The same system, stretched three different ways.

The Hardest Format: The Carousel
The social carousel was the biggest test. It needed to work as one unified image and hold up as three separate, standalone posts — since a viewer might see only one of the three blocks in their feed, with no guarantee of context from the others. I used recurring shapes that were slightly cropped by each panel’s border — enough to visually link all three when seen together, but not so much that any single image looked incomplete on its own. I also ran the headline typography along a wavy line that crossed all three panels, using consistent type throughout, so even the text reinforced that the three pieces belonged to one whole.
The Tightest Squeeze: The Skyscraper
The digital ad was a small skyscraper — narrow, tall, and small. I had to utilize that narrow, tall space to communicate clearly, without the message feeling cramped or the hierarchy falling apart at a fraction of the size of the other formats.
The Opposite Problem: The Print Ad
Where the skyscraper and carousel were about discipline in a tight space, the print ad was the reverse challenge — far more room, and the risk of that extra space reading as empty or padded rather than intentional. I filled it with imagery centered on community — a choice that embodied the brand’s values, made the ad feel more alive, and gave the extra space a clear purpose instead of empty padding.