How it looks:

• Desktop: one long flat band on the page ground, opened by a short centred heading and one line under it, then the offers one under another, each as tall as a screen or a little less. Each offer is split in halves — the photos in one half, the words in the other — and the sides swap with every offer, so the eye zigzags down the page. The words are one column, left-aligned within its half, top to bottom: the offer's name at display scale on two lines, a small tracked eyebrow naming what kind of thing it is, a paragraph, the page's button. The photo half is built one of two ways, and these alternate too: a stack — a tall photo plated behind and a smaller one in front of its lower corner, on the side nearer the viewport edge, one of the two flush to that edge and running off it — or a single tall photo standing inboard of the edge. What differs item to item is only the side and the count of photos; the column, the eyebrow and the button repeat exactly. No rule between offers; the gap between them is ground.
• Phone: each offer stacks — the photo or the stack first, keeping its overlap, then the name, eyebrow, paragraph and button — and the alternation goes.

Fits: three to six offers, each with a name, a one-line kind, a paragraph and its own photo — at least one photo row tall column per offer, and for the stacks a second row small of a related subject; photos graded alike so the stacks read as one set; the direction warm, photographic, soft or classic.

Not fit: two offers, where the alternation never lands; offers without their own photos; the direction dense, hard-edged or minimal.

How it looks:

• Desktop: an accent band. An eyebrow line and the heading, the largest type on the page, centred at the top. Under them the offers as a two-column grid with no gutter, photo cells and panel cells alternating so no two photos touch. Each photo fills its square cell, plated, flush against its neighbours, on a different backdrop hue so the grid carries the palette without a swatch. Each panel is the page ground and holds, centred: a tag — a small filled shape naming the offer's kind, no two alike in shape or colour — the offer's name at display scale, and a small icon or the page's button in a corner. Sides alternate row by row.
• Phone: one column, photo then panel, still no gutter.

Fits: two to four offers, each with its own photo row tall column or wider with the subject centred; the direction loud, dense or photographic; a palette with three or more hues.

Not fit: one photo for all offers; long copy per offer; the direction quiet or empty.

How it looks:

• Desktop: flat, on the page ground, split in halves. The portrait holds the left half, plated on a backdrop so close to the ground that its rectangle barely reads, touching no edge of the band. The right half is one column: the section heading at display scale, the largest type on the band, left-aligned, with a hairline under it; then the offers as closed rows at one pitch, each a two-digit numeral and the name at the left and a plus sign at the far right, a hairline under every row. Nothing else shows until a row is pressed and it opens to its body. The last rule sits level with the portrait's foot. No action in the band.
• Phone: the portrait first, shrunk to a small centred picture; the heading under it, then the rows at full width.

Fits: four to six offers, each with a name and a paragraph the surface need not show, so the copy can be long; one portrait row tall column whose caption names a plain backdrop close to the ground, so it sits edgeless beside the rows; the direction quiet, classic or contemporary.

Not fit: fewer than three offers, which leave the portrait tall and alone; offers a stranger must compare at a glance — prices, lengths, formats — since a closed row states none; the direction loud or dense.

How it looks:

• Desktop: flat, on the page ground, in three equal columns. The first column holds only the heading — at display scale on two lines, ranged left, level with the tops of the photos — and under it an ornament that runs off the left edge and the foot. The second and third columns are the offers, one each: a tall photo plated on the ground, level with each other, and beneath each a caption row no wider than its photo — the name in tracked caps at the left, a short rule after it, the button flush to the photo's right edge. Nothing lands on the photos; photo and row are the whole item, no paragraph, no price.
• Phone: the heading centred at the top; then each offer at full width inside a margin — the photo, then its row with the name at the left and the button at the right — one under the other; the ornament stays faint in the margin.

Fits: two or three offers each with its own environment or portrait row tall column; names of two or three words that need no paragraph beside them; a heading of two words; a brand with an ornament to fill the first column, or a direction happy to leave it empty; the direction warm, classic or photographic.

Not fit: offers that need a description or a price beside the name; more than three; one photo for all of them; the direction typographic or dense.

How it looks:

• Desktop: a full-bleed photo fills the band under a dark scrim, its subject in the left half where no words go. Depth in two layers: the photo; and in the right half, top to bottom: the heading in caps at the largest scale in the band, in the accent, two lines, with a one-line subheading under it; then the offers as rows. Each row is a two-digit numeral at the left, the offer's name beside it, a dotted leader running from the name to the row's right end, and an arrow at the end as the link; under the name, indented past the numeral, a two- or three-line description. Row to row only the name, the leader's length and the description change. No button: the arrows are the actions.
• Phone: the photo stays under the scrim; the heading and the rows stack at full width, the numeral kept at the left and the leader shortened to fit.

