A keep is something the homeowner noticed and wants to hold on to: a photograph, a link, a color or a note. It belongs to the whole house, to a room, or to a decision, and it never asks anything of anybody. This page specifies keeps once. Home and Space show their walls in place and point here.
The rules every wall follows. It shows the four newest keeps, one row on the desk. The count chip always carries the whole number, never the number shown. When there are more than four, a hugged ghost button under the wall reads “All 11 kept for the house” or “All 9 kept in this room” and opens the full list. The capture button, “Keep a photo, link, color or note”, sits under that and is always there, so adding never depends on the list. A note carries its title when it has one: the composer’s first line, set at 16px semibold above the body. Without one, the tile is the body alone.
Sections: 1 the wall and the full list · 2 the four doors · 3 capturing each kind · 4 one keep, and moving it into a room. A keep’s own sheet, with editing and removing, is in section 4.
The house version. A room’s full list is the same screen with the room’s name and only its keeps.
A screen rather than a sheet, because this is browsed, filtered and returned to. Newest first and filtered by kind. Back is the app bar’s chevron, and adding is its plus, the same one a room’s app bar carries, so it is in reach at any length. The filter and the plus are live.
Four columns on the desk canvas. The wall keeps its uneven cells, since a photograph and a sentence are not the same height. Back is the up-link above the head, as on every screen one level down on the desk. Adding sits beside the head with a label as well as the plus, because the desk bar cannot carry screen actions and a lone glyph in the canvas reads as decoration.
The first step of every capture. From the house it attaches to the house; from a room it attaches to the room, and once a room’s decisions are open the sheet asks which one it is evidence for.
The same four doors a room opens, from the button under the wall. A keep made here belongs to the whole house, which is a real place for it rather than a waiting room: a window package, an exterior color or a note to Dave often has no single room. Moving one into a room later is on its own sheet (3c).
The step after the four doors in K, drawn on its own page because a keep is captured from a room, from the binder, and from a decision, and the same sheet has to serve all three. Every frame here is a Sheet — bottom-anchored below 840px, 480px to the right above it — so what changes between the columns is the capture method, never the shape.
Two things differ by platform and both are real. A photograph on a phone comes from the camera or the library, which are the operating system's screens and not ours; on the desk it arrives by drag, by paste, or by file dialog, and it can arrive several at once. A note is a composer at both widths, and Quill sets the ceiling on what the composer can offer.
Two tiles, because both of them hand off to a screen we do not draw and neither needs explaining. What a row would have bought is the caption under each name, and at two words apiece there was nothing worth saying. The strip under them is the real content: the shot you want is almost always one of the last three you took, and picking it there skips the library entirely. Routing, so nothing is pinned.
The shot comes back before it is kept, because the camera is the one input that can be wrong in a way you cannot see until it is large. A photograph is also the only keep that arrives with no words on it, so the line is asked for here and nowhere else — later it is the only thing that makes the picture findable. Optional, and the hint says the ask rather than a length.
Mid-drag, which is the state worth specifying: the target takes a 2px --primary dash and a well behind it, and the sentence changes to say what letting go does. A drop target is a container-shaped absence, so it is the outline rung — not a card, which would claim something is already there. Paste is listed because on a desk the picture is usually a screenshot of a listing and has never been a file.
The case the phone does not have. A drop can carry several files, so the confirm becomes a short run rather than one picture, and each keeps its own line — a caption typed once across three photographs would be a lie about two of them. The action counts what it is about to do. Anything left blank is still kept; the note says so, because a run of empty fields looks like a form that will not submit.
There is no free color picker anywhere in this product, so a color arrives one of two ways: sampled off a photograph you already kept, or typed as a code. Sampling is first because it is the one that happens standing in a tile shop. The swatch is shown at keep size rather than as a dot, since a color read at 16px is not the color you will see on a wall.
Same sheet, other route. A code is worth having because a name is not a color — two manufacturers both sell a Sage and they are not the same paint — so the field takes a manufacturer code or a hex, and what it resolves to is shown rather than described. Sampling is still there above it, and it is the same control as 1e; the width does not change how a color is captured, only how much of the source photograph you can see while you do it.
