Graphic Design and Print Material in Kocaeli

The product catalogue is the document that sells

When a manufacturer's customer is another business, the buying decision is frequently made over a catalogue rather than a conversation. In that document the specification table matters as much as the photograph: dimensions, capacity, material, standard, certification. Set those out badly and you have produced something attractive that cannot be used.

So catalogue work starts with structure rather than layout. Which product group comes in what order, how table columns align, how units are shown, where the product code sits, what a buyer needs to see before they can request a quote. Page design follows those decisions. The technical data comes from you, because nobody knows your products better and we do not invent specifications.

We also build the structure so that adding a product later does not mean rebuilding the document. Once the page templates and styles are defined, an addition becomes data entry rather than a layout project, which is the difference between a catalogue that stays current and one that quietly goes out of date.

Exhibition material is a calendar problem

Fair graphics are tested less by taste than by the delivery date. The stand panels, the roll-ups, the catalogue and the cards have to reach the printer weeks before the doors open, and for a fair abroad you add shipping and customs to that. It is a countdown, and a missed step cannot be recovered.

For that reason we write the print schedule before the design work: which item must be approved on which day, how long the printer needs, how many days the shipment takes. Design rounds are then fitted inside that schedule rather than the other way around. If the scope grows late, we tell you plainly which item is now at risk instead of quietly hoping.

Large format brings its own constraint. An image that looks fine on a monitor can fall apart at two metres wide, so we check early which photographs can be used at which size. Discovering that limit at the printer is an expensive way to learn it.

A file for print is not a file for screen

The problem companies hit most often is taking a file to a printer and being told it cannot be used. The reason is nearly always the same: the file was prepared for a screen. Screen artwork lives in RGB at modest resolution, while print needs the right colour space, bleed and resolution.

We prepare print work with that separation in mind: bleed included, colour set up for printing, type either converted to outlines or fonts embedded. The result is a file you can hand to any printer without paying a preparation fee to have it fixed.

Source files come to you as well. That matters for the day you want to work with someone else, or simply update a page in-house. A delivered file should be an asset you own, not a way of keeping you dependent on the studio that made it.

We also tell you in writing which fonts and images were used and under what licence, so that a question about usage rights years from now has a documented answer.

Your team should be able to make its own social posts

Going back to a designer for every social media post is impractical, and the cost of it compounds quietly. For companies posting regularly we prepare editable templates instead of individual artwork: announcements, product introductions, recruitment posts and the other formats that repeat.

With the templates comes a short usage note covering what can be changed, how small the logo may go, and which colour combinations are on-brand. The aim is a team that can produce its own material without gradually pulling the brand apart.

Campaign work sits outside this. A campaign has one purpose and one moment, and it is designed for that rather than assembled from a template.