Drop your campaign onto real city screens with digital ad mockups
The trap with out-of-home is that everything looks fine at 100% on your monitor and falls apart at fifty meters in daylight. The mockups exist to catch that early: your ad sits on an actual LED wall or transit monitor, at the distance and angle a real person meets it, so a thin weight or a low-contrast pairing shows itself before the media buy.
Mechanically, the screen art goes into a Smart Object and the light comes from a separate emission layer set to Screen, with glass glare stacked above. That order matters. If your ad reads washed out against a bright night plate, the fix is to warm or knock back the emission layer, not to crank saturation on your own file, which only wrecks the print-side version of the artwork. On the daytime scenes the glare layer is doing a lot of work, so mask it off your key message if a reflection lands straight across the logo.
Screens in the collection
- Urban LED walls on buildings and intersections. Shine from distance and at a sharp angle, where only big shapes and high contrast survive.
- Vertical mall and street totems. Read up close by someone standing still, which is the one place fine type and a full message work.
- Transit monitors in stations and shelters . Great at fighting flat fluorescent light and a moving audience.
- Nighttime arrays. The screen is the light source and throws colored spill onto the wall and pavement around it.
Where it gets used
A digital ad scene mostly earns its money in two rooms: the client pitch, where a brand has to picture owning a piece of the city, and the internal review, where someone finally checks whether the headline holds at fifty meters. Media planners and OOH agencies lean on it hardest, because they are selling a location as much as a design, and a floating banner on a slide sells neither. It also settles the night-versus-day argument early, since the same layout can dominate a dark totem and wash out on a sunlit mall panel.
You'll find digital ad mockups earning their keep wherever artwork has to perform on illuminated screens, often in fast-moving public or retail environments:
- Entertainment and media — film launches, streaming promos, game releases, event countdowns, poster-to-screen adaptations, episodic campaign rollouts.
- Retail and malls — seasonal sales, store openings, loyalty pushes, endcap screens, totem promos, in-window campaigns. Vertical mall screens are often read up close by shoppers standing still, which makes them one of the few placements where a denser message, product lineup, or promotional detail can survive.
- Tech and telecom — product reveals, app launches, device campaigns, plan promos, software subscriptions, brand refreshes. The mockups help test how glossy gradients, UI fragments, and luminous brand colors behave on real screens.
- Public and civic — transit notices, museum schedules, city announcements, public-service messaging, campus information, wayfinding takeovers. In practice, this format is valuable for checking whether the information architecture is legible in contexts where viewers only give the screen a few seconds of attention.
- Fashion and lifestyle — lookbook drops, flagship promos, beauty launches, collaboration teasers, campaign loops, product storytelling.
Glass and glare overlays sit on their own layers above your artwork, blending real-world reflections onto the screen. You can dial them back if one lands across your logo.
The library holds a mix of landscape electronic billboards and vertical digital totems, so you can match the placement your campaign is actually booking.
Yes. You get high-contrast night shots where the screen is the light source, plus sunlit daytime conditions where glare fights your artwork.
Warm or lower the emission layer that lights the screen rather than boosting saturation on your own file, which keeps the artwork print-accurate.
Many scenes use linked Smart Objects, so a single artwork update populates several banner scales at once.