Banner & Hoarding Design
Seven words, read at sixty kilometres an hour.
- 2–4 working days for most single pieces
Outdoor advertising has the harshest constraints in design. Your audience is moving, distracted, and gives you a couple of seconds at most. Anything that works as a poster usually fails as a hoarding.
We design for that reality: one idea, very few words, contrast that survives daylight and dusk, and brand recognition that registers before the copy is read.
Artwork is supplied at correct scale with the resolution large-format printing requires, which is a common failure point when files designed for screen are sent to a flex printer.
Work we have delivered
Pieces we produced for real clients. Never stock, never a template.
What's included
- Design for actual viewing distance and speed
- High-contrast layout that works day and night
- Full-scale artwork at print resolution
- Adaptation across hoarding, banner and pole-kiosk sizes
- Safe-area allowance for mounting and folds
- Editable source files
How we work
- 01 Brief What it is for, who sees it, and what it must make them do.
- 02 Concepts Usually two distinct directions rather than variations of one idea.
- 03 Refine The chosen direction developed fully, with two revision rounds included.
- 04 Deliver Print-ready and web exports, plus editable source files that are yours.
What you receive
- Scaled print-ready artwork
- Size adaptations
- Mock-up in situ
- Editable source files
Questions people ask
How many words should a hoarding have?
Seven or fewer for roadside placement. If the audience is stationary — a station or a mall — you can carry a little more.
What resolution do large formats need?
Large format prints at much lower DPI than paper because of viewing distance, but the file must be built at correct scale. We handle that setup.
Can you show it in place before printing?
Yes, we mock it up on a photograph of the actual site. It regularly changes decisions about text size.
How a mark is made
Nobody draws a logo freehand.
It is built on a grid, so the spacing between the A and the N is the same relationship as the spacing between the T and the E. That is the difference between a mark that looks right at any size and one that only looks right at the size it was drawn.
Then it gets tested — weights, widths, spacing, and what survives when you take the colour away.
Redesigns
The mark on the left is what walked in the door.
A rebrand is not a fresh start. The job is to keep whatever recognition the old mark earned and throw away the rest.
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USHA Paints
The old mark had two competing weights and no shape of its own. The redesign keeps the equity in the name and gives it a container that survives being stencilled on a tin.
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Creative Concepts
A typed superscript replaced with a drawn monogram — the same two letters, but now something that can be embroidered, embossed and read at 12mm.
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SHEEN to Twani
A full rename, in two moves. The leaf that was decoration in the middle version becomes the stem of the t in the final one.
One brand, sixteen answers
You see one logo. There were fifteen others.
Presenting a single option is a way of hiding the work. Every route below was drawn properly, set on four different grounds, and shown side by side — because the only way to know a mark is right is to see what it beat.
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Four families, sixteen routes -
Each one tested on four grounds -
The chosen mark, specified in Pantone
The wall
Marks we have drawn or rebuilt.
27 of them
