Print & OOH Advertising.

Print and out-of-home covers every piece of brand communication that exists as a physical object — a billboard, a brochure, a menu, a vehicle wrap, an exhibition stand. It is unforgiving in a way digital is not: once ten thousand copies are printed, a mistake is a reprint, not an edit.

Seventy-six pieces sit above across seven formats: brochures and company profiles (22), flyers and menus (11), calendars and gifting (10), billboards and outdoor (10), stationery and identity (10), standees and displays (7) and vehicle branding (6). Clients include Jazaa, Noori and The Sketches.

What we produce

• Out-of-home — billboards and hoardings, designed for the distance and speed they are read at
• Company profiles and brochures — the document that gets left behind after a meeting
• Menus and flyers — high-turnover pieces built to be reprinted cheaply as prices change
• Stationery and identity collateral — letterheads, cards, folders, signage
• Exhibition standees and displays — for trade shows and in-store activation
• Vehicle branding — wraps and livery, drawn to the panel lines of the actual vehicle

A billboard is not a big poster

Outdoor is read in about three seconds, often at speed and at an angle. That means one idea, type set far larger than feels comfortable in a layout, and contrast that survives dusk and glare. We design outdoor at final viewing distance rather than zoomed in on a monitor — the most common reason a hoarding underperforms is that it was approved at 100% on a screen.

Print production, not just print design

We supply artwork with correct bleeds, separations and colour profiles, specified for the substrate and press it will run on. Where a job runs across both markets, we account for the fact that a Dubai printer and a Karachi printer will not hit identical colour from identical files.

How a print or outdoor job runs

Print has no undo. The sequence below exists to move every decision that is expensive to reverse as early as possible.

1. Format and specification — final trim size, quantity, stock, finish and the printer's template, confirmed in writing
2. Viewing distance — establish how far away and how fast the piece is read, because that sets minimum type size before layout begins
3. Copy lock — sign off the words before design; late copy changes are what break a grid
4. Design and proof at size — review printed at final size, or at true scale on screen, never zoomed to fit
5. Pre-flight — bleed, safe area, image resolution, fonts outlined, colour profile matched to the press
6. Proof and sign-off — a hard proof for anything colour-critical, a PDF proof for everything else
7. Delivery and archive — press-ready files plus editable masters, so the next reprint does not start over

Format, distance and minimum type

Nearly every underperforming print piece fails for the same reason: it was designed at the wrong size on a screen. These are the working rules we set type against.

What determines the scope of a job

Print is quoted on page count and origination rather than on the finished object. The variables that matter are how many unique pages or faces there are, whether the piece is one size or a family of sizes, how much of the imagery has to be created versus supplied, the number of languages, and whether artwork must be produced against several different printers' specifications. A twelve-page profile in one language is straightforward; the same profile in three languages across two markets is a different job entirely.

Why the same file prints differently in Dubai and Karachi

Identical artwork does not produce identical results on two presses. Ink sets, paper whiteness, humidity and calibration all differ, and uncoated stock exaggerates every one of them. Where a brand produces in both markets we build colour with the wider tolerance in mind, avoid critical brand colours that sit at the edge of CMYK reach, and specify a spot colour when a brand mark genuinely cannot drift. It costs a little more per run and removes the argument about whether the red is right.