Six services, one working bench,
and a lamp that judges the colour.

What happens on the bench

Everything we make begins with the surface. A pole is narrow, a wall is wide, a club door is a rectangle that people pass in two seconds. Before drawing anything we ask where the work will hang, how long it must survive and who is putting it up. Those answers set the paper, the ink coverage and the type size, and they decide whether a poster is printed as one sheet or as a set that overlaps. The six services below describe the results of that reasoning.

Gig Poster Design

A gig poster has one job and very little time to do it. We build show bills around a strong central mark and a clear date block, then test the whole sheet at ten paces under a lamp to be certain the lineup and the venue survive distance and weather. Type is set in heavy weights with generous spacing, and the artwork is composed to leave room for the promoter stamp that always appears on the night. Each design is delivered as a print-ready file plus social crops sized for the platforms the band actually uses.

Series work is where this service earns its keep. A short tour with four dates can share one drawing language while each sheet carries a different date and room, so a wall of them reads as a single campaign instead of four unrelated sheets. We keep the master file and the placement grid, which makes a reprint a short message rather than a fresh design. Venues that program a full season can also book a rolling series that stays consistent across months.

Sticker Sheet Runs

Sticker sheets are small collections. We plan each sheet as a group of shapes that tell a story together, from a band mark and a lyric line to a small illustration that only regulars will recognise. The artwork is arranged on a shared cutting grid so the run stays affordable without sanding the edges off the design. Shapes are kept bold enough to read at the size of a thumb, because that is how most of them will be seen before they are peeled.

We advise on materials for the places stickers actually go: a van window, a laptop lid, a merch table, a lamp post. Vinyl stock with a matte or gloss finish covers most needs, and we can set a clear backing option when a band wants the sticker to show what is underneath. Every sheet run includes a digital proof of the cutting path, so the printer and the band agree on the shapes before the blade drops. Bulk counts are quoted separately and sized to the tour.

Paste-Up Print Sets

A paste-up set is more than several posters. It is a planned wall: a hero sheet, matching repeats, and lighter pieces that carry the edges and fill the gaps between windows and doorways. We design each set as a sequence, with overlap allowances and trim marks that let a crew work fast without measuring every panel. The set ships with a placement sheet that names the order and the suggested height, so a volunteer who has never pasted anything can still build something deliberate.

The set can be built from one design in several sizes or from related designs that share a border and a colour. We test the sequence on the studio pole before release, checking that the overlaps do not swallow the date block and that the repeating elements read as rhythm rather than noise. Wet paste, wind and a rough wall are all part of the brief, so papers are chosen for strength and the ink for coverage. Removal is considered from the start, because a clean pole is good manners and good for the next run.

Album Cover Art

Album art has to work at two extremes: full size on a shelf and tiny in a streaming list. We develop sleeves from the same drawing language as the street work, then reduce the composition until the mark survives at thumbnail size. Typography is treated as part of the drawing rather than a label attached afterwards, and the back cover, spine and inner panels are planned together so the finished record feels whole. Vinyl, cassette and digital deliveries are prepared as separate files with the correct bleed and trim.

We welcome rough material: phone photos, hand lettering, a scanned ticket stub. The studio is comfortable building a cover around a found image as long as the rights are clear. Label marks and catalogue numbers are set to the same grid as the title, which keeps a small label roster looking coherent across releases. If a record is tied to a tour, the same central mark can carry into the poster series and the merch, giving a release a public face that matches its sound.

Band Merch Graphics

Merch graphics are judged at a distance and in motion. A shirt mark must hold on a chest in a dark room, a tote must read from across a table, and a patch must survive being sewn onto denim. We design each mark at small scale first and only enlarge it once the silhouette is certain. Line weights are adjusted for the screening method, and colour counts are agreed early so the quote does not move after the art is approved. The result is a graphic that prints cleanly and looks intentional rather than busy.

We can also prepare button layouts, woven labels, stage banners and simple sleeve prints, all derived from the same mark so a merch table looks like a single collection. Where a band already has a logo, we test it at the sizes required and suggest small corrections rather than redrawing it. Where there is no logo yet, we build one from the poster language and deliver it as a vector file with clear spacing rules. Every graphic is checked against the printer file requirements before it leaves the bench.

Street Team Kits

A street team kit turns artwork into action. The pack includes poster files ready for local printing, a simplified wall map of permitted surfaces, sticker sheets for handing out and a one-page guide to posting order and removal. The guide is written for volunteers rather than designers, so it uses plain steps and a short list of places to avoid. We keep the kit light enough to send by email and detailed enough that a crew in another city can reproduce the campaign without a call.

Kits are usually built around an existing poster series, which is why they sit at the end of the bench rather than at the start. The studio can also supply pre-printed starter sheets for a launch night when a team needs material immediately. Each kit is versioned, so a second leg of a tour receives an update rather than a tangle of old files. We ask teams to report back on which walls held and which were cleared, because that record makes the next campaign sharper.

How a project moves

The process is the same across services, with the bench adapting to the material. We keep it visible so clients always know where their work sits.

1. BriefWe agree on the room, the dates, the audience, the surface and the budget. You do not need a finished layout, only the problem.
2. DrawingRough marks are worked at street scale under the lamp, and two directions are presented for selection.
3. BenchThe chosen direction is set for print, cutting paths are confirmed and a proof is checked for trim and contrast.
4. ProductionFiles are released to your printer or produced through our trusted partners, with a final check before delivery.
5. ReviewOnce the work is up or in hand, we review what held and archive the approved files for the next run.

Turnaround depends on the service and the season. A single poster usually needs two to three weeks from brief to file release, while a tour package with posters, stickers and merch can take five to seven weeks. Spring and autumn book fastest, so early contact is always worth the message. The studio works in English and keeps all written communication clear and brief.

Ready to put work on the wall

Send the dates, the room and a short note about the sound, and we will reply with a bench estimate and the next available slot. You can reach the studio at office@benjipunk.buzz or by phone at +19568073655, and full contact details sit on the contact page. The studio is at 470 W 15 S Unit F302, Providence - 84332-6128, United States (US). Projects are governed by our Terms of Service, and we describe how information is handled in the Privacy Policy.