Campaign creative
Concept, key visual and the adaptations that follow, art-directed as one set.
A working studio rather than a presentation studio - concept, art direction, artwork and photography, with the press downstairs to prove it.
Plenty of studios can produce a handsome layout. Far fewer will produce a file that goes to press without an argument - correct bleed, resolved images at final size, fonts outlined, statutory panels intact, die-lines on their own layer, and colour built in the space the job will actually be printed in.
That gap is where most print problems start, and it is invisible until the sheets come off the press. Because our artwork goes to our own press, there is nowhere for it to hide: a file that is wrong comes straight back to the person who made it.
It is an unglamorous discipline and it is most of why repeat clients stay.
Campaign creative and key visuals. Packaging and label design, including regulated categories where the layout has to work around fixed content. Catalogues and company profiles, which are the hardest print jobs to do well because they are long, structured and full of other people's content. Point-of-sale and dealer material. Presentations, reports and stationery.
Plus product photography and packshots, shot here, so a catalogue, a leaflet and a dangler all use the same image rather than three versions of it at three different colour temperatures.
The studio also does the unglamorous middle work: retouching, versioning across languages and sizes, and keeping an artwork family consistent over years of small changes.
Most of our clients have their own marketing people. The studio is used as capacity and as a production backbone rather than as a replacement - concepts sometimes come from us, sometimes from them, and the artwork, versioning and production always run through here.
That works because the handover is clean: files, guidelines and source artwork belong to the client and are handed over on request. Nothing is held to protect the reprint.
It also means we are comfortable working inside an existing brand book rather than pushing to redesign everything first.
Concept, key visual and the adaptations that follow, art-directed as one set.
Pack ranges and regulated labels designed around fixed statutory content.
Long, structured documents built to be navigated rather than waded through.
Packshots and product photography in-house, so every piece uses one image set.
Print-ready files: bleed, resolution, outlined type, die-lines and correct colour build.
The same artwork family across languages, sizes and regions, kept consistent over time.
What it is for, who reads it, and what already exists - including a physical sample of the last version.
Presented with reasoning, not as a menu of three options to pick from.
Print-ready artwork, digital proof, and a dummy for anything folded or die-cut.
Straight onto our press, or handed over as files if you are printing elsewhere.
Yes. You get print-ready files and the working artwork. We would rather do the job properly than only design what we print.
Yes, in-house - packshots and product photography, so a whole campaign shares one image set.
Yes, and most of our work is exactly that.
Print-ready PDF is ideal - CMYK, fonts outlined or embedded, 3 mm bleed, 300 dpi at final size. CorelDRAW and Illustrator files are fine too.
Creative work is quoted as a scope before it starts. What that includes is written down rather than assumed on either side.
No minimum on design and creative. Printing is bulk and wholesale only.
Bulk quotes come back within 24 working hours, priced for your run and the next slab up. Campaign briefs get a call first.