Mode Persuade

When a catalog world’s source is itself an interface language, the surface may carry its native grammar across navigation, content, controls, and states, within the platform conventions a native app keeps.

For Persuade, the opening must make the offer intelligible and desirable, expose a clear action, and demonstrate something only this product can prove. The action is the one the category’s visitors came to take, in its working form: an airline’s route-and-dates search, a clinic’s open appointment slots, a store’s add to cart. A decorative link pointing at it elsewhere does not count. Conversion lives inside the form’s own vocabulary: a hook that lands in one line, a visible primary action, a legible reading order. A committed form that hides the offer or the action has not finished translating. For Experience, the work itself leads from the first viewport.

Comps

The world may be the carrier of the page, never a picture of it: a facade, a shutter or a book can be what the page is built on, while a viewport painted whole as a facade, a book cover or a travel poster, with no working parts in it, is a picture of the world, not its website. Material coverage is wanted: the world’s material is the ground and the major surfaces, its type sets the headlines, and a world reduced to an accent on a neutral template is the category default with a sticker on it. Coverage is not performance: how many regions act out the concept is limited by the depth rule in visualize.md, and the rest stay in the world’s material without performing it. Both ends erase the direction: the painted poster, and the generic product page (a headline over subcopy and a button, a row of equal cards below). The dealt composition sets the skeleton, and the compositions you write for comps two and three answer to the same test: a split hero (copy on one side, the product on the other, a badge row under it) or a centred headline over a row of cards is the template whatever world paints it.

The world carries the page’s parts and never absorbs them, so wherever it puts one, the page still works as a page: navigation set into a facade reads as links, copy on a shutter as set text a visitor reads, an action on a door plaque as plainly clickable, text reads against whatever sits behind it, the sections keep a steady vertical rhythm, the primary action is unmistakable, and the section below starts as a section rather than more painting. Fix a poster by making its parts work where the world put them, never by moving them into a standard layout on the world’s colour: a cover that becomes copy beside a device on marigold has lost the cover.

When the world is an object, the page is that one object seen once, at one scale and from one point of view, and the object keeps its real form: a book opens to two pages on one gutter, never a third panel, and a spine that carries the navigation belongs to the book on the page, never a second book beside it. More content goes on the object’s own surfaces or on the next spread below, never on extra copies or impossible folds.

Comps two and three each go further than the first, never cleaner: a bolder use of the same world, where the world’s material carries more of the page’s structure (still one dominant move, per the depth rule), a larger or stranger focal move, or a composition the category would not attempt.