Advertising creatives

We produce ad creatives in batches: variants for hypothesis tests, adaptations to Meta, Google and TikTok formats, and refreshes once a creative burns out.
Project order

What creative production includes

From reviewing what already runs in your accounts to finished files in every required size, with the editable sources handed to you. We work both for our own campaigns and for teams running their advertising themselves.

Batches for hypothesis testing

Three to five noticeably different assets per hypothesis: a different opening, a different argument, a different type of image. One layout per campaign proves nothing.

HypothesesA/BBatches

Adaptation to platform formats

From a proven layout we build the full set of sizes: feed, Stories, Reels, Display banner slots, TikTok vertical. The composition is rebuilt for each ratio, not stretched into it.

MetaGoogle AdsTikTok

Static: banners and feed assets

One idea per frame, type that stays legible on a phone, and the offer inside the zone the interface does not cover. The cheapest way to test a message.

StaticBannersDisplay

Video and motion

Short cuts for Reels, TikTok and Shorts: a hook in the first two seconds and subtitles, since a large share of views happens with the sound off. We edit from your footage or arrange a shoot.

VideoReelsShorts

Refresh before burnout

We track frequency and the conversion trend. When frequency climbs while cost per enquiry drifts up, the next batch goes into production — cheaper than raising the bid.

FrequencyRefresh

Library and source files

One naming convention, version history and editable sources in Figma. You can see what has already been tested and hand the material to any contractor.

FigmaSource filesVersions

Our clients’ results

We build long-term partnerships — and the numbers speak for themselves: our average client relationship lasts 5 years, and our partners' financial results grow quarter after quarter.

Reviews

We build long-term partnerships — and the numbers speak for themselves: our average client relationship lasts 5 years, and our partners' financial results grow quarter after quarter.

How we work

We judge an asset by what it does in the feed, not by how it looks in a presentation deck.

One idea per asset

Nobody reads three arguments in one frame. If there are several arguments, that means several assets, and each of them can be measured on its own.

The first seconds and the first screen

People decide whether to keep watching before they have registered the brand. So the hook goes at the start and the logo does not take up half the frame.

The statistics decide

The taste of the client and of the designer are hypotheses, not conclusions. The winning variant is settled by cost per enquiry over a testing cycle.

Request a consultation or audit

Tell us about your task and we will suggest a solution and show how it adds up in numbers. The consultation is free, with no obligations.
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Why creatives belong on a production line

Social audiences see the same assets quickly: in narrow segments frequency builds up within weeks. When creatives are commissioned one at a time, the replacement cycle stretches out — hypothesis, email, queue, revisions. A production line removes that pause: the next batch is ready before the previous one stops working.

01

The source files stay with you

We hand over editable files, fonts and the library structure. Any designer can carry on from there without redrawing everything from scratch.

02

A short replacement cycle

Designers sit beside the people reading account statistics. A new series ships in days rather than weeks of back-and-forth with an outside supplier.

03

Assets are checked inside the ad account

Before handover we upload the files and look at them in the real placements. A cropped logo shows up in the preview, not after the campaign starts.

How production is organised

We agree on the message and the formats first, and only then open the design tool. Otherwise you get a tidy folder of files with nowhere to upload them.

01

Brief and audit of current creatives

We look at what already runs in the accounts and at what cost per enquiry, then collect brand materials and platform requirements. The output is a format list and an order of what to test first.

02

Messages and sketches

We write several genuinely different arguments and show them as sketches before anything is rendered. Approval happens here, because reworking an idea costs less than reworking a finished batch.

03

Batch and adaptations

We produce the series, build adaptations for every required size and check the technical requirements: ratios, file weight, video length, safe zones for text.

04

Measurement and the next batch

After a testing cycle we see which approach won on cost per enquiry and build the next batch on it. Losing variants stay in the library, labelled as such.

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Additional services

All competencies in-house — complex tasks solved quickly, without losing quality or time on communication between contractors.

Web sites

Landing Page

E-commerce

PWA

CRM implementation

Frequently asked questions about ad creatives

The questions that come up most often before we start.

