanism it stands for.

Three to five parallel things. Name + verb phrase per row, surface blocks, the resolution sentence beside. Categories stay generic below the NDA gate; named examples are a T13.

The honest set, as rows. The headline is the claim; the numbers are evidence under it. A traction number never becomes the hero: a big number walked back by its own caveat reads as inflate-then-deflate.

The one earned interior moment. Mono, tabular, the accent on the drenched surface: one figure dominant, support items small. Only the slide that carries the cut's number takes this surface; on a light surface the figure is accent-text and there is no drench. The figure is never typed — it comes from the facts file at build time.

Per-recipient. Figure off: light, pills, terms linked not restated. Figure on: the build drenches the slide and fills the figure from the facts file, and the slide becomes the cut's interior moment (T07's surface). Never cap, discount, returns or projections at the open gate.

Cumulative steps. Rungs rise left to right; the lead rung carries the accent; markers are dashed hairlines with a mono label. Amounts come from the facts file.

An allocation. Neutral fills; only the lead bar carries the accent, so the slide keeps one accent moment. Values are mono and tabular. Percentages arrive apportioned in the facts file — the build must not recompute them.

A real sequence. A hairline with nodes; the current node is filled. Numbers earn their place only when order carries information. Time-sensitive by nature: verify every line at every re-cut.

A stack. Bands over a foundation; the foundation carries the accent tint and nothing else does. Below the NDA gate the bands are names, never internals.

The map. Categories above, the brand as the band between. At the open gate the categories stay generic; behind the gate they carry the named examples.

Seats, not portraits. Mono seat label, name, one line. Two columns; four seats is the most a slide holds. Advisors are per-recipient and off by default.

Use once, last. The display line, the deck's variant paragraph, the contact block in body type, the confidential line in mono. Never a thank-you slide with nothing on it. May carry an invite: an <aside class="rly-invite"> at the right with a QR the cut generates from the invite-url variable (plus invite-url-display and invite-line); a flow without the variable keeps the plain close.

The boundary, as a slide. Panel surface, centred. Lives in the master between gate tiers and in the index; a cut that contains one has crossed a gate, which is exactly what the build checks.

Claim beside evidence — exactly two. The accent is the claim column's top rule; accenting both makes neither the point. A third column is a category slide (T05), not a wider T17. Sits on the title-and-two-columns skeleton.

One named engagement plus 2–4 figures. The metric rules are one device across the row, not one per metric. Figures come from the facts file at build; the name is the client's, so this archetype lives in an engagement cut and reaches the brand's own master only when the case is public.

One quotation, given the slide. Attribution is required, never optional — an unattributed line is a statement (T02), not a quote, and the build refuses it. Client words or an operating principle; nothing else on the face. Sits on the main-point skeleton.

Numbered because it is a real sequence. Three to six items, each a title and one line; the numerals are the slide's accent. Navigation slides earn their place only in longer decks — under ten slides, an agenda is padding. Sits on the title-and-body skeleton.

Resets attention between acts. One oversized line at 88% measure, the brand's mark as a watermark bleeding off two edges, nothing else. Distinct from the gate divider (T16), which is a tier boundary and lives in the master only. Sits on the section-header skeleton.

Never an unsourced number on a slide. Three is the most a room retains; six is two rows. Every figure carries its source on the face — not in the notes, not in the appendix — and the build refuses one without. The figures are fact slots, filled from Canonical Facts at build and never typed. Sits on the title-and-body skeleton.

Two sides, the same lines. A contrast reads only when the rows correspond; the lead side carries the accent rule and that is the slide's one accent. Not T17 — that is claim beside evidence in prose; this is like against like. Sits on the title-and-two-columns skeleton.

Three or four cards; the top rules are one device. Distinct from the case study (T18), which is one engagement in depth. Names need permission and metrics need a facts row — a card without either is a category, not a proof. Sits on the title-only skeleton.

The prospect-facing turn. Exactly four topics, two or three questions each; nothing here reads as an answer, so the eyebrow is the only accent. Usually a deal cut, not the brand master. Sits on the title-and-two-columns skeleton.

Three to five steps on one line. The connecting line is the slide's accent; the numerals stay muted. Not the timeline (T11), which marks where we are, and not the flow (T04), which is three nodes and a chip. Sits on the title-only skeleton.

Three or four tiers, then the benefits they share. Band, name, price and response time per tier; four to seven shared lines beneath. A price is canon and fills from the facts file, never typed — and the slide sits behind the gate its prices carry. Sits on the title-only skeleton.

The site's checks list, as a slide. Three to eight lines, two columns from five; the accent square is the marker and the slide's accent. More than eight is a document, not a slide. Sits on the title-and-body skeleton.

Three to six marks in a row. Each is a hatched slot until its asset lands — and a named mark is a permission, like a named case: no client's logo goes on a face its register does not clear. Sits on the title-and-body skeleton.

The chart on the left, its sentence on the right. A data visual is a claim with a shape: it comes from the facts file through the design system's figure library, and it says its source. The slot holds the place until then. Sits on the section-split skeleton.

The open area, labelled. For the thing no archetype carries yet. The label says what belongs there; when the same thing is needed twice, it is an archetype and goes to the framework. Sits on the title-only skeleton.

Use once; never two in a row. The full accent as ground, ink type, hierarchy by size and weight only. Not a wash — the accent itself. Any statement (T02) or quote (T19) can take it; a second one beside it cancels the first, and the build refuses adjacent pairs.

One per slide. The underline is the slide's accent, so nothing else on the face carries it. On the accent surface it falls back to ink rather than vanish into the ground.

The pivot. One oversized line at 88% measure and the brand's mark as a watermark — bottom-right, bleeding off two edges, 5% — and nothing else. The framework supplies no glyph: with no mark set the watermark draws nothing, never a substitute. Distinct from the gate divider (T16), which is a tier boundary.

A section does not just end, it resolves. A dark band on a light face — arrival, not another slide — with a mono label, one headline, a sentence and one accent link. This is the site's strongest unit; the deck renders the same one. On a dark-first brand this slide is the earned light moment, said as rly-stage--light.

The dark rounded square holding the brand's mark, above a card's name. The site's services grid; a deck's category and roster cards. The framework supplies no glyph — a brand sets its mark, and an unset tile is empty, never a substitute.

The bar is the slide's one accent. No quotation marks when there is no attribution — unattributed, it is our sentence, not a quote.

Presence, not status. The site's chip row and the deck's are one unit. Two to five; more is a table.

The workhorse arrangement. A 4:5 frame one side, the words the other. Sits on the one-column or section-split skeleton. Eight arrangements, one kind: the media block is the slide's only figure.

Full-bleed behind a type panel. For a cover or a divider, never behind dense copy. Sits on the caption skeleton. Most slides are stronger without an image — media earns its place or it does not appear.

Three or four, exact. Five is an error with a message. If the four are not genuinely parallel, use a split. Sits on the blank skeleton.

A wide strip and a text row. No underline, no rule: the band is the slide's moment. Sits on the blank skeleton.

Two frames, one axis. The accent is the outline on after, and that is the slide's one accent. Sits on the caption skeleton.

Three to six. Portraits are a row that scales; the roster's "four seats max" was a rule for text cards, and a text card is not a portrait. Sits on the one-column skeleton.

The quote (T19) with a frame. A 1:1 portrait left, the quotation right; attribution still required. Sits on the section-split skeleton.

A 16:9 screen inside the slide. Real screens; the frame is the slide's only figure. Sits on the caption skeleton.