How it looks:

• Desktop: the band before is in the ink and this one is on the page ground, and the seam between them is not a line but a shallow arc, high at the centre and low at the edges, as if the light band were a dome rising into the dark one. On that seam, centred, a portrait cut as an arch — a rectangle with a full half-round top — straddling it: the rounded top on the dark band, the lower half on the light one, in front of both, so the light band seems to pour out from behind the portrait. Below, flat: a small tracked caps eyebrow naming the person, at the left; the heading at display scale on three or four lines in the left column; the story in two body columns, the first under the heading and the second beside it starting higher; the page's button under the first column. The portrait is the largest thing; nothing else crosses anything.
• Phone: the arc flattens but stays; the arched portrait, narrower, still straddles it; eyebrow, heading, columns and button stack in reading order.

Fits: a portrait row tall column whose subject sits in the upper part of the frame on a plain backdrop, so the arch crops nothing that matters; a story of two or three paragraphs; a page that alternates a band in the ink with one on the ground; the direction soft, warm, classic or photographic.

Not fit: the band before on the same ground — no seam to cross; a small or wide portrait; a one-line story; the direction hard-edged.

How it looks:

• Desktop: flat, on a warm ground a shade apart from the band above. Depth in two layers: the ground, and the person cut out, standing in the right third in front of it. The top of the head overshoots the band's top edge into the band above, and the band below cuts the figure at the shin, so the person seems to stand in front of the page's seams rather than inside a photograph. The words hold the left half, left-aligned: a small eyebrow, the name line on two lines as the largest type in the band, one paragraph, and the page's button as the last line. Nothing crosses; the figure and the words keep to their halves.
• Phone: the words first — the name, the paragraph, the button at full width — then the figure, centred, running off the bottom edge; the overshoot above is gone.

Fits: the brand is the person; a portrait row tall column whose ground is transparent (cut-out) or whose caption names a plain backdrop the band can take as its ground (edgeless); a name line of two or three words; a band above that ends on a plain ground, so the head reads against it; the direction warm, contemporary or loud.

Not fit: the brand is a business name; the portrait small or busy behind the subject; a band above that is a photo or a dark ground; the direction quiet or empty.

How it looks:

• Desktop: flat, on the page ground, in halves. The left half is two photos of the person, stacked and staggered — the upper one, a tall portrait, set to the right; the lower one, wider than tall, set to the left — so their edges do not align. The heading, at display scale on two lines, sits above the upper photo, starting left of it, and its second line lands on the photo's top edge — on the ground first, then in front of the picture. The right half, one column: the name and credential in tracked caps, a short rule, the story in paragraphs, then a pull-quote in caps against a rule at its left, and the page's button.
• Phone: the heading centred at the top, clear of the photos; the two photos become a pair side by side, staggered in height and each running off its own edge — the wide one flush left, the tall one flush right — then the column stacks: name, rule, story, pull-quote, button.

Fits: two portrait rows from one shoot on one backdrop, one tall column and one wider than tall, the tall one with a quiet top edge — wall, ceiling — for the words to cross; about copy of several paragraphs with one sentence worth pulling; a heading of two or three words that breaks in two lines; the direction warm, classic or contemporary.

Not fit: one portrait only, or two from different shoots; a portrait whose subject's head sits at the top edge where the heading lands; the direction empty, hard-edged or typographic.

How it looks:

• Desktop: the band takes the ink as its ground. Depth in three layers: the ground; a darker angular shape across the lower half, like a low ridge; and the person cut out, standing in the left third and overshooting the band's edge — here the bottom, so the band cuts the figure at the shin and they seem to stand in front of the page rather than in a photograph. The name line in caps is the largest type in the band, right-aligned to the right edge on two lines in the accent, with a short introduction right-aligned under it, the credentials inside the prose. No list and no button; the band says who, and the next band says why.
• Phone: the name on two lines at the top at full width, the introduction under it, the figure last, running off the bottom edge.

Fits: the brand is the person; a portrait row tall column whose ground is transparent (cut-out) or whose caption names a plain backdrop the band can take as its ground (edgeless), and whose subject reads at that scale; a name line of two or three words; the direction loud, contemporary or hard-edged.

Not fit: the brand is a business name; the portrait is small or busy behind the subject; the direction quiet or soft.

How it looks:

• Desktop: flat, on the page ground, and mostly empty. One sentence of the about copy — the turning point of the story, in the first person — set in italic at display scale, centred on the page's axis in a measure about two-thirds of the width, four or five lines. Nothing else: no name, no photo, no rule, no button. The ground runs on above and below it for about a screen's worth, so the sentence sits alone in the middle of a screen of nothing, and the emptiness is the device: the page pausing to say one thing. The largest type in the band is the sentence itself.
• Phone: the same, the sentence in more lines at full width, the empty ground under it kept.

Fits: about copy with one first-person line that carries the story on its own; a page that has already shown the person above — a portrait in the hero or in the band before; the direction empty, quiet or typographic; a page that can afford a screen with nothing on it.

Not fit: no portrait anywhere above it; about copy with no single line that stands alone; the direction dense or photographic, where the empty screen reads as a gap.

How it looks:

• Desktop: a flat band on the page ground in three parts down the page. First the introduction, set entirely in the right half on one flush-left axis at the page's centre — the heading in caps on three lines at display scale, naming the person and who they work with, a lighter one-line subline, then a paragraph — with the left half empty. Then a strip of three photographs of the person in one row across the width, equal in size, plated, a gutter between them and the page margins either side, each a different setting. Then the credentials, back on the same right-half axis: five or six short titles stacked one per line at a large scale, no dates and no logos, the last line longer and breaking the pattern; a small dot-and-label in the left gutter level with them; a paragraph under the stack. Everything but the strip hangs from one axis.
• Phone: the heading and paragraph at full width; the strip becomes one row that runs off the right edge, the second photo cut by it; the credentials stack at full width.

