Posters for Tino

2026

Twenty two pieces over a year on the Tino Go Driver page. Half of them are trying to recruit a driver, half are trying to reassure a passenger, and I ran them off the same brand kit without ever making the same poster twice.1

Role: Design and layout for social campaign work
Platform: Facebook, the Tino Go Driver page
Scope: 21 posters and one video, across five campaign families
Year: 2026
Language: Mongolian

Twenty two of them

A contact sheet of all twenty two pieces in a five column grid. Most are portrait posters. Some are bright with white backgrounds and blue Mongolian headlines, others are dark photographic pieces showing horses at sunset, families in cars, night driving and city scenes. Two are wide banners and one is a video thumbnail. — Everything published on the page, in order. Two registers running side by side.

Seen together the system is obvious, and seen one at a time in a feed it is invisible, which is how I wanted it. I keep the logo top left with its service badge. The handle top right. The headline in a heavy condensed Mongolian face, always uppercase, always the first thing you read. Store badges and the product lockup close the bottom edge.

Inside that frame I let almost everything else move.

Two audiences, one page

The same page has to recruit drivers and sell rides. Those readers want opposite things, so I split the work into two registers and did not try to blend them.

A driver recruitment poster. Bright white background, a large blue Mongolian headline about earning extra income in your free time, a photograph of a man beside a white car, and a row of steps along the bottom. — Left, a driver. Bright, itemised, a process you can complete. Right, a passenger. Photographic, warm, a situation you recognise.

A passenger poster. A dark photographic image of a schoolgirl in uniform walking toward a blue Tino car on a city street, with a headline about pre-booking a taxi for the school run. — Left, a driver. Bright, itemised, a process you can complete. Right, a passenger. Photographic, warm, a situation you recognise.

I made the driver work bright, high contrast and mostly information. Steps, amounts, what you get, how long it takes. Somebody deciding whether to spend their evenings driving a stranger around wants the terms.

I made the passenger work photographic and almost wordless by comparison. A mother and child in a back seat. A schoolgirl walking toward a blue car. Somebody pulling back a curtain to find their taxi already outside. None of those sell a feature. They sell the moment after the feature worked.

Drivers get told the terms. Passengers get shown the relief. Same brand, same week, same page, and the two never borrow each other’s tone.

Mostly one shape

Three breakdowns of the twenty two pieces. By audience, thirteen for drivers and nine for passengers. By campaign family, six recruitment, four incentives, four events, three Naadam and five passenger service. By format, sixteen at four by five, two wide group covers, two at three by two, one square and one video. — Counted off the published posts.

Sixteen of the twenty two are 4:5. That is the shape that takes the most vertical space in a Facebook feed before it gets cut off, and once I knew that, I stopped arguing about format.

Every exception has a job. The two wide banners are group covers. The 3:2 pieces are link cards. The video is 16:9 because video is. I never went off-format for the sake of looking different.

Campaigns arrive in pairs

The pattern I did not expect to find until I laid them out by date. The bigger campaigns each got two pieces rather than one.

The Starry Trip promotion was announced, then launched. COP17 got a partnership announcement and then a second piece once the detail firmed up. The Xyyp Music Festival shuttle got one post for everybody and a separate one that was purely instructions for the drivers working it.

That last split is the one I learned most from. A festival shuttle is a consumer story and an operational briefing at the same time, and trying to do both in one poster gives you a poster that does neither. Two pieces, two jobs, one campaign.

Designing to a national calendar

Three of the twenty two exist because of Naadam.

The Naadam greeting. Two thousand two hundred and thirty five years of statehood, and no product in the frame at all.

One is a straight greeting that sells nothing. One points out that everybody drives to the countryside during the holiday, which is a genuine service message dressed as a seasonal note. And one is a wrestling prediction game where you pick sixteen wrestlers and enter a forecast.

A prediction game is not a poster, it is a small product, and I had to design the entry, the picking and the result. It sits in this set because it went out as a post, but it is the piece in here that did the most work.

The promise a poster has to keep

One of these posters announces Go Day, the 0% commission day I designed inside the driver app. I like seeing the same thing twice, once as a product surface and once as a promise on a poster.

The Go Day poster. A dark night street scene with a car, a large white headline reading GO DAY, and a line stating 24 hours at 0 percent commission with 100 percent of income kept. — The same feature, sold. Twenty four hours, zero commission, once a month.

Several pieces in this set make an earnings claim to somebody deciding whether to drive. Extra income in your free time. More calls at a lower commission. Two minutes to register. Every one of those is checkable by the person who signs up, roughly a week later.

That is the line I watched hardest across the set. Recruitment creative is the easiest place in a company to overpromise, because the person who writes the headline never meets the driver who tests it.2

All twenty two were published on the Tino Go Driver Facebook page and are still public. The counts, formats and groupings on this page come from reading the posts rather than from a campaign brief.
This is not a criticism of any particular poster here. It is the standing risk in gig recruitment creative, and the only real defence is checking what happened to the people who answered it.