Campaign and ad sets, every size
One concept built out across every placement: aspect ratios, safe areas, static and animated versions, numbered variants for testing, and editable source handed over rather than flattened exports.
Fractional Teammates · Creative & Content
A graphic designer inside your marketing team, part-time
Ads, decks, print, packaging, and the templates that stop your team redrawing them. A senior designer from the OlDevs studio works a set number of days each week in your Figma, your Canva and your approval chain.
A senior specialist, not a junior placement You own the work and the accounts Reply within one business day
Creative testing - week 6
Shippingweekly1:1V1
Hook: speed
4:5V2
Hook: price
9:16V3
Hook: story
1:1V4
Winner
16:9V5
Hook: demo
4:5V6
Hook: local
Spend routed to the winning hook
62%
-38%
Cost per result
6
Concepts live
4.1x
Hook rate lift
What a graphic designer is
OlDevs places a fractional graphic designer inside your organisation for a defined slice of a senior designer's week.The role absorbs the visual work a busy brand generates: paid and organic ad sets, campaign artwork, sales and board decks, brochures, packaging, signage and trade-show graphics, plus locked templates your own team can run without a designer in the loop. They hold the brand system, so colour, type, spacing and logo use stay consistent from a print proof to a feed post. They work in your Figma, Canva and Drive, join your standups, and every source file stays in accounts you own.
Key facts
- 01Engagement
- Ongoing, defined days each week
- 02Group
- Creative & Content
- 03Works in
- Your Figma, Canva, Drive and project board
- 04Ownership
- Files, fonts, stock and accounts stay yours
- 05Typical commitment
- Half to 1 day a week
- 06Judged on
- Turnaround time · Requests cleared per week · Template reuse
Creative & Content
What lands on the designer's desk
What this teammate takes off your plate
Decks that survive the room
Sales, board, investor and conference decks rebuilt on a proper master, with charts, diagrams and photography treated the same way each time, plus a template your team extends without help.
Print, packaging and signage run to spec
Brochures, one-pagers, catalogue pages, direct mail, cartons, wayfinding, vehicle wraps and booth graphics, built to the printer's specification with bleed, colour profile and a proof somebody actually checks.
Templates non-designers cannot break
Locked, documented files in Canva, Google Slides, Office or Figma so sales and marketing produce their own material daily without pulling type, colour or logo rules out of shape.
Guardianship of the identity you already have
Colour and type scales, logo clear space, photography and illustration direction, and a short usage guide that settles the recurring arguments about what the brand does and does not allow.
Legible in print and on screen
Contrast checked to WCAG 2.2 AA on anything digital, type sized for the distance it is actually read at in print and signage, and layered source files named so the next person can open them.
Benefits
What a steady hand does to your artwork
01
Everyday artwork gets an experienced hand
The person laying out next month's flyer has run identity programmes, stood at press checks and handled campaign-scale rollouts. Few marketing teams generate enough of that work to fill a week, so the seat is rarely opened.
02
You keep editable sources, not exports
Layered artwork, fonts, stock licences and supplier files sit in your storage in your organisation's name, catalogued as the work is done. If the engagement ends, you inherit working documents rather than flattened PDFs.
03
The brand reads as one organisation
Drift stops compounding: the not-quite blue, the fourth version of a lockup, the sales sheet nobody can match. Regional teams and resellers pull the current artwork instead of the last file somebody emailed them.
04
Print jobs stop coming back
Bleed, trim, colour build and substrate are agreed with the printer before anything is sent, so reprints and rejected uploads stop eating the schedule. Someone who reads a press proof properly is now reading yours.
05
Campaigns arrive complete, not in pieces
Every size a campaign needs is drawn together: press ad, out-of-home, social crops, email header, event banner. The launch stops trickling into each channel over the following weeks while artwork is still being made.
06
Requests arrive with a purpose attached
A designer who asks whether a piece is a leave-behind, a trade-show banner or a form somebody fills in by hand changes how your team writes requests, and fewer items get made that nobody had a use for.
How it works
How the first ninety days go
We look at the queue, not the strategy
A short call about what is actually waiting: the campaign, the deck due Thursday, the print deadline, the requests your team keeps absorbing. That sizes the days per week.
A portfolio review, then a written scope
You see the ad sets, decks and print work of the specific person who would hold the role, hear how they would handle month one, and get the scope on paper.
Access, brand assets, approval chain
Seats in your Figma, Canva, Drive and project board, plus the logo files, fonts and guidelines that exist. They work inside your sign-off process, not a parallel one.
An asset audit and live work in the first fortnight
An inventory of what you have, a short note on where the brand has drifted, and the first real artwork delivered. Output early, rather than a discovery document.
A weekly demo and a re-prioritised queue
Each week the designer shows what shipped, what is in progress and what is blocked on copy or a decision, then agrees the order of the next week with you.
Who it's for
Who this suits
This role fits organisations with a repeating design load and nobody senior holding the standard. If your design need is one large project with a clear end, commission the project instead.
Marketing teams where artwork falls to whoever is free
Campaigns go out, but the visuals are made between other jobs. Quality swings week to week, the brand drifts, and launches slip while somebody wrestles with a template.
Organisations part-way through a rebrand rollout
The new guidelines exist as a PDF. Applying them across decks, print, signage, vehicles and social is months of steady application that nobody in-house has the hours to finish.
Franchise networks and multi-location brands
Locations want local artwork by Friday and will invent their own version if they cannot get it. Templates plus one designer holding the standard answers both without a permanent post.
Manufacturers and distributors with a catalogue
Product sheets, packaging, trade-show stands and a catalogue that changes every season. Predictable, unglamorous volume that has to be right and has to meet the printer's schedule.
12+
Years of studio experience since 2014
Half
Typical commitment — Half to 1 day a week
EN/FR
Languages this engagement can be delivered in
Other fractional roles
Often paired with
01
UI/UX Designer
Research, task flows, wireframes, a component library in your brand, and specifications your developers can build from.
Explore02Motion Graphics Designer
An animated identity, explainers, data and kinetic type, plus templates your editor can re-version without booking anyone.
Explore03Paid Social Specialist
A defined slice of a senior buyer's week, spent in your own ad accounts.
ExploreFAQ
What marketing teams ask before starting
Enough to fill a rhythm rather than a burst: a monthly campaign, a steady ad and social cadence, regular decks, or a print and signage calendar. Below that a fixed-scope project serves you better, and we will suggest one. It also works poorly when nobody on your side can approve artwork or supply copy and photography, because drafts simply pile up.
You do. The designer holds and applies your brand system, argues for it when something drifts, and writes down the rules so the same decisions stop being re-litigated. What gets made, and why, sits with your marketing lead. If you have no guidelines at all, building a workable set is one of the first jobs, and it belongs to you like everything else.
Yes, which means talking to your printer before the file is built rather than after: stock, finish, bleed, colour profile, folding and the deadline the press actually holds. Proofs are checked against the specification and marked up. Where a job is bilingual, the French sets to the same grid instead of being squeezed in. We work to the printer's schedule and flag a date at risk early.
They were never anywhere else. Source files live in your Figma, Canva or Drive from day one, and fonts and stock are licensed in your organisation's name, so the licence does not walk out with the designer. On wind-down the library is tidied and labelled, you get a written note covering file structure, template rules and printer contacts, and we remove our access.
A junior hire gives you all-day availability but not senior judgement, and you carry the management. An agency is organised around projects and pauses between them. A marketplace gives you a stranger per job and no memory of your brand. This is one senior designer from our studio, in your standups weekly, who knows your approval chain and your printer. It is not automatically the cheapest of those, and we will not pretend otherwise.
When the work is one big finite thing, such as a full rebrand with research and rollout, which is better bought as a project. When your queue genuinely fills five days a week, in which case hire. And when requests arrive all day and need somebody at the next desk. Ask us and we will tell you which of those you are.
Let’s connect
Let’s talk about the graphic designer gap.
Tell us what is not getting done and roughly how much of a week it needs. We’ll reply within one business day with who would cover it and a tailored quote — no obligation.