# A drawer of keys that open nothing is still a catalogue > A dozen keys from every house a family has lived in, kept for decades though none of them opens a door anymore, printed at their true relative sizes. August 19, 2026 · https://justog.club/stories/keys-that-open-nothing A dozen key silhouettes in bone white scatter across a deep green tee, crumpled where it's been photographed on a bed. Long mortice keys sit next to a clover-bowed one, flat cylinder keys, a square meter key, one no longer than a fingernail. No ring, no fob, no tag — nothing sorts them. Every drawer like this holds keys nobody can name and nobody will throw out, because throwing one away is the surest way to guarantee it's forgotten for good. ## Why does a house end up with keys that open nothing? Because a lock gets changed, or a family [leaves a house](/stories/moving-away-shirt), faster than anyone gets round to throwing away the key that used to work in it. The lock moves on. The key doesn't know that. It sits in the same drawer as the keys that still matter, and after a year or two nobody can say for certain which is which — so the safe move is to keep all of them, and the drawer grows. It isn't hoarding. It's the only available response to not being sure. ## Why do the different eras of key matter to the drawing? Because a heavy mortice key and a flat modern cylinder key are visibly different technologies, and that difference does the work a date would otherwise have to do. You can look at this drawer and read decades in it without a single number printed anywhere. The long iron shape belonged to a door with a different kind of lock entirely; the small flat one is recent enough to have come from a house the youngest person in the family barely remembers living in. The variety in cutting style is the timeline. ## What makes a good version of this drawing? Getting the relative sizes honestly right, so a tiny modern key sits genuinely tiny next to an old mortice key rather than both being drawn at a convenient, similar size. Scale is the whole argument. A row of same-sized silhouettes reads as a generic set of "keys" — clip art. Keys drawn at their true relative proportions read as a specific, remembered collection, because that's what a real drawer looks like: one giant iron key dwarfing three flat little ones. [Flattening a photograph of a cluttered drawer into clean single-colour shapes](/stories/line-art-single-color-prints) is what makes that honesty legible at a glance instead of buried in shadow. ## Do I need permission to draw my own keys? No — a key's outline is a functional shape, and a household's own collection of them has nothing in it that belongs to anybody else. The one thing worth a second look is an embossed brand stamp on the bow of a key — a lock manufacturer's name cast into the metal. That mark belongs to the maker. Leave the stamp off, or draw the bow as a plain shape without the lettering, and everything left in the drawing is simply the outline of an object your family owns. ## Does this only work with a full drawer of keys? No — three keys read exactly as well as a dozen; what matters is that they're genuinely different from each other, not how many there are. A single unlabelled key that clearly used to matter can carry a shirt on its own, the way [a spare key hung by the door still gets used](/stories/spare-key-and-where-it-lives) carries a different, active version of the same object. This one is the opposite case: not a key still doing a job, but the ones retired from doing one, kept anyway. ## Isn't a dozen keys just clutter on a chest? It reads as clutter only if the sizes are wrong — get the true relative scale right and a dozen keys reads as a set the way a matched row would not. A neat row of identically-sized key icons looks like stock art licensed for a locksmith's van. Keys scattered at their own true proportions, the way they'd actually sit tipped out of a drawer, looks like an object that exists. The mess is structural information, not decoration on top of it. ## Does it print well? Yes, in a single ink — bone white silhouettes hold their shape cleanly against a dark tee, and a key's outline has no fine detail to lose in the weave. Deep green, black or navy all let the pale keys sit forward. Keep every silhouette a flat, solid shape rather than an outlined one; a key drawn as an outline with detail inside the bow tends to close up at small print sizes, where a solid shape stays legible from across a room. ## How do I get one made? Describe the drawer at [JustOG](/) — how many keys, which eras, which one nobody can name anymore. Pick a direction, drag the crop frame, see it composited on the real garment, and it's made to order and shipped. Designs other people have published are in the [shop](/shop). None of them turns in a lock anymore. All of them stay in the drawer.