Fits: three to five offers with short copy; an environment row whose can says full-bleed 1440 with its subject in one half — without one, the band takes the ink as its ground and the rows sit in the same column; the direction hard-edged, contemporary or loud.

Not fit: one or two offers; long copy per offer; the direction warm or soft.

How it looks:

• Desktop: the band before is in the ink, this one is on the page ground, and the seam between them is a shallow arc, low at the centre, so the dark band hangs into this one like a curtain. The offer's object — tall, the thing the offer is: a device showing it, a cover, a product — stands in the right third, straddling the seam, its top on the dark band and more of it on the light one, in front of both. Flat, in the left column: the offer's name as small tracked caps; the heading at display scale on several lines; the page's button. The body sits in the right column under the object. The object is the largest thing in the band and the only thing that crosses.
• Phone: the arc flattens but stays; the object, smaller and centred, still straddles it; name, heading, button and body stack in reading order.

Fits: one offer with an object of its own — a device, cover or product row tall column, can cut-out or on a plain backdrop; a band in the ink before it; the direction soft, warm, contemporary or photographic.

Not fit: an offer with no object, or only a portrait; two or more offers; the band before on the same ground; the direction hard-edged or empty.

How it looks:

• Desktop: one long flat band on the page ground with a thin vertical rule running down its exact centre from under the heading to the band's foot — through every offer and the gaps between them, never broken, ending only where the next band begins. The offers hang off it left and right, alternating sides: photos on one side of the line, the words on the other, and a small solid disc sits on the line at each offer's top edge, like a station on a route, so the rule reads as a sequence and not a divider. The rule is a tint of the accent and stays quieter than the discs; the discs are the only solid marks of the accent in the band. Nothing crosses the line — the photos stop short of it on their side and the words start a margin past it on the other — so the centre of the page is empty but for the rule. The largest things are the photos; the rule is the longest line on the page.
• Phone: the rule and the discs go; the offers stack in order at full width.

Fits: three or more offers that are a sequence or a set — stages, seasons, a path — each with its own photo and a name; an accent that reads as a hairline on the page ground; the direction classic, warm, soft or quiet.

Not fit: two offers; offers that are alternatives rather than a set; the direction dense or loud, where a hairline is lost.

How it looks:

• Desktop: one layer over another. At the back, a dark portrait fills the band edge to edge with no scrim; the face sits in the upper left corner, cut by the top edge, and the darkest mass of the picture fills the right half. In front, on that dark half, the offers as two outlined frames of equal width, stacked with a sliver of photo between, stroked in a hairline and unfilled, so the photo shows through each. Inside each frame, ranged left: the offer's name at display scale, a line or two of body, and the action, centred at the foot of the frame. Nothing lands on the face; the left half is the photo alone.
• Phone: the photo taller; the two frames one under the other, nearly full width inside a small margin, still outlined and unfilled over the photo; the first lands on the face, since there is no dark half beside it any more.

Fits: a portrait row whose can says full-bleed 1440, dark in tone, with the face in one upper corner and a dark mass filling the other half — the frames need a dark field to sit on; two or three offers, each a name, a line and an action; the direction warm, loud or dense.

Not fit: a bright photo, or one with the figure centred; priced offers that want a table; more than three; the direction empty, quiet or typographic.

How it looks:

• Desktop: two grounds stacked: a full-bleed, wordless video of the show over a band in a tint of the accent, a straight seam between them. Two things hang from that seam, in front of both grounds. A device mock showing the offer stands in the left third, tall, its top well up inside the video, most of it on the tint. A card, lighter than the tint, holds the right two-thirds, its top edge crossing a little into the video; on it, centred: the offer's name at display scale, one paragraph, a label, and outlined tiles in two rows, one per platform. An accessory sits on the card's lower right corner, half on, half off. The video is the largest thing.
• Phone: the video at full width; the card under it at nearly full width, its top still crossing into the video, the tiles stacked full width, the accessory at the card's corner; the device mock is dropped.

Fits: one offer with something to show — a show, a podcast, a course — with an environment or scene row whose can says full-bleed 1440 to stand above it and an object row tall column on a transparent ground for the device; a name of a few words, one paragraph, and two or more places to get it; the direction contemporary, warm, playful or photographic.

