How it looks:

• Desktop: a full-bleed band in one colour that is also the photo's backdrop, so the person sits on the page and not in a photograph. Flat: the figure fills one half of the band, edgeless, running off the bottom and the side; on the other half, top to bottom, the heading as a two-line lockup — a light caps line, then a heavy caps line in the accent — a short paragraph, and the page's button. A small tracked eyebrow with a drawn mark sits in the top corner over the photo's empty part.
• Phone: the figure becomes the band's background under the words, on a scrim if the tone needs it.

Fits: one action or one offer; a row whose caption names a plain backdrop and whose dominant colours are one flat hue over most of the frame; the direction loud, warm or photographic.

Not fit: the photo's backdrop is busy or the row is small; the palette cannot take a whole band in the backdrop's colour.

How it looks:

• Desktop: a full-bleed room photo fills the band edge to edge, darkened so nothing in it competes. Depth in two layers: the room behind, and in front of it, centred on the page's axis, a solid panel in the page ground — a little under half the band's width and most of its height, inset from the top and the foot by the same margin, so the room shows on all four sides. Everything is inside the panel, centred: the heading in tracked caps on two lines, a subline in the same caps, a short paragraph on a narrow measure, and the page's button. No words land on the photo; the room is a frame around the ask.
• Phone: the room becomes the background at full width; the panel stays in front, inset a little from both edges and taller than the screen, its contents stacked and centred; the room shows only as a margin around it.

Fits: an environment row can: full-bleed 1440 — a room with no person in it, whose caption names nothing that must be seen, since it is darkened to a backdrop; one action with a heading, a subline and a short paragraph; the direction warm, soft or photographic.

Not fit: a photo with a subject to show — a face, a product — that the panel would cover; a page whose about band already set a panel on a room; the direction empty, hard-edged or typographic.

How it looks:

• Desktop: on the page ground, in halves. The left half is mostly empty: one paragraph sits at its middle in a narrow column, the page's button under it, nothing else. The right half is a photograph, plated, filling its half from near the top of the band to near the bottom — a wide scene, a room. In front of it, centred on it, a second photograph cropped to a circle about half the scene's height, showing a close detail — a face, hands — in a different treatment from the scene, one in colour and one in greyscale, so the circle reads as a lens held over the room rather than a hole in it. No words land on either photo. The largest thing is the scene; the circle is what a visitor remembers.
• Phone: the paragraph and the button first, then the scene at full width with the circle still centred on it.

Fits: an environment row wide whose caption names a plain middle — a wall, a sofa, a counter — for the circle to land on, and a second row that can be cut to a circle, a detail or portrait whose subject is centred; one paragraph of invitation and one action; the direction quiet, warm or photographic.

Not fit: one photo only; a scene whose subject sits where the circle would cover it; the hero already cut a photo to a circle; the direction loud or typographic.

How it looks:

• Desktop: two layers on the page ground. First, a panel in the ink, inset from the page's edges by a thin margin of the ground on every side, its corners softened. On it, centred, an oval in the page ground about three fifths of the viewport wide and most of the panel's height — the band's one shape and its largest thing. Everything sits inside the oval, centred and stacked: a small illustration or mark, a one-line eyebrow, the heading at display scale, a short paragraph, the page's action. The oval's ends stop short of the panel's sides, leaving the panel's four corners as ink around it. No photo; nothing crosses the oval's edge.
• Phone: the panel keeps its side margins; the oval stretches tall and narrow, filling the panel's height, the same stack inside it at a smaller measure.

Fits: one action asked plainly, with a heading of a few words and a paragraph of two or three lines; a logo or favicon row small — or a drawn mark — to head the stack, on a transparent or matching ground; a page that alternates its grounds, so the ink panel has the page ground to sit in; the direction playful, warm or classic.

Not fit: an ask that needs a photo of the person; a page already on the ink, where the panel would vanish into the band; the direction hard-edged, minimal or typographic, where a curved shape is foreign.

How it looks:

• Desktop: a short flat band in a tint a step off the page ground, wedged between two other grounds — a full-bleed photo above, the page ground below. Three columns: a photo at the left, the words in the middle, the action at the right. The photo is the idea: it is plated, turned a few degrees off square, and taller than the band, so its top corner overshoots the seam into the photo above and its bottom corner overshoots the seam into the ground below — one object straddling three grounds, the only thing on the page not sitting square. The middle column holds, top to bottom and left-aligned, a small eyebrow naming the kind of thing on offer, the heading at display scale, and a short paragraph; the button sits alone in the right third, level with the heading. Nothing else in the band; the largest thing is the photo, the largest type the heading.
• Phone: the bar becomes a stack — eyebrow, heading, paragraph, the button at full width — and the photo is dropped, or sits square at the top of the bar.

Fits: one free thing or one action; an object or detail row tall column whose subject can be turned without reading as a mistake — a book, a hand on a page, a printed thing; a heading of a few words; a band that sits between two different grounds, so the overshoot has something to cross; the direction warm, soft or photographic.

Not fit: a portrait, which looks tipped over when turned; a band on the same ground as its neighbours, where the overshoot has nothing to straddle; the direction hard-edged or minimal.