Kalen Tech
Designs
Six businesses, six complete sites, and no two of them alike.
This page is here to show you the range. Six businesses, six complete sites, built end to end rather than as homepage mock-ups, so you can read each one the way a customer would. A garage and a dental practice do not want the same website, and they should not get one. Whatever your business is, yours gets designed for it — none of these six is a menu option.
Sites like these are a part of what we do, not the whole of it. If you need something that does a job rather than tells people about one — a booking system, a customer database, a dashboard your staff work in every day — that is on what else we build.
Pick a business below. It loads and runs here: scroll it, use it, press the buttons, then switch between phone and desktop width.
Six complete sitesReal stock photography
Pick a business
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This happens when the page is opened straight off a disk rather than from a web address — the browser refuses to put one local file inside another. The site itself is fine. Open it on its own and it works.
Bell & Sons Garage
ConceptMOT centre and garage, Hitchin. Built as a service record.
- What you see first
- A box shaped like a number plate
- What they want
- Find out when my MOT is due and whether they can take the car
- It opens with a job. Somebody arriving at a garage site has a registration in their head and one question attached to it. So the first thing on the screen takes the reg and answers it. Everything else comes after that.
- The price is on the page. £54.85 is on the page, and it says that is the most the test can legally cost.
- #12463A Forecourt
- #EAE9E3 Docket
- #FCD905 Plate
- #B4741B Ochre
Why these colours. All four are lifted off the forecourt itself: the deep green of a workshop wall, the grey-white of a service docket, the ochre of an advisory sticker, and number-plate yellow. The yellow is the only loud thing on the page and it is spent on one job — the reg box you are meant to type into. Why this photograph. One picture, of the bay. A garage is judged on whether it looks like somewhere you would leave your car, so the bay earns a photograph and nothing else does; the ramp diagram and the map are drawn, because a drawing cannot pretend to be a job we did.
Why they work together. Every one of the six is built the same way underneath: one light ground to read on, one near-black for type, one colour that only ever means press this, and one supporting tone. It is the same rule six times over, which is why six very different-looking pages all still behave predictably — and why none of them needs a second loud colour competing for the same job.
Fold & Rise Hair
ConceptHair salon, Hertford. Built as the appointment book and the client record card.
- What you see first
- The gaps — four stylists, next free slot against each name
- What they want
- Get somebody good to take me on Thursday after work
- The appointment book is the page. What a salon customer wants is a particular time with a particular person. So the page is the book: names, times, and the next free slot against each one.
- Nobody real is used to sell the work. Nobody real is shown having had their hair done here, because that would mean using a stranger’s photograph to claim work we did not do.
- #B4441F Copper
- #EFEDE8 Bleach
- #A99BC9 Toner
- #2B2320 Slate
Why these colours. Straight off the shelf behind the chair: copper from a colour tube, the off-white of bleach, the lilac cast of a toner, and near-black slate for type. Copper is warm enough to feel like a room rather than a clinic, and it appears only on the thing you press. Why this photograph. One, of the room. Nobody is shown having had their hair done here, because a stranger's photograph would be claiming work that was never done. The before-and-afters are drawn instead, and labelled as such.
Why they work together. Every one of the six is built the same way underneath: one light ground to read on, one near-black for type, one colour that only ever means press this, and one supporting tone. It is the same rule six times over, which is why six very different-looking pages all still behave predictably — and why none of them needs a second loud colour competing for the same job.
Ninepin Fish Bar
ConceptFish and chip shop, St Albans. Built as a lit shopfront at night.
- What you see first
- The number to ring, and tonight’s wait
- What they want
- Are they open, how long is the wait, what does a large cod cost
- The phone number sits above the shop’s own name. Ringing ahead is the whole transaction. A number in the footer is a number nobody uses.
- The menu is a board. Prices down the right, sizes across, and a filter for the four things people actually scan for. Nobody has ever read a chip shop menu as prose.
- #0F1C25 Night slate
- #FFC24D Lamp
- #F1EFE6 Tile
- #8AA63F Mushy pea
Why these colours. The page is dark because the business is an evening one — you look up a chip shop at six o'clock on a dark street, and a white screen in your hand at that hour is the wrong brightness. Lamp yellow is the heat lamp over the counter, and it is used for two things only: the phone number, and whether the fryers are on. Mushy-pea green and tile white carry the menu. Why these photographs. Four, more than any other page here, because with food the product is the picture. Every one is captioned as stock.
Why they work together. Every one of the six is built the same way underneath: one light ground to read on, one near-black for type, one colour that only ever means press this, and one supporting tone. It is the same rule six times over, which is why six very different-looking pages all still behave predictably — and why none of them needs a second loud colour competing for the same job.
