Graphic design services: posters, logos, covers and campaigns

Questions

How to brief a poster, logo or campaign

A good brief saves a round of changes. Before the first sketch, the studio asks for the following. You do not need all of it at once, but the more that arrives at the start, the closer the first concepts will be.

• What the design must do: sell tickets, launch a product, announce an event, or make a channel recognisable at a glance.
• Where it will appear: a hoarding, a cinema lobby, a phone screen, a book cover, a brochure or all of them. Each place changes how big the title must be and how much detail survives.
• The text that must be on it: title, tagline, credits, dates, address, logos of partners. For film posters, the billing block (the credits at the foot of the poster) should be checked and approved before it is placed.
• The images you have: film stills at full resolution, product photos, existing logos and fonts, and any brand guidelines.
• References: two or three designs you like and one you do not. A clear dislike is as useful as a like.
• The deadline and the printer: when it must be live or printed, and who is printing it, so sizes and colour settings match from the start.

The files you receive

Every design is delivered ready for the place it will be used. The exact list is set out in the quote; a typical delivery includes:

• Print-ready files, in CMYK with bleed and crop marks at the size your printer needs, for posters, brochures, hoardings and stationery.
• Web and social files in RGB, sized for each platform: feed posts, stories, channel art, thumbnails and website banners.
• Logo files in vector form for any size, plus colour, single-colour and reversed versions, so the logo works on light and dark backgrounds.
• Source files on request, with the usage rights agreed in writing.
• Motion versions where ordered: an animated logo sting, a moving poster or titles, made by the same studio that makes the trailers and teasers.

A film poster, step by step

Poster design for a film starts with the story, not the layout. The studio watches the film or reads the script, then looks for the one image that holds its feeling: a face, a place, a moment of tension.

• Key art: the central image, from a film still, a photo shoot, an illustration or a composite built for the poster.
• Title design: lettering made for the film, tested at the size of a phone thumbnail and of a hoarding.
• Layout: title, tagline, release line and the billing block arranged so the eye moves in the right order.
• Versions: the one-sheet, a landscape banner, social squares and stories, and a thumbnail for the trailer.

The same key art then carries into the trailer titles and the release posts, so the film has one face everywhere. See the films it was made for on the films page.

Common design mistakes, and how they are avoided

• Too much text. A poster is read in seconds. One title, one image and one line say more than a paragraph.
• Low-resolution images. A frame grab that looks sharp on a laptop can blur on a hoarding. Full-resolution stills or a new key art image are planned at the brief.
• Testing a logo only at large size. Every logo is checked as a small social icon and in a single colour before it is approved.
• Printing without a proof. Colours on screen and on paper differ, so a printed proof is recommended for any large print run.
• Designing each piece separately. In a campaign, the poster, the hoarding, the brochure and the campaign film share one idea, so the brand looks like one brand everywhere.

Tools, and where AI fits

Layouts, retouching and print files are made in Adobe Photoshop and standard design tools. AI image tools such as Nano Banana 2.1 help explore early concepts and key art quickly. Every chosen direction is then refined, retouched and finished by hand. The designer sets the type, layout and colour. See finished design and poster work across the portfolio, or start a design project.

Design terms you will meet

A few words come up in every design brief, proof and print order. In plain terms:

• Key visual: the main image of a campaign, repeated across the poster, the hoarding, the brochure and the social posts.
• Raster and vector: a raster image is made of pixels and blurs when enlarged; a vector file is built from shapes and stays sharp at any size. That is why logos are drawn as vectors.
• Resolution: how much detail an image holds. Print needs far more than a screen, so each picture is checked at the size it will finally be printed.
• Safe area: the part of a design kept clear of trimming, cropping and platform buttons, where titles and logos sit.
• Spot colour: a single mixed ink matched by number, used when a logo colour must be identical on every print run.
• Mock-up: a preview of the design on a hoarding, a book or a phone, so you can judge it in place.
• Typeface and font: the typeface is the design of the letters; a font is one weight or style of it.

Feedback, rounds and sign-off

The number of rounds of changes is written in the quote. To get the most from each round:

• Send one set of notes. When a marketing team, a director and a producer all review, one person gathers the comments into a single list.
• Say what is wrong, not only what to change. “The title is hard to read from across the road” leads to a better fix than “make it red”.
• Check the words early. Names, dates, credits and phone numbers are approved as text before they are laid out.
• Sign off in writing. The final approval names the exact version, so the files that go to print are the ones you approved.

Design that everyone can read

Good design is legible to the widest audience. Text is set with strong contrast against its background, never as thin, light type over a busy picture. Key information is never carried by colour alone, so it still reads for people with colour blindness. On a brochure, a business card or a letterhead, small text is kept to a readable size.

When a design carries more than one language, such as English with Assamese or Hindi, each script sets at a different width and height. Layouts for multilingual posters, invitations and brochures are planned with room for every script from the first sketch.

The same rules carry into motion: titles, lower thirds and animated logo stings are finished in the studio’s post-production team. A brand then reads clearly on paper and on screen.

Questions about graphic design services

What kinds of design work do you offer?

Movie posters, logos and animated logos, book covers, brochures, magazines, hoardings, social media designs, YouTube thumbnails, titles and trailers.

How many rounds of changes are included?

The rounds of changes are set out in the quote before work starts, usually with two or three rounds per design.

Do you print?

You receive print-ready files with the correct sizes and bleeds for your printer.

Do I get the source files?

Yes, on request, with the rights to use the design as agreed in writing.

Are you a graphic designer in Guwahati?

Yes. Graphic design, poster design and logo design are made at the studio in Six Mile, Guwahati, for businesses in Guwahati, across Assam and India, and for clients abroad. Briefs and approvals are handled online.