Events · Tourism Expo Armenia · Yerevan · exhibitor supply

Tourism Expo Armenia: Merch and Print for Exhibitor Teams

Name: Tourism Expo Armenia
Start: 2027-05-14
End: 2027-05-16
Location: Yerevan, Armenia

A tourism expo is a different buying situation from a business trade fair, and the merchandise order reflects that. The floor fills with visitors rather than procurement managers, many of them planning an actual trip inside the next few months, and a good deal of the traffic is families, students and regional delegations rather than trade buyers. That changes what works. A pen disappears into a jacket pocket and is forgotten; a tote bag goes home, gets used, and carries the destination name through a city the visitor has not seen yet. What an exhibitor wants from a tourism stand is memory that survives the journey, and that means durable giveaway items rather than disposable ones, printed guides that people actually keep, and apparel for staff who spend four days on their feet answering the same question from the same spot.

This page is written for the people who place that order: marketing managers at destination boards, regional tourism offices, hotel groups, tour operators, transport companies and craft producers. It covers the four order lines a tourism stand runs on, how a regional or city booth differs from a national one, how printed guides are planned for walk-in footfall rather than a mailing list, and what the procurement mechanics look like when the show is in Yerevan and the supplier is in Yerevan. The organiser publishes the final dates, hall allocation and exhibitor manual in its official programme, and every production window described here is planned backwards from that published calendar rather than from a date quoted by a supplier.

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What a tourism expo stand actually orders

The organiser sets the calendar, allocates the stand and publishes the exhibitor manual. It does not decide what you hand a visitor, and it does not decide what your staff wear. Those two decisions account for most of the merchandise budget at a tourism show, and they are made earlier than most teams expect, because both have a long tail: printed guides need artwork approved and a proof signed, apparel needs sizing collected from the people actually working the stand, and giveaway quantities depend on a footfall estimate that nobody wants to own until they see the previous year numbers.

Dates: The organiser publishes the final show dates in its official programme. Every production window on this page runs backwards from those published dates, so artwork and sizing deadlines are set against a fixed opening day rather than a moving one
Stand and halls: Hall allocation and stand dimensions follow the organiser's published exhibitor categories. Printed giveaway counts per booth depend on floor area and stand position, which are confirmed in the exhibitor manual before production starts
Typical exhibitor mix: National destination boards, regional and city tourism offices, hotel and resort groups, tour and excursion operators, transport providers, craft and food producers, banking services for travel merchants, and regional tour-authority pavilions
Audience: Trade visitors on the opening days, mixed with consumers, students, families and regional delegations outside the trade windows. Giveaway planning has to work for both groups
Languages: Armenian, Russian and English cover the three main audiences on the floor. Guide and leaflet copy can be produced as a single multilingual set or as separate language runs, depending on how the stand is staffed
Typical lead time: Six to eight weeks from approved artwork to delivery for printed guides; four to six weeks for decorated textile and giveaway items; two to three weeks for undecorated stock held against a confirmed quantity
Commercial documents: Quotations and invoices in Armenian drams with VAT shown separately, issued against a purchase order. Electronic invoice format is available on request for accounts that file through an accounting platform

Four order lines that cover a tourism stand

Most exhibitors at this show order from the same short list, and the four categories below cover almost the whole requirement. They are listed in the order they are usually decided: apparel first, because sizing has the longest collection chain; giveaway volume second, because it drives the print budget; printed material third, because it needs artwork; delegate and speaker material last, because it is the smallest line and the most often forgotten until the week before the show.

Booth staff apparel

A tourism stand is staffed by people who stand, walk, sit and repeat for four or five days. Cotton tees work for a small team on a short show; for a full week in a hall with air conditioning and long periods on your feet, a polo or a soft-layer fleece shirt reads better in a photograph and survives a second and third day without looking tired. Layering matters more than logo size. A light shirt over a branded tee lets staff change between a warm morning queue and an afternoon hall, and it means every garment in the rotation carries the destination mark. Add an apron or a lanyard-mounted badge holder for the information desk if the stand has one, and keep a small reserve of two or three pieces per size for staff replacements, because that is the item most likely to run out by the third day.

High-volume giveaways

This is where a tourism stand separates from a trade stand. The giveaway has to survive a journey home, so it has to be useful rather than cheap: a reusable tote or a folded item that fits a carry-on, a luggage tag, a bottle, a compact travel accessory. Cotton totes are the workhorse because a visitor can refill them at the gate or on the way back and keep the destination in view for months. Quantity planning matters more here than anywhere else, because the cost per unit falls as the run grows but a fixed minimum sits underneath it. Two mistakes are common and both are expensive: ordering one large run for every stand, which wastes budget on quiet booths and starves busy ones, and ordering one small run per stand, which runs out on the busiest morning. Splitting the volume across stands after footfall estimates are known solves both.

Lead-capture gifts

A tourism expo visitor is not registering for a supplier call, so lead capture here is about permission for a later email rather than a sales appointment. That changes what to hand over. A printed notebook with the destination name on the cover and a page block that survives a season of use works, and so does a small bound pad sized for a pocket. Pair it with a pen that writes without a cap to lose, and put a scannable contact route on the back cover rather than on a separate card that will be dropped. If the stand runs a destination map or a walking-tour handout, that sheet is the lead-capture item: it goes into the notebook, it carries the contact route, and it is printed in the languages the visitors at that booth actually read.

