Picture

Picture

• One focus. The sheet is figure. Chrome is ground. Size, then position, then weight. Color last. If two things shout, neither is read. A board is not a poster. A reel is not a board.
• The inverted L is the composition. Sidebar, location, view, sheet. Do not break it with a second header, a hero, or a card grid. Tight inside a group. Generous between groups. F-pattern on a list. Street first. How a screen is composed.
• Video uses the rule of thirds. Showcase and product film only. One object, named. Subject on an intersection. Horizon on a third. Lead room in the direction of the face or the move. A little headroom. Match the line across a cut so the object does not jump. Caption in the empty third, never larger than the product. Center is legal when the object is the poster — name it. 16:9 and 9:16. Safe area is the middle 80%. A dispatch board does not get a thirds overlay. Frame.
• One idea per scene. Showcase discloses one level at a time. A viewport has one idea, one subject, one headline. Isolation is the hierarchy: scale, space, contrast, position, type, photography. Not six benefits in a card grid. Intent sets the mode. Homepage is a router of storefront windows. A family page explores. A product page is a film. Pricing is a store: dense, money, start. A workbench is none of these. D-022. Chapters.
• Desire, then proof, then price. Reveal in order: what it is, why it matters, how it looks and feels, how it performs in the shop, evidence, configuration and start. Do not dump the spec in the hero. Do not hide the commercial model behind a film. Apple can lean on recognition. A contractor evaluating software cannot. Emotion first. Proof second. Purchase last, and findable.
• Scroll is a timeline. The visitor owns it. On a Film page, a sequence may move with the wheel, pause, and reverse. The browser still owns the scroll. Do not pin the page and fake a reel. Motion must explain a join, a before/after, a config, a dimension. One subject. One or two properties. Headings that drift and cards that float are costume. Reduced-motion stills of the same crop always exist. The film is never the only explanation.
• Establish, then crop. The whole object first. Extreme crop second. A camera, an edge, a material landscape is new only after they have seen the board, the phone, or the truck. Recompose on a phone; do not shrink the desktop hero. Copy is HTML in a third, not painted into the picture. The product supplies color in the shot. The chrome stays grey.
• Mostly product. Some proof. A little cinema. About 60–70% calm product, 20–30% evidence, 10–15% cinema. One or two sequences on a homepage. Breadth is a structured grid, not another film. Every cinematic beat shows how Thorbis connects, simplifies, or accelerates the shop. Do not add movement so the site resembles Apple.