DesignFix Design Studio
Marketing and promotional design
Marketing design is judged in about a second, usually at a size the designer never looked at, next to things competing for the same glance. What works is rarely the most detailed version — it's the one that survives being small, fast and surrounded.
What this covers
What we work on in marketing & promo
Advertisements
Print and digital ads built to the sizes and specifications the placement actually requires.
Social media graphics
Posts, stories and covers set up per platform, so nothing important sits where the interface crops it.
Event and display graphics
Banners, pull-ups, stand graphics, signage and posters, designed for the distance they'll be read from.
Promotional campaigns
A set of pieces that hold together across different sizes and places without being redrawn each time.
Projects that fit here
Examples of the kind of thing people send us. If yours isn’t on the list, describe it anyway.
- One announcement adapted into every size a campaign needs
- A pull-up banner where the key message sits above the heads of a standing crowd
- Social graphics that stay legible as thumbnails
- An advert resized to a publication's specification without the layout breaking
- Seasonal promotional artwork consistent with an existing brand
- Event signage that can be read from across a room
Who this tends to be for
Businesses running a promotion
When one idea has to appear in six places at six different shapes.
Event organisers and exhibitors
Stand graphics, signage and printed material, usually against a fixed date.
Anyone whose designs stop working when resized
A layout built for one shape rarely survives being squeezed into another without being rethought.
Why resizing a design is not the same as redesigning it
The most common marketing design problem isn't the design — it's what happens when it has to exist somewhere else. A layout built for a wide banner, squashed into a square post, puts the headline over a face and pushes the call to action off the edge. Stretching it is worse.
Composition doesn't scale. A design that works wide has its weight arranged horizontally, and the version that works tall usually has to rearrange those elements rather than shrink them. Doing that well means deciding what matters most in each format and letting the rest give way, which is a design decision rather than a mechanical one.
Viewing distance changes things too. A banner read from ten metres needs far fewer words and much larger type than one read at arm's length, and a graphic that will mostly be seen as a thumbnail has room for one idea, not three.
So when a campaign needs to run in several places, it's usually worth treating those as related designs rather than one design at several sizes. Tell us where it's going and we'll work out what that actually requires.
How it works
From a sentence to a finished design
- Step 1
Tell us what you need
One or two sentences is enough to start. You don't have to know what the work is called or which category it belongs in.
- Step 2
We discuss the project
We ask what we need to know — where it will be used, what size, what it has to work on — and tell you honestly what is and isn't possible.
- Step 3
Share files or references
Send the artwork you already have, a photo, a sketch, or examples of the look you're after. Files go straight into private storage.
- Step 4
You get a custom offer
A written scope and a fixed price for your project specifically. Nothing is charged and nothing is started until you accept it.
- Step 5
Approve and pay
Accepting the offer creates the order and takes you to payment. Decline it or ignore it and nothing happens.
- Step 6
We complete the design
The work runs through the same production and delivery process as every other DesignFix order, with revisions included in the scope.
What to send us
You don't need to know what to ask for
None of this is required, and a single sentence is enough to start. It's simply what tends to be useful, so a first message doesn't turn into three.
Whatever artwork you have
The file itself, however rough — an export, a screenshot, a photo of something printed, or the version a supplier rejected.
A reference or a sketch
Something you like the look of, a rough drawing, or an existing design you want the new work to sit alongside.
Where it's going
The product, the size, and the process if you know it. Print, garment, screen or sign changes what the artwork has to be.
Any specification you were given
A printer's requirements, a supplier's template, or the rejection message you received — that usually says exactly what needs fixing.
Colours and brand material
Existing brand colours, fonts or guidelines, so new work matches what you already have.
What you want changed
A sentence is enough. "Make this printable", "this needs to work on a dark shirt", "I want something like this but ours".
Questions
Common questions
Tell us what you need
Describe the project in a sentence or two. We’ll ask what we need to know, then send a written scope and a fixed price before anything is charged.