Fits: three environment or portrait rows wide or square of the person in different settings; a credentials list of four to six short titles, roles or chapters that need no explanation; the direction quiet, typographic or empty.

Not fit: one portrait only; credentials that need dates, logos or a sentence each; the direction dense.

How it looks:

• Desktop: a full-bleed band in the ink, with depth in two layers: three photos on the band, and the words. The first photo, the largest thing in the band, fills the left third top to bottom and runs off the left edge, plated. A second, smaller photo — another frame of the same person, in a different treatment — is laid in front of the first at mid height, overlapping its inner edge, so the two read as a pile. A third photo runs off the right edge as a narrow sliver showing only part of the person: it is there for the edge, not the face. In the gap, right of centre, a short paragraph in the ground colour with no heading, and the page's button under it, both at the height of the second photo. Nothing is centred and nothing is symmetrical.
• Phone: the sliver is dropped; the first two photos sit side by side, touching, above the paragraph and the button.

Fits: three photo rows of one person — one tall column or wider for the first, one small for the second, and one whose subject can be cut to a sliver; a paragraph of a few lines and one action, no heading; the direction photographic, dense or loud, on a band in the ink.

Not fit: one photo; a heading the band must carry; the direction quiet, empty or classic.

How it looks:

• Desktop: flat, on the page ground. Centred at the top, a title stack like a book's title page: the name, a two-line statement of what the practice is, and a byline naming the person. Under it one paragraph, justified, about two-thirds of the band's width. Then the band splits into three: a column of text on the left, the portrait plated in the middle, a column of text on the right — the two columns about as wide as the portrait and justified so their edges are straight, their tops level with the top of the portrait, the portrait taller than either. The portrait is small for a portrait, and the columns hold it, like a plate set into a page of text. The page's button centred under the three. Nothing is larger than the statement, and the statement is not large.
• Phone: the title stack, the paragraph, then the first column, the portrait, the second column, the button — stacks in reading order.

Fits: a portrait row that still reads at a small size, on a plain backdrop; about copy long enough for an opening paragraph and two columns of similar length; a practice with a one-line statement of what it is and a person to credit; the direction quiet, classic, empty or typographic.

Not fit: a portrait that needs to be large to read; short about copy; the direction loud or photographic.

How it looks:

• Desktop: flat page ground, split in halves. The left half is a stack with depth: at the back, three or four rectangles of different heights and widths — textured slabs and one flat tile — each offset from the last so every one shows an edge, the widest lying at the foot and the tallest standing up behind; in front of them all, the portrait, plated on its own pale backdrop, overhanging the pile on one side and clear of the band's edges, so the pile reads as a board of samples the person stands on. The right half is the words: a short eyebrow, the heading on three lines at display scale, two paragraphs, and the page's button.
• Phone: the pile and the portrait first, kept as a stack but narrowed to the screen, the portrait still in front; then the eyebrow, the heading, the paragraphs and the button in reading order.

Fits: a portrait row tall column on a plain pale backdrop, full-length or three-quarter, can plated; three or four texture or detail rows — material close-ups, a pattern, a flat tone — that survive being cropped to any rectangle; a heading of one sentence and two short paragraphs; the direction warm, tactile or personal.

Not fit: no texture or detail rows to pile up, or a portrait on a busy backdrop that fights the slabs behind it; the direction minimal, quiet or typographic.

How it looks:

• Desktop: flat; the band takes the ink as its ground. The portrait is plated in the right half, flush to the right edge and running off it, held in from the band's top and bottom by an even margin of ground, its two inner corners softened. In the left half, one column about as wide as the visible part of the portrait: a heading that says what the person is to the visitor, not their name; the story in two paragraphs; the page's link under it. The credentials are inside the prose, no list. The heading is the largest type in the band and the photo the largest object; nothing lands on the photo, and the two never touch.
• Phone: the heading, the story and the link at full width, then the portrait under them, still flush to the right edge and running off it, ground showing on its left.

Fits: a portrait row that can be a tall column, other than the one the hero used, on a plain backdrop that the viewport can cut without losing the subject; about copy of two paragraphs with the credentials written into them; the direction warm or contemporary, and a page that alternates its grounds, so the band can take the ink.

Not fit: the only portrait is the hero's and the hero bled it already; a portrait whose subject sits at its outer edge; the direction empty or typographic.

How it looks:

• Desktop: on the page ground, two rectangles overlapping by a sliver. From the back: the ground; a solid panel a shade apart from it, flush to the left edge and running off it, two-thirds of the width; over its right end, a two-by-two grid of photos of the person from one shoot, set tight with no gutter, flush to the right edge and running off it. The grid starts above the panel's top and stops above its bottom, so the ground shows as a step above the panel and another below the grid. The panel carries a greeting, the title as the largest type, the story and the page's button, the credentials inside the prose; nothing lands on the photos.
• Phone: the grid first, at full width inside a margin, then the panel at full width with the greeting, the title, the story and the button — the overlap gone, the two stacked in that order.

Fits: four portrait rows from one shoot on one backdrop, each of which can be a tall column or cropped to one — or one photo that can be full-bleed standing in for the grid; about copy with a greeting line and a title for the person; the direction warm, dense or contemporary.

Not fit: one portrait only, or frames from different shoots that fight in a grid; the direction empty or typographic.