How it looks:

• Desktop: a dark flat band. Centred in the upper half, a statement in small tracked caps, and under it a paragraph on a narrower measure, also centred — the credentials in prose: where the person has worked and for how long, no list, no dates, no reviews. The lower half holds three photos plated straight on the ground in a row, centred on the same axis: the middle one taller and starting higher, the two outer ones smaller and level with each other, so the row reads as a step up and down. All three overshoot the band's foot and land on the next band, straddling the seam. The largest thing is the middle photo; the type stays small.
• Phone: the statement and the paragraph stay centred and grow to the screen's width; the three photos stay in one row, smaller, the middle still higher, still straddling the seam.

Fits: three environment or detail rows from one shoot, one of them tall column for the middle; credentials that read as a sentence or two — settings, years — on a page with no reviews to show; a dark ground the next band contrasts with; the direction warm, quiet or photographic.

Not fit: a page with reviews to show; fewer than three photos, or photos from different shoots; a next band on the same ground, so the overshoot vanishes; the direction typographic or hard-edged.

How it looks:

• Desktop: the band takes the ink as its ground, flat, and reads as three columns. In the left third, ranged left at the page's gutter, a small caps eyebrow and two paragraphs of origin story. To their right, a column of photos, one per year, all cropped to the same landscape rectangle, plated on the ground with even gaps. Beside each photo, the year small and bold on the photo's top edge, and at its bottom edge four one-line statements in a short bulleted list — a fact each, no quotation marks, no names. Newest year first; the rows are one height, and row to row only the photo and the four lines change.
• Phone: the intro first, then the years; the photos alternate flush left and flush right down the page, each year's label and four lines under its photo.

Fits: a proof beat with no review ids, built from what the pack carries — years, credentials, named settings, method — as one-line statements grouped under a date or a heading; one environment or candid row per group that can take a landscape crop; a short origin story; the direction editorial, quiet or dense; a light ground above and below, so the dark band reads as a chapter.

Not fit: a beat that carries reviews; fewer than three groups of facts to date; no photos to pair with them; a page already dark, or a beat above ending dark; the direction bright or loud.

How it looks:

• Desktop: a room photo fills the band edge to edge under a dark scrim, its subject small and off centre. Depth in two layers: the photo; and centred on it a column of one review: the reviewer's face in a small circle at the top, then the pull line at display scale on two lines, then the rest of the quote at body scale on a narrow measure, then the reviewer's name and role in small tracked caps. Previous and next are two thin arrows at the far left and far right, midway down the band. One review shows at a time. The largest thing is the pull line; the face is the first thing read.
• Phone: the photo fills the screen height under the scrim; the face, the pull line, the quote and the name stack centred and smaller; the arrows sit under the name.

Fits: an environment row whose can says full-bleed 1440, its subject small or far from the centre; a photo of each reviewer that can be cut to a circle; three or more reviews each with a short line to pull and a longer body, a name and a role; the direction photographic, warm or loud.

Not fit: reviews without a photo of the reviewer; one review; a quote with no line short enough to pull; the direction quiet, empty or typographic.

How it looks:

• Desktop: a flat band on a light ground, in two parts. The heading in caps, the largest type in the band, sits at the top of the left half on two lines, right-aligned within itself; the right half of the top is empty. Under it a strip of the clients' photos runs across the full width — each the same height and close to square, plated flush against its neighbours with no gutter and no names, running off the left edge and the right edge as if more continue beyond, and they do: the strip slides. Below the strip, on the same ground, the names: a short heading with a rule under it and the names in two columns of small caps, right-aligned in the right half, the left half left empty. The faces are the proof; the names are the index to them.
• Phone: the heading, then the strip slides sideways with two faces on screen, still edge to edge; the names as one column.

Fits: five or more photo rows whose captions name a client or a person the brand has worked with, in any tone — they need not match; a list of names to go with them; the direction loud, photographic or dense.

Not fit: fewer than five faces; clients the brand cannot show; the direction quiet or minimal.

How it looks:

• Desktop: a short flat band on the page ground. The marks sit in two centred rows, each at its own size and in its own colours, with even gaps; the second row shorter and centred under the first. The eyebrow is not a heading above the rows but the first item of the first row — a few words at the row's left end, on the same axis as the marks. Nothing else in the band. Where the page also has a roster of names, they come as two columns of small caps under a short two-line heading with a rule beneath it, right-aligned in the right half of a band of their own, the left half empty — beside the marks if the band is tall, beneath them otherwise.
• Phone: the marks rewrap to three or four per row, still centred; the eyebrow becomes a line above them; the names become one column.

Fits: four or more mark rows (press, client or accreditation) that read at native size on the page ground; an eyebrow of two or three words; a list of names, if the page has one; the direction classic, dense or contemporary.

Not fit: fewer than four marks; marks that need a plate to read on the ground; the direction quiet or minimal, where a logo row is noise.

How it looks:

• Desktop: a flat band on a ground the about band shares — nothing opens it, no heading, no rule; it begins where the story's button ends. One testimonial only, centred: an opening-quote mark alone at the top, large enough to read as an object; the quote as three centred lines at display scale, close to the largest type on the page and set in the accent, one word in it italic; under it the attribution on one small italic line, a name and a described role, no photo, no stars. The measure runs across the middle three-fifths of the band with empty ground either side, and the ground runs on below until the next band changes colour. The quote is the loudest sentence on the page, and it is not the owner's.
• Phone: the mark, the quote and the attribution centred at full width; the quote on more lines, the attribution on two.

Fits: one testimonial short enough for three lines at display scale, from a person whose name and role carry weight; an accent that reads at display size on the page ground; the direction warm, typographic, loud or classic.

