The Fabricator’s Drawing Decides Your Canvas. The Hall Opens Regardless

With us, graphics for a standard shell scheme booth run INR 15,000 to 35,000. A full custom stall graphics pack with fabricator liaison runs INR 40,000 to 1,00,000. A programme spanning several shows or a hosted event runs INR 1,00,000 to 2,50,000. Those are design fees only. Printing, fabrication and space rental go directly to those vendors. Market quotes for exhibition stall graphics cost India wide vary widely, and the difference is usually scope rather than skill. A quote that covers only the back wall is not comparable to one that covers the whole panel set with dimension re-checks. Ask what happens when the fabricator revises the drawing, because that will happen and somebody has to absorb it.

Plan for print-ready files seven to ten days before the show opens, and treat that as the hard deadline rather than an aspiration. Work backwards from there. Large format printing, finishing and delivery to the venue each take time and happen in sequence, and the build itself needs the panels in hand before install. In practice that means artwork approval roughly two weeks out, design starting three to four weeks out for a shell scheme, and five to six weeks out for a custom build. The reason to be strict is structural: this deadline cannot absorb a slip. On most projects a late week is borrowed from the next phase. Here the next phase is a hall with a booked opening time, so a delay does not move the deadline, it simply removes your margin for error.

Yes, directly, and it is included from the custom stall tier upward. We ask them for dimensioned elevations rather than a render, we query the things that are usually missing, such as where columns, counters, screens and cable runs land, and we re-confirm every dimension before artwork is released to print. We would far rather handle that conversation ourselves than relay it through you during a busy fortnight. One thing worth setting expectations on: the drawing will almost certainly change after you have approved a design. Panels get resized, a counter is added, the organiser revises a height allowance. That is normal stand building and not a sign of anything going wrong. Our process assumes it, which is why the pre-print re-check exists.

A shell scheme is a standard booth the organiser supplies, usually an aluminium frame with infill panels, a fascia board carrying your name and stand number, and fixed dimensions you cannot alter. A custom stall is built to your own design by a fabricator, with whatever structure, height and materials the organiser permits. For graphics the practical difference is certainty. A shell scheme has known panel sizes published in the exhibitor manual, so the artwork brief is stable from day one. A custom build has a drawing that is still being revised while you design. Shell schemes are cheaper, calmer and perfectly respectable, and many first-time exhibitors assume they need a custom build when they do not. Our trade show booth design services cover the graphics for both, and we will tell you plainly which one your show actually calls for.

Large, and the answer depends on the distance the element is read from. Rather than repeat it here, our poster design services page covers legibility at viewing distance in proper detail, and the same principles govern exhibition graphics. What is specific to a stand is that you are solving for several distances at once on one structure. A fascia and the upper back wall are read from across the aisle. The mid wall is read from a few metres as someone decides whether to come in. Counter graphics are read from a metre by someone already talking to your team. Treating those as one design problem is why so many stands end up with everything at the same size and nothing reading from anywhere.

Less than you want, and placed higher than feels natural. The lower third of a back wall is routinely blocked by a counter, a table, literature stands or simply people standing in front of it. The practical rule is that anything that must be seen from the aisle belongs in the upper half, and the single most important item is usually who you are and what you do, in that order. The detail that supports a conversation can live at counter height, where somebody is already close enough to read it. A common and avoidable mistake is a beautifully set paragraph of company history at knee level, entirely hidden by the furniture from the moment the stand opens.

Graphics, and we work to the structure your fabricator designs or supplies. Stand construction involves load, rigging, electrical and venue safety compliance, and that properly belongs with a fabricator who carries the responsibility for it. What we do is make sure the graphics and the structure agree, which is exactly the seam where things usually go wrong. If you do not yet have a fabricator we can tell you what to ask for when you are comparing them, and the most revealing question is whether they will supply dimensioned elevations without being chased.

We specify and coordinate both, and the money goes directly to those vendors rather than through us. For printing we supply files to the printer’s exact requirements, handle their technical queries and follow the job through to delivery at the venue. For installation, your fabricator normally fits the panels, and we will support remotely during build or attend in person for Delhi NCR shows where that makes sense. We do not mark up print or fabrication. Partly on principle, and partly because once you are taking a percentage of the build you have a quiet reason to recommend a larger one.

Build a system rather than a stand. That means artwork constructed in zones that can be recomposed for different panel sizes, a defined hierarchy that holds whether you have a three metre wall or a nine metre one, rules for how the elements behave as the stand grows, and source files organised by panel with a short usage sheet. The event branding programme tier exists for exactly this. The saving is substantial once you are past two shows a year, and the more valuable part is consistency, because exhibitors who commission each show separately end up with a visibly different company at each one.

It varies by printer and substrate, which is why we ask rather than assume. The common pattern is a press-ready PDF in CMYK at the correct scale, often built at a fraction of final size with proportional resolution, with bleed and any required allowance for frame wrap or pole pockets. Fabric, vinyl, backlit film and rigid board all behave differently, and colour sits differently on each. Two things matter more than the format itself. The file must be at the dimensions the stand is actually being built to, not the ones from the original drawing. And someone should confirm the printer accepted it rather than assuming silence means yes.

Regularly, and it is a clean arrangement. The event company handles the show, the logistics and often the fabricator relationship, and we build the graphics to specification. Because we take nothing from print or fabrication there is no conflict over scale. We can work white label under the event company’s name where the client relationship is set up that way. For an event branding design agency or event manager, the practical value we add is usually the template and obstruction discipline rather than the visual design, because that is what stops a panel arriving at the wrong size.

We rebuild to the new dimensions, and the process is designed to make that survivable rather than catastrophic. Because artwork is built on a template tied to the elevations, a size change is a revision rather than a redraw, provided it arrives before print release. That is the reason for the pre-print re-check. If the change lands after files have gone to print, the honest answer is that it depends on how far along the print is, and it may mean reprinting the affected panel at cost. We will tell you immediately and plainly which situation you are in rather than discovering it at the venue.

Yes, and it is worth doing together. A stand that looks coherent and a leaflet that looks like a different company is a common and easily avoided mismatch. Our marketing collateral design page covers the wider set, and for a show the useful items are usually a short leave-behind, a one-pager per product, and something with your stand number on it for the days before the event. Keep the quantity low. Material carried home from a trade fair is mostly recycled, and a small number of good pieces outperforms a bag of them.

Usually yes, and we price that way deliberately. A trade show design package price covering the whole panel set is lower than the same panels quoted individually, because most of the work is the template, the obstruction mapping and the hierarchy, all of which are done once and then serve every panel. Paying per item also creates a bad incentive, where adding one standee becomes a negotiation instead of a decision. The one case where per-item makes sense is a single small addition to a stand we have already built the system for, which we are happy to quote on its own.

Yes. We are based in Vikaspuri, so as a trade show designer Delhi NCR based we know Pragati Maidan and India Expo Centre at Greater Noida well, and we can attend builds in person where that helps. As an event branding agency Delhi based we also work remotely across India, the UAE, the UK and the US. Remote suits this work better than people expect, because the entire brief arrives as documents: elevations, the exhibitor manual and the printer specification. Whether you want to hire exhibition graphics designer support for one show or a system across a calendar of them, the process does not change.