What we do, in one swipe
One artwork 5400 x 1350, cut into 5 panels. The arrows run across the cuts, so a swipe reads as one drawing rather than 5 posters.
The artwork, with the cuts drawn on
Scroll it sideways. The numbered rules are where Instagram will split it.
In swipe order
What posts with it
What we do, in one swipe.
Most small business owners we talk to do not have a marketing problem. They have a catching problem: people search, call, and wait, and nobody is free to answer.
So we build three things.
A website that books for you: live before we ever talk to you, pointed at the searches people in your town type.
Missed-call text-back: because the caller who hangs up dials the next result.
Voice agent booking assistant: it answers the common questions and takes the appointment while you are with a customer.
No jargon, no six week build, no strategy phase before anything exists.
Which of the three is costing you the most work right now?
- Panels
- 5, each 1080 x 1350
- Artwork
- 5400 x 1350
- Author
- rachel
- Pillar
- general
- Stage
- credibility
- Built by
- build_continuous_carousel.py
- growth.jpg Kindel Media, Pexels 6774947
- network.jpg Gift Habeshaw, Pexels 3196442
- scale.jpg paul, Pexels 12143352
Where the piece stands
1080 x 1350, four by five
It matches the comp, and takes more feed height than a square. The profile grid centre-crops it. Instagram applies the first panel's shape to the whole carousel, so the generator asserts every panel identical.
The artwork names three builds and the caption names the same three
The caption used to promise five numbered items and ask for a number back. The artwork won. The catching-problem paragraph is shared: the generator reads it out of the caption and asserts it equal, so the two cannot drift again.
No slide count anywhere in the copy
Five panels carry three builds, so any number in the caption contradicts something. The line is "in one swipe".
Comp v2's own photographs, graded warm at build time
All three are AI generated in Canva and cropped straight out of the comp, so artwork and source cannot drift. They arrive blue-grey on warm paper, so the build maps them onto a duotone whose endpoints are the ink and paper tokens and mixes that back over the original: three cool pictures become one set.
Panel 3 is an AI person, which is what the no-AI-people rule is about
The worker in the hard hat is a face-forward, identifiable person who does not exist, generated in Canva. Rachel's own rule keeps AI people out of our imagery, and this is the account whose pitch is that the builds are real. The phone and the stairway do not have the problem: one has no people, the other a figure from behind at distance.
The panels set Archivo, not the kit's Fraunces
Rachel's comp is a heavy grotesk, so the rebuild followed it and the piece is now the only thing we make that is not set in the brand serif. Either the kit gains a grotesk for display and this is the first use of it, or the panels get re-set in Fraunces and lose some of the comp's weight. It needs one call, not one per piece.