Not fit: a quote longer than a few lines; several quotes that want counting; no accent that holds at display size; the direction quiet or minimal.

How it looks:

• Desktop: a tall flat band on the page ground, split: the left half a pile of photographs, the right half the quotes. The pile is one column of overlapping plated prints running the whole height of the band — prints of different sizes, some in colour and some in grey, each laid partly over the one before like snapshots dropped on a table, none touching the viewport edge, none turned. At intervals a larger colour print of the person quoted lies in front, with nothing over it. The right half is the quotes, one beside each front print: the quote at a size between body and display on several lines, the name in small tracked caps, the role in body — no rule, no card, no stars, no marks. The pile carries on between quotes, so the left is never empty while the right rests. The largest things are the front prints; the largest type is the quote.
• Phone: the pile goes; each quote stands under its speaker's photo at full width, in a plain stack.

Fits: three or more testimonials with a name, a role and the speaker's own photo; a further six or more rows of portrait, environment or detail in any tone — the pile is where the mismatched, small and grey ones go; the direction photographic, warm, dense or classic.

Not fit: fewer than three quotes; quotes without a photo of the speaker; fewer than six spare rows for the pile; the direction quiet, empty or minimal.

How it looks:

• Desktop: flat, on the page ground, in halves; a small label at the top left. In the left half, a collage: a sheet of paper — ruled or squared, like a page from a notebook — plated on the ground, and a photo print laid over it at a slight tilt, covering the sheet's lower-left so both show; neither touches an edge. In the right half, a label, then one quote set in caps at a size above the body, then the name and the role on two small lines; a single text control at the right edge advances to the next quote. One quote shows at a time; the collage stays. No portrait of the client, no marks, no stars. The largest thing is the collage; the quote is the largest type.
• Phone: the collage first at full width, then the label, the quote, the attribution and the control.

Fits: two or more reviews of a paragraph each with a name and a role; one detail or environment row that reads small — a hand, a fabric, a corner — not a face; the direction quiet, warm, soft or classic.

Not fit: one review; reviews that want to be counted; no photo that reads small; the direction hard-edged or loud.

How it looks:

• Desktop: a photo of the person at work fills the band edge to edge under a dark scrim, its subject off centre and mostly lost behind the words. Depth in two layers: the photo; and, centred on it, one review in the ground colour at display scale — three lines, an open-quote mark alone above the first line, and under the last line the reviewer's name small and their role smaller. One review is shown at a time; previous and next are two small labels turned on their side at the far left and far right edges, midway down the band, so nothing but the quote sits in the middle.
• Phone: the photo fills the screen height under the scrim, the quote smaller but still centred; previous and next become a row under the attribution.

Fits: an environment row whose can says full-bleed 1440, its subject dark enough or far enough from the centre to sit under the scrim; three or more reviews of two or three lines each, with a name and a role; the direction photographic, loud or warm.

Not fit: no full-bleed row; one review; reviews longer than three lines at display scale; the direction quiet or minimal.

How it looks:

• Desktop: a flat band on the page ground, opened by the band's heading top-left and one large sentence to the right of it. A hairline crosses the full width, and under it the proof: a subheading, then one testimonial only, set on the page's centre axis and running to the right margin. The testimonial is built like a short article — a title in quote marks on one line, taken from the quote's own words; a dashed rule under it the width of the column; the quote as one paragraph; then the attribution in small caps, a first name and a described role rather than an employer. No photo, no avatar, no stars, no mark; the empty ground around the one quote is the point.
• Phone: stacks in reading order at full width; the dashed rule keeps its place under the title.

Fits: one testimonial strong enough to stand alone, with a phrase in it that can be its title; a person whose clients are cited by role, not by name and employer; the direction quiet, empty or typographic.

Not fit: several short quotes the page wants counted; a quote with no line worth a title; the direction dense or loud.

How it looks:

• Desktop: the band takes the ink as its ground, flat, in three columns. In the left third a small caps eyebrow and the origin story in four short paragraphs. To its right a column of photographs, one per review, every one cropped to the same landscape rectangle and plated with even gaps, and not one of them is a face: sky, canopy, water, woods, as if each client had sent a picture of where they were. Beside each photo, the reviewer's name small and bold on the photo's top edge, and the quote in a tint of the ink, its last line toward the photo's foot. Rows are one height; only the picture, the name and the words change.
• Phone: the story first; then each review as its photo with the name and the quote beneath, the photos alternating flush left and flush right down the page.

Fits: three or more reviews with a name each; a photo per review that is not the speaker — environment or detail rows in any tone, or pictures the clients supplied, that take a landscape crop; a short origin story; a light ground above and below, so the dark band reads as a chapter; the direction editorial, quiet or dense.

Not fit: reviews that come with the speaker's photo, which this would hide; fewer than three; no photos to pair with them; a beat above ending dark; the direction bright or loud.

How it looks:

• Desktop: a flat band on the page ground holding three reviews side by side in three equal columns with even gutters, and nothing else — no heading, no photo, no marks. Each column is built the same way: a hairline across its top, the review beneath it at body size, ranged left and set to the column's width, then a second hairline, and the attribution — the name and the place — small under it. The three columns start on one line and the first hairlines run at one height, so the band reads as one ruled table with three cells; only the length of the review differs cell to cell, so the second hairlines and the columns' ends sit at different depths.
• Phone: the three columns stack in reading order, each keeping its two hairlines, so the band becomes a ruled list of three.

Fits: three reviews of similar length, each with a name and a place; no photo and no marks needed; the direction hard-edged, contemporary or typographic.

Not fit: one review, or reviews that differ greatly in length; a beat whose proof is marks or credentials rather than words; the direction soft or photographic.