How it looks:

• Desktop: a flat band on the page ground in two strips. The first, tall: the lockup — name, tagline and mark together — centred on the page's axis, the band's largest thing. Two columns mirror either side of it: at the left, ranged left, the page's links one per row, the page's button under them, then the contact number over a short hairline, the hours under it; at the right, ranged right, a small accreditation mark, a short paragraph of who and where, a social link over a matching hairline and the email under it. Both hairlines sit at one height. The second strip, thin, on a second ground: the copyright at the left, the legal links at the right.
• Phone: one centred column — the lockup, the accreditation mark, the paragraph of who and where, the links one per line, the button, the number over its hairline with the hours under it, the social link over its hairline with the email under it; the thin strip last, its two lines stacked.

Fits: a logo row that reads at display scale — a lockup, or a mark with a wordmark; four to six page links; a contact line, hours or a social link the beat's copy ids carry; a short paragraph of who and where; the direction classic, warm or quiet.

Not fit: no logo, or a mark that only reads small; a page whose footer must carry many links (two mirrored columns hold one short list); the direction hard-edged or typographic.

How it looks:

• Desktop: the band takes the ink as its ground, flat, in three strips divided by hairlines in the ground colour. The first and tallest: the wordmark large at the left, the largest thing in the band, its tagline under it; in the right half, two columns of links, each link on its own row with a two-digit numeral at the row's right end and a hairline under the row, so the column reads as a numbered index; the second column shorter and ending in a row of small social marks. The second strip: two secondary calls side by side, each a short line of words with the page's button after it, a vertical hairline between them at the centre. The third, thin: the copyright line and the legal links at the left, a back-to-top link at the right.
• Phone: the wordmark, then the two columns one after the other with their numerals kept, then the two calls stacked, then the legal line.

Fits: a wordmark or name that reads at display scale; two groups of four to six links; one or two secondary actions (a list to join, a guide to take); the direction hard-edged or contemporary; the beat above ending on a light ground.

Not fit: the beat above already dark; fewer than four links; the direction soft or quiet.

How it looks:

• Desktop: two bands stacked, flat. The upper one takes the ink as its ground from edge to edge and holds the map in three parts on one row: a link column at the left under a small heading, the brand lockup centred — mark above the wordmark above a tagline — and a contact column at the right under its own heading, the two columns mirrored about the lockup and set well inboard of the edges. Under it, a thin strip in the accent runs the full width, no taller than a line, and carries the legal line centred in small, tracked caps. The strip is the last thing on the page, so the page ends on its brightest colour, not its darkest.
• Phone: stacks: the link column, the lockup, the contact column and its icons, all centred; the strip stays at the foot, the legal line on two lines.

Fits: a logo row with a mark and a wordmark that stack, and a tagline; two short link groups; a legal line of one sentence; a direction with a strong accent that can carry small dark text — bold, warm or playful.

Not fit: no accent, or one too pale to read as a strip against the ink; a footer that must hold a form or a newsletter; the direction quiet, classic or monochrome.

How it looks:

• Desktop: not a band so much as the page's last line: the ground continues from the beat above with no rule, a deep space, then one row of four label-over-value pairs, small, across the full content width. Each pair is a muted sentence-case label with a short caps value in the ink under it; the first pair flush at the left gutter, the last ranged right to the right gutter, the two between spaced evenly. On this page the pairs carry the copyright, a back-to-top and two credits, and the map lives in the header, which is built of the same pairs — the page is bookended by one device. No mark, no wordmark, nothing else in the row.
• Phone: the pairs stack in one column, ranged left, each label over its value; the order may change (here the copyright moves last).

Fits: a thin page with little to map — the map as one pair's value (the anchors in a row), the action as another, the credit and the legal line as the rest; a header built the same way; the direction empty, quiet or editorial; the beat above ending on the page ground.

Not fit: a page with many beats to map, or a mark that must show in the footer; a beat above that ends on a dark ground or a photo (the row needs the ground to continue); the direction loud or dense.

How it looks:

• Desktop: a shallow band on a soft ground, flat, entered through a soft waved seam from the band above. One row of three groups, each centred on itself: at the left, a small caps label over three short lines of contact values; in the middle, the wordmark, the band's largest thing, the brand's small mark set between its two words; at the right, a second caps label over three address lines. Under the band, a thin bar on a third ground carries the legal line, centred, the credit as a link at its end. No link columns and no map: the header holds the map; the footer holds where the person is and how to reach them.
• Phone: the wordmark first, centred; the two label groups stacked and centred under it; the legal bar last, its line wrapping to three.

Fits: a brand that is a wordmark, best with a mark that can sit inside it; a practice with a place and a phone — contact and address as the two groups; a page whose map lives in the header; the direction soft, warm or quiet.

Not fit: a brand that is a mark alone, or a long name; a page with many beats to map from the footer; the direction hard-edged, loud or typographic.

How it looks:

• Desktop: a dark band, flat, in three rows. The first row is the wordmark alone, set larger than the screen: its first and last letters are cut by the left and right edges, so the name reads as something the page cannot hold — the largest type on the page. Under it, the map: the mark on its own at the left, in the left quarter, and three columns to its right, each a short italic label over a caps list — two of links, the third the social glyphs stacked. The last row is the small print, centred, one line. Nothing crosses; the wordmark takes the top and everything else sits below it at ordinary scale.
• Phone: the wordmark still runs past both edges, cut the same way, first; under it the two link columns side by side, the mark gone, the glyphs in one row, then the small print centred on two lines.

Fits: the brand is a wordmark — best a drawn one with a silhouette of its own — short enough that losing the first and last letters leaves it readable; a mark to stand at the left; a dark ground; the direction loud, typographic or editorial.

Not fit: a long name, where the crop takes whole words; a brand with no wordmark, or one that must never be cut; the direction quiet or soft.

How it looks:

• Desktop: a dark band in three rows, flat. The top row is the footer proper: at the left, a one-line invitation, the page's actions in a row under it, and a short legal paragraph; at the right, three narrow columns, each a label over a short list. The middle row is the person's name alone, set to run from the left margin to the right margin on one line — the largest type on the page, larger than the hero's headline — with nothing beside or over it. The bottom row is the small print, flush left. Nothing crosses.
• Phone: the top row stacks — the invitation and actions, then the columns as label-and-list pairs; the name still runs edge to edge at whatever size the width allows, the one thing on the page that grows rather than shrinks.

Fits: the brand is a name short enough to fill the width on one line — two words or so; a dark ground; the direction loud, typographic or hard-edged.

Not fit: a long business name; a brand that is a mark with no wordmark; the direction quiet or soft.

How it looks:

• Desktop: a dark band, flat, in two rows. The first row is four columns, top-aligned: two narrow columns of page links at the left, three short lines each; a newsletter form in the third, a label over stacked fields and the action; and, as the fourth column at the right margin, the wordmark — the name broken over two lines at display scale, so the block stands as tall as the form and is the largest thing in the band, the brand's mark tucked into the gap the break leaves. The second row is the small print, one line, centred. Nothing crosses; the name is not a row across the band but a column at its end.
• Phone: the link columns two-up, then the form, then the wordmark still stacked on two lines, ranged left; the small print last on two lines.

Fits: a brand that is a two-word name — or a logo row that stacks — with a mark that can sit inside the break; a page with a newsletter to ask for and four to six links; a dark ground; the direction loud, contemporary or typographic.

Not fit: a one-word name, or a long one, which has no break to stack on; a brand that is a mark alone; a page whose newsletter beat sits directly above the footer, so the form would be asked twice; the direction quiet or soft.