Not fit: an offer with no full-bleed row to hang from and no object of its own; two or more offers; the direction quiet, minimal or classic.

How it looks:

• Desktop: a row of squares, one per offer, filling the band edge to edge with no gutter — three squares, three photos, each filling its cell and flush against the next, so the row reads as one strip of pictures cut in thirds. Depth in two layers: the photo; and the offer's name centred on it in the ground colour at display scale, on two lines, with no plate or scrim under it — the photos are graded dark and warm enough for the words to read on their own. No eyebrow, no paragraph, no button on the squares: the square is the link. One short centred line on the page ground above the row introduces it, and the band below is a different ground, so the strip sits between two seams.
• Phone: the squares stack at full width, each still square, the name still centred on it.

Fits: two to four offers each with its own photo row wide or near-square whose subject sits clear of the centre where the name lands, graded so a light word reads on it; names of two to six words; the direction photographic, warm or loud.

Not fit: one photo for all offers; photos with a bright or busy centre; names that need a paragraph beside them; the direction quiet, typographic or minimal.

How it looks:

• Desktop: flat, on the page ground. The left third of the band is empty. A small label sits at the top of the middle third. The offers hold the right half as rows: each row is a dot at its left, the offer's name in caps at display scale, a one-line description under it, and a hairline under the pair; the rows share their hairlines — no box, no fill, no photo. Row to row only the words differ. Under the last hairline, flush to the rows' left, the page's button. Below, back at the label's line, a short paragraph on a wide measure, and at the foot a long statement at display scale, the largest thing in the band.
• Phone: the empty third goes; the label, the rows, the button, the paragraph and the statement stack at full width in that order, the hairlines kept.

Fits: three to five offers with a name and one line each; an offer beat with no photo to show — nothing from the Assets table enters the band; a closing statement of one sentence; the direction quiet, empty, typographic or classic.

Not fit: offers with a paragraph each; an offer beat that needs its photos; the direction dense, warm or loud, where the empty third reads as unfinished.

How it looks:

• Desktop: flat, on the page ground. A small label and a short intro paragraph at the top left, in a narrow column. Under them one box ruled in the ink, the band's full width, holding the offers as a table: a header row across the whole width with a label centred in it, then one row per offer. Each row is three cells divided by rules — the offer's name at the left, the body in the middle with the page's button under it, a small photo plated in the right cell, all the photos the same size and the same treatment. The rows share their rules: no gap, no box per offer, no fill, no radius. The name cell and the photo cell are narrow; the body cell is the widest. Item to item only the words and the photo differ. The largest thing is the box itself; the type stays small throughout.
• Phone: the table keeps its rules and each row re-orders — photo, then the name, then the body and the button — in one ruled column.

Fits: three or more offers with a paragraph each; a work, environment or detail row per offer that reads small — the photos are plates in a ledger, not features; the direction quiet, classic, hard-edged or empty — hairlines do the page's structure.

Not fit: two offers; offers with no body copy; the direction loud or soft; a page whose other bands already draw boxes.

How it looks:

• Desktop: the band before ends in a darkened photo and this band is in the ink. The offer's one-word name, the largest type on the page, in the ground colour, is set across the seam between them — most of the letters on the photo, their bottoms on the ink band — nearly the full width of the screen, so the seam runs through the word and the word announces this band from inside the one before. Under it, flat on the ink: the offer's picture, a wide frame of the person at work, plated with soft corners, right of centre and touching no edge; the heading at display scale centred on a few lines; one short centred paragraph; the body in two columns; the page's button under the first column.
• Phone: the name too wide for the screen, clipped at both edges, sitting just under the photo instead of across the seam; picture, heading, paragraph, columns and button stack in reading order.

Fits: one offer with a one-word name; an environment or action row wide that reads at about two thirds of the band's width; a band before it that ends in a photo or a scrim; the direction loud, typographic or photographic.

Not fit: an offer named in more than two words; two or more offers; a band before it on a flat ground of the same colour; the direction quiet.

How it looks:

• Desktop: flat, on the page ground. A heading, the largest type on the band, centred at the top. Under it the offers as equal keyline boxes in one row, stroked in the accent with no fill; inside each, centred and top to bottom: the name, the price as the largest thing in the box, the period, a short description, and the action. The boxes are identical; the marked one carries a round stamp overshooting its top corner.
• Phone: the boxes stack in order, each full width.

Fits: two or three priced offers, each with a name, a price, a period and a description; the direction hard-edged or loud.

Not fit: offers without a price; more than three; the direction soft.