Graphic Production
Someone needs a flyer for Thursday's open house. Instead of opening last quarter's file and retyping over it, you send the request. This agent fills your template with the new headline, the new date, the approved photo, and the license line that has to be in the footer, then builds it at every size it has to live at. The files land in a review folder for a person to check. It never posts, prints, or sends anything.
Yours outright — no required subscription.
Every agent is built for your business — your systems, your approval chain, your way of working. We scope it on the call.
If this sounds too technical, don't worry. We take care of everything for you.
- Private VPS deployment. This agent runs on a server that belongs to you, not a shared cloud tenant. Your templates, your brand assets, and your originals sit on your box.
- A technician agent alongside it. Every hire ships as a pair: the Graphic Production Agent that builds the files, and a VPS-technician agent that lives on the same box and keeps it healthy — patched, backed up, monitored. You're not hiring one thing, you're hiring a small team of two.
- Your template set wired as the source of truth. We connect it to the templates and brand rules you already use, in the tool they already live in. The text that always has to be there — a license number, a disclaimer, a minimum logo size — gets built in as a locked field, so it can't quietly go missing on the one piece nobody proofread.
- Every size and spec you actually ship at. The formats get scoped up front: feed, story, email header, and print files with the bleed, color mode, and resolution your printer asks for. One request produces the whole set instead of four separate export sessions.
- Security hardening. Private VPN, firewall, and encryption configured on your server before it touches a single brand asset.
- 14 days of priority support after launch, to tune it against the real requests your team throws at it in a normal week.
- You own everything — the server, the agent, the code it runs on.
Not sure it fits? Check fit in 90 seconds in the free assessment chat.
Who this is for
- You're a 22-person contractor whose office manager makes the seasonal tune-up flyer by copying last spring's file, and when the promo price changes she retypes it in four places across four different sizes.
- You're a small agency where an account manager rebuilds the same client's weekly social set out of the same frames every Monday, while the one designer who could do it in twenty minutes is billing another client by the hour.
- You're launching eight SKUs, and one studio hero shot has to become a marketplace listing image, a page hero, a square post, and an email header. Ten base creatives turn into forty-plus formatted files before a single ad runs.
- You had a designer and they left. Now there are fourteen files named some version of logo_final, nobody knows which one is current, and everything your company puts out looks like it came from a slightly different company.
How it earns trust
The failure mode of AI in graphic production isn't that it gets something wrong. It's that a wrong phone number goes out on a poster and nobody can tell whether the request was wrong or the agent pulled a stale file. This agent makes the opposite bet: every file it produces carries a record you can open.
A record attached to every file
Which template and template version it started from, which field got which line of copy, which asset went into each frame by file path and version, and which request it came from. When something goes out wrong, that tells you in seconds whether the request said it or the agent pulled it from a stale asset — a distinction a chat thread and someone's memory can't make at all.
Problems come back as flags, not quiet fixes
Copy that overflows, a low-resolution placement, a crop that cuts into a safe zone — each is surfaced on the record rather than silently fixed by shrinking the type. The person reviewing knows where to look instead of proofreading every pixel from scratch.
A review folder, and a name on a version
Output lands in a review folder, never the live one, so the difference between produced and approved is a folder you can see rather than a promise. Approval is a person's name and a timestamp bound to one specific file version — which means the file that went to the printer is provably the one somebody signed off on, and if it isn't, that gap is visible too.
How much of your weekly production this actually absorbs depends on how uniform your template set is, and we'll size that with you on the call rather than promise a number up front.
Pairs well with
These share a workflow with this role. Tick any to add them to your setup.
I don't need a designer, I need the flyer by Thursday. What does this actually shorten?
The retyping and the re-exporting, which is most of the two to four hours. You send the copy and point at the assets; it fills the template and produces every size in the set at once. What it doesn't shorten is the deciding — what the headline should say, which photo is the right photo. A person still does that part, and a person still reviews the file before it goes out.
It has to look like we made it, not like a template.
It produces inside the templates and brand rules you already have. It does not design logos, pick new colors, choose new type, or improvise a layout — a new look is a design engagement, not an agent. The honest flip side: if your templates are bad, this makes bad graphics faster. Ask for something your template set can't express and you'll get a template-shaped answer instead of a new idea.
Can it just post it, or send it to the printer for me?
No. It hands you the file and stops. Nothing gets posted, published, printed, or emailed by the agent, because a graphic is the one mistake everybody sees. It also never edits or overwrites a master template or a source asset — it works on copies into a review folder, so your library and originals are where you left them. And it will not place an asset it can't trace back to your approved library. No stock image it went and found, no image it generated to fill an empty frame. An unfillable frame comes back flagged instead of filled.
The printer keeps kicking my file back.
It exports to the print specs scoped at setup — bleed, color mode, resolution — and flags low-resolution placements on the record instead of shipping them quietly. It is not magic about specs nobody told it: a new printer with different requirements, or a piece at a size that was never scoped, gets kicked back the same way your file does today. Send us the spec sheet and it's a settings change, not a rebuild.
We lost our designer. Who even has the current logo file?
Sorting that out is part of setup. We name one current version of each asset, and from then on the agent only places files from that library — not whichever copy happened to be in a folder called Photos NEW. It won't tell you which of your fourteen logo files is the right one. That's a decision you make once, with us, and then it stops being a decision anybody makes again.
What's covered under the $1,997 setup, and what isn't?
One company, one template library, one approval chain, and the format set you name on the call. Multiple brands with genuinely different rules, or building a template set from scratch because you don't have one, gets scoped on the call rather than priced off a page. The call is 15 minutes and free, and from kickoff it's typically about seven days to a working agent producing real files.
Hiring more than one? A department on tap — the subscription puts a build team behind every request, agent after agent.