VIP and speaker kits

The programme around a tourism expo usually includes a session stage, a presentation slot and an opening ceremony, and the people who fill them arrive expecting a different standard of material from the floor staff. A speaker kit is a small package: a shirt or layer in the destination livery, a notebook, a pen and a printed copy of the session material. Delegate bags follow the same logic with a tote added. Keep the count low and the contents deliberate, because the audience for these items is visible and specific: a named list of speakers, moderators and regional officials, not a headcount. Build the kit list once and reprint it for the following year rather than redesigning it each season, which is the cheapest improvement available on this line.

How this differs from a business trade fair

The first difference is who picks the item up. On a business stand the person taking a notebook is often a buyer evaluating suppliers, and the giveaway doubles as a reminder of a conversation. On a tourism stand the person taking a tote is a visitor planning a trip, and the giveaway is an advertisement that travels. The practical consequences are direct. Items have to survive being carried through an airport and a train. The design has to look right in a photograph taken by a stranger on a phone, because that photograph is the visitor’s own marketing. And the useful life matters: a giveaway that is still in use in three months has done a year of work; a giveaway that is thrown away at the gate has done nothing at all.

The second difference is footfall shape. Trade fairs peak on the first morning, in a narrow band around the opening keynote, and then thin out. Tourism exposes with consumer days draw a wide, heavy, all-day footfall including families and children, which changes the giveaway specification twice over. Items have to survive a crowd rather than a single buyer, and the quantity has to be planned for total attendance rather than for registered delegates. Where a trade stand can work from its badge list, a tourism stand is guessing from last year’s photographs and the organiser’s published attendance figures, and the sensible way to manage that uncertainty is to plan a core quantity that must not run out and a reserve that can be triggered mid-show.

The third difference is the stand itself. Tourism booths are designed to be photographed and often include a map wall, a screen loop, regional imagery and a sitting area. Printed matter therefore has a second job: it has to work as part of the visual identity on the stand as well as as a handout. That is an argument for a folded guide or a map sheet with real production values on stock that holds a fold, not for a stack of A5 leaflets that curl by the second day. It is also an argument for keeping the printed pieces on the stand to a defined set, because an over-stocked table of identical leaflets reads as clutter in every photograph taken of it.

The fourth difference is the calendar. Trade fair merchandise is often ordered for a booth that opens once. A tourism expo stand is frequently the same brand at three or four shows in a year, sometimes with a regional version at each. That repetition is the strongest argument for a single design system early in the year rather than a fresh design per event, and it is where printed items earn their keep: a guide cover that works for a national pavilion and a city pavilion, with the city mark swapped in, is one prepress setup reused rather than four new ones.

The order lines, quantities and lead times

The table below describes a typical exhibitor order for a mid-sized stand, with a visitor-facing profile and a multi-day show. Quantities are expressed per stand so they can be scaled against a multi-stand rollout. Every figure here should be read as a planning starting point; the organiser publishes the show calendar and the exhibitor manual, and the stand size and category come from those documents.

Order line	Planning quantity per stand	Lead time from approved artwork	What decides it
Staff apparel	4 to 8 pieces per person across 2 layers, plus a small reserve per size	4 to 6 weeks	Collected sizing list, stand hours, air conditioning in the hall
Reusable giveaway	300 to 800 per stand for a public day, 150 to 300 for trade-only days	4 to 6 weeks	Footfall estimate, floor position, whether consumer days are open
Lead-capture notebook	200 to 500 per stand	4 to 6 weeks	Staffing levels and how many people are on the stand at once
Printed guide or map sheet	150 to 400 per stand per language	6 to 8 weeks including proof	Language mix, whether the sheet is folded or flat, proof sign-off
Speaker and delegate kits	10 to 25 per show	4 to 6 weeks	Named programme list, which arrives late in most cases
Second-day replenishment	20 to 30 per stand held for a mid-show call-off	3 to 5 weeks	Which items ran out on day one and by how much

Two columns in that table do real work. The lead-time column is what sets the artwork deadline, and it is not linear: a printed guide adds proofing and drying time that a tote bag does not, so the guide is normally the item that decides when the whole order has to be locked. The deciding column is where most reorders come from, which is why exhibitors who keep their planning note from the previous show start their brief earlier in the next cycle. Reordering the same guide at the same specification is a short conversation; redesigning it in the last fortnight before the show is not.

Regional and city stands: one system, many versions

A national pavilion and a city stand at the same show should not look like two different companies, and the cheapest way to achieve that is a shared artwork system with a controlled swap. The fixed elements are the destination mark, the layout, the type sizes and the colour relationships. The variable elements are the city name, the regional mark, the language mix and the local imagery. Hold those as separate files with a documented spec, and each new version becomes a controlled change rather than a redesign. The alternative, four independent designs produced in a hurry in the six weeks before the show, produces four different print qualities and four different sign-off chains, and it is the single most common cause of a booth that looks assembled rather than designed.

Regional stands also behave differently on the floor. A city stand covering a destination with a compact, walkable centre attracts residents who already know it and visitors looking for practical detail. That audience reads maps, walking routes and lists, and it takes printed material home. A national board covering an entire region has a broader story to tell and a shorter attention span, so its printed pieces work harder as backdrop and its giveaway carries the identity. Giveaways are usually consistent across the group so that visitors moving between related stands see one campaign rather than four; printed guides differ, because each destination needs its own content.

Language is the part of a regional rollout that requires a decision