01

How many assets does a monthly scope include?

It depends on the number of campaigns, the platforms and how fast the audience tires. A narrow segment needs batches more often; a broad one lets a series live longer. We fix the scope after reviewing the current accounts.

02

Will you produce creatives if another team runs the ads?

Yes, that is a normal arrangement. We need access to the statistics or a regular breakdown of cost per enquiry by asset — without that feedback the production turns into guesswork.

03

How long does a batch take?

A static series for one hypothesis, adaptations included, usually takes a few working days. Video depends on the raw material: editing existing footage is faster, a shoot adds a separate stage.

04

Do you work with our brand book?

Yes, and it makes the work easier. If there is no brand book, we fix a minimum set of rules — fonts, colours, logo usage — so that the series reads as one brand.

05

Do you guarantee that a new creative lowers cost per enquiry?

No. Creative influences cost heavily, but the offer, the price and the landing page sit right next to it. What we do guarantee is that the batch is measured correctly and you can see which approach won and which did not.

06

Do we need a shoot, or will existing photos do?

It depends on the product. Catalogue goods are often covered by product photography and graphics. Services and complex products usually perform better with images from the real process than with stock, and then we suggest a shoot.

07

How often should creatives be refreshed?

The trigger is frequency and the conversion trend, not the calendar. When the same person sees an asset too often and cost per enquiry rises, that is the signal for a new batch.

08

Do you build the landing page for the campaign?

Not within this service — here we produce ad assets only. Landing pages and website design belong to a separate part of the agency, and we will connect you with it if the task turns out to be broader.

Ad creatives for Meta, Google and TikTok

Ad creatives: a production line, not a one-off layout

Campaigns rarely win because of one lucky banner. They win when assets arrive in batches, get replaced quickly and differ in meaning rather than in shade. Adcore has produced ad creatives since 2014, with designers in-house next to the people running the campaigns.

Formats and sizes by platform

One layout never covers every placement. A minimum kit per campaign:

  • Meta — 1:1 (1080×1080) and 4:5 (1080×1350) for the feed, 9:16 (1080×1920) for Stories and Reels;
  • Google Display — responsive 1200×628 and 1200×1200, logos at 1200×1200 and 1200×300, classic 300×250, 336×280, 728×90, 300×600;
  • TikTok — 9:16 vertical built around sound and the first two seconds;
  • YouTube — 16:9 for in-stream and 9:16 for Shorts, bumpers capped at six seconds.

In vertical placements the interface covers the top and bottom of the frame: account name, caption, button. Key text goes into the middle band, otherwise the offer disappears underneath.

How many variants a test needs

A working batch per hypothesis is three to five assets with genuinely different visual approaches and opening lines. Changing a button colour and calling it a test proves nothing: the difference has to be visible at arm's length. Once the numbers confirm a message, the remaining formats are built from it.

Static or video

What we compareStaticVideo
Production cyclehours to days, a batch from one templatelonger: script, shoot or edit
What it carriesone argument and the offerdemonstration, sequence, emotion
Stronger infeed, display networks, remarketingReels, TikTok, YouTube
Role in a testproves the message cheaplyscales a proven message

The creative library

Assets live in one shared folder, named by platform, hypothesis, format and version. Editable sources sit beside them in Figma, with fonts and logos. Six months on it is clear what was tried and how it performed.

When not to order this

  • there is no campaign yet, so nobody knows which platforms to produce for;
  • you need a logo, an identity or a website design — a different part of the agency;
  • enquiries are scarce because of price or a weak proposition: a new layout will not fix that;
  • you need one banner a year — a single task is enough.

How this differs from our other services

Design and creativity is the broader discipline: identity, branding, website interfaces. This is its narrow part — the files uploaded into ad accounts. Paid social management owns campaigns, audiences and budgets; we own the material that goes into them.

Who we have worked with

Agency clients include Hyundai, Heineken, Kärcher, CLAAS, Hilti, PepsiCo, Silpo and Materia Medica, plus residential developments and clinic networks.

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