Larkspur Dental
ConceptDental practice, Berkhamsted. Built out of the shade guide and set like clinical documentation.
- What you see first
- Every price, on the first screen, unasked
- What they want
- What will it cost, who will I see, can I be seen today
- The problem here is fear. Named clinicians, a fee sheet with nothing held back, and a line saying nobody is going to tell you off. That is the brief.
- You can point at the tooth that hurts. The chart uses the numbers a dentist actually writes in your notes, so pointing at a tooth tells you what the treatment is and what it costs.
- #F3EFE6 Enamel
- #E2D8C4 Dentine
- #10202B Radiograph
- #1F6F93 Nitrile
Why these colours. Enamel, dentine, radiograph, nitrile — the palette is teeth and the things in the room, not the cyan-and-white every dental website defaults to. The cream keeps it warm; the near-black of an x-ray gives the fee table something to sit against so the prices read as information rather than a sales panel. Why this photograph. One, of an empty surgery, captioned as stock. No patient is ever pictured. The tooth chart is drawn, because it has to be accurate rather than atmospheric.
Why they work together. Every one of the six is built the same way underneath: one light ground to read on, one near-black for type, one colour that only ever means press this, and one supporting tone. It is the same rule six times over, which is why six very different-looking pages all still behave predictably — and why none of them needs a second loud colour competing for the same job.
Hollowfield Kitchens
ConceptKitchen fitter and joiner, Harpenden. Built as a setting-out sheet.
- What you see first
- A programme — which trade is in your house, on which day
- What they want
- What will it cost, how long am I without a sink, who is in my house
- The price is opened up line by line. Carcasses, worktop, fitting, waste, with the arithmetic showing and a total you can follow.
- Thirty days without a sink. Nineteen days with somebody in the house. Those are the two numbers people lose sleep over, so the plan is drawn around them rather than around the fitting date.
- #E8E9E2 Cartridge
- #16181B Graphite
- #123A4A Hague
- #E4D3B0 Ply edge
Why these colours. This one is a drawing office: cartridge paper, graphite, the pale edge of a sheet of ply, and one cabinet paint colour. Nothing is decorative — the palette is the desk the work is done on, which is the whole argument of the page. Why this photograph. One, of a finished kitchen. Everything technical — the elevations, the programme, the measured plans — is drawn to scale, because a measured elevation is a claim and a photograph of somebody else's kitchen cannot back it up.
Why they work together. Every one of the six is built the same way underneath: one light ground to read on, one near-black for type, one colour that only ever means press this, and one supporting tone. It is the same rule six times over, which is why six very different-looking pages all still behave predictably — and why none of them needs a second loud colour competing for the same job.
Voltmark Electrical
ConceptElectrician, Watford. Built as the circuit schedule from inside a consumer unit lid.
- What you see first
- A rate card, set as a circuit schedule
- What they want
- Something has tripped — is it urgent, is it mine, what will it cost
- The rate card is laid out like a consumer unit label. Numbered jobs down the left, what each one costs on the right. The layout is one his customers already know how to read.
- Step one tells you to ring somebody else. If the whole street is out it is a free call to 105 and none of his business.
- #E6E8DD Certificate
- #3E2416 Cable brown
- #22140D Board dark
- #1B47A0 Neutral blue
Why these colours. The four are the materials: the buff of a test certificate, and the brown, blue and near-black of UK cable cores. Blue does one job on the page, on anything you can press, which is the same convention as the wiring it is taken from. Why this photograph. One, of a consumer unit. The before-and-after board, the coverage map and the fault diagrams are drawn, because they make specific technical claims and a stock photograph would be illustrating something that never happened.
Why they work together. Every one of the six is built the same way underneath: one light ground to read on, one near-black for type, one colour that only ever means press this, and one supporting tone. It is the same rule six times over, which is why six very different-looking pages all still behave predictably — and why none of them needs a second loud colour competing for the same job.
What this set proves
None of these is the same page recoloured.
Put the six side by side and it is the layouts that differ, not just the colours. The garage opens with a box that takes a registration. The fitter's set-piece, further down, is a programme showing which trade is in your house on which day. The electrician opens with a rate card laid out like the schedule inside a consumer unit. Three are light and three are dark, and each dark one is dark for a reason the page gives you. Every photograph on them is a stock photograph and says so underneath.
Yours would be drawn the same way, out of what your trade actually does, not a template picker. If we sent you a site and you could picture the business next door using it unchanged, we would have got it wrong.