A product page is the most common thing anybody keeps while building a house, and until now there was nowhere to put one. Paste the address and we read the page once for its name and picture, so the keep still reads as something after the page comes down. The price is deliberately not kept: a price read once and never checked again is worse than no price.
The optional line asks why rather than what, because the page already says what. This is the one kind where the two are different questions.
The same sheet at width, drawn in the state that decides whether this kind is any good: plenty of sites refuse to describe themselves, and a link that unfurls to nothing is most of what a real wall collects. Nothing here is an error. It says what happened in the product's own voice, the address still works, and the optional line stops being optional in tone — without it this keep is a web address on a wall of pictures.
We try once and never retry in the background, because a keep that quietly changes its own name later is not a record. The action says what it is doing rather than pretending the failure away.
The one sheet where the commit moves to the header, and it is forced rather than chosen: the foot of the sheet belongs to the keyboard, so the format bar sits there and Save cannot. The bar carries six tools and an overflow, because a phone cannot hold the full set at a 44px target and the ones past the sixth are not what anybody standing in a bathroom reaches for.
One writing surface, not a title field and a body field. The name is the first line, set at the title step, and the caret moves between it and the note with a return like it would in anything else you write in. Quill has no title block of its own, so the first line is read as the name and a note that never gets one is listed by its opening words.
No keyboard to make room for, so the bar sits under the title where a writer expects it and the overflow disappears — nine tools at a 44px target is exactly what 432px of rail holds, and the tenth would wrap to a row of its own. That is the entire difference; the measure is 400px in the rail, which is close enough to the phone's that a note written on one reads the same on the other.
What the bar deliberately does not offer, because Quill cannot: tables, columns, images inside the note, and dragging a block to reorder it. A photograph is its own kind of keep, so a note that wants one links to it rather than embedding it. One consequence of the single surface worth naming: the first line is formatted as a heading, so a reader who deletes it promotes the second line to the name — which is the right behaviour, but it means the name is never a field anything else can depend on.
Tapping a keep opens its own sheet (3c): the keep at full width, what can be changed, the record of when and where it was kept, where it lives, and removing it at the foot. 4a to 4e cover each kind, a keep that is evidence, somebody else’s keep and the desk. Moving it into a room goes through the picker (3b) and its states.
Written when the wall held keeps waiting for a room. It now holds keeps for the whole house and has no “Put these in a room” button, so the picker is reached from a keep’s own sheet (3c). The multi-keep and color answers below still hold if several keeps are moved at once. 3b is live.
From “Put it in a room” on a keep’s sheet (3c). The keep you came from arrives picked, and anything else on the wall can be ticked to go with it; the color is routed to its own screen. Pick a room and the pinned action states its scope. Filing closes the sheet and only what was picked leaves the wall, so the count drops by the same number and the rest stay where they were.
Tapping a keep opens its sheet, not a screen, so closing it lands back on the wall. The keep comes first at full width, then the one line you can change, then the record of when and where it was kept, then where it lives. Removing is last and quiet, because it is not what the sheet is for. Tap “Remove this keep” to see the confirm.
A note shows its title when it has one. Editing opens the composer rather than a field here, because a note is written, not filled in. Remove is live.
The confirm replaces the foot in place: no dialog, one sentence on what happens, and the one red control in the system, as an outline. When the keep is evidence for a decision the sentence says so, and says that the decision itself does not change.
The name and code are what you can change, because a swatch read off a photograph is often close rather than right. The swatch itself stays as it was kept.
Nora kept this link. The Inert that names who can change or remove it sits first in the sheet, not at the foot: on a phone nothing shows that a sheet scrolls, so a reason revealed at the bottom would open out of sight. Everything else can still be read, and the page is one tap away.
The same sheet, side-anchored at 480px. The wall behind is capped to the 340px that stays visible beside it, so the reader can still see where they were.
This write does not wait for a connection, so the rooms and the action go and the Say says what stays.
The pick is kept, so trying again is one tap.
The product's own difficulty, so it says "we". The keeps are still listed so the sheet is not empty.
Nora filed the note while this was open. It stays listed as a plain row with who and where, and the action shrinks to the one keep left.
Every room is listed so the house can still be read. The action is an Inert, and it names who can file.