Commercial flyers, menus, and promotional pieces — designed to communicate fast and built to print clean.
Product marketing flyer for Ovation, a restaurant guest-feedback platform — a dense single page organized so the value proposition reads at a glance.
Marketing collateral has one job: get a specific message into a specific reader's head before they look away. This is a body of commercial print work — product flyers, restaurant menus, and promotional pieces — where the craft is in hierarchy, brand consistency, and production quality.
What ties these pieces together is that they're all built on real production knowledge. A flyer that looks great on screen but prints with the wrong colors or a hairline of white at the edge is a failed flyer. Everything here was prepared the way a commercial printer needs it.
The Ovation flyer had a lot to say — key features, a testimonial, social proof, hardware shots, and a call to action — on a single page. The design problem was hierarchy: leading with the brand and the one-line promise, then letting features, proof, and contact fall into a clear reading order so a busy restaurant owner gets the point in seconds. Curved color fields and a consistent blue-and-orange system organize the density without flattening it. The flyer carries feature bullets, a CEO testimonial, hardware photography, and a clear "to learn more" footer — sequenced so the eye moves top to bottom without getting stuck.
This two-page piece pitches advertising space in a restaurant-industry publication. I structured it around a classic problem/solution narrative — a red "Challenge" band, a green "Solution" band, a "By the numbers" proof box, and clear ad-tier pricing — so a prospective advertiser sees the argument and the offer in one scan.
Honest production note: the proofing pass on this piece caught copy errors in the body text (a few misspellings in the draft supplied for layout). Flagging and correcting client-supplied copy at the proof stage is part of prepress discipline — a reminder that print is unforgiving and the time to catch it is before the plate, not after.
Across all of these pieces the production standard is the same: CMYK color built for print rather than screen, 300 dpi imagery, bleed on every edge that runs to the trim, and crop marks for the cutter. That discipline comes from years on the prepress side — designing the artwork and preparing the file that makes it are the same job to me.
Hierarchy, brand color, and press-ready files — the design and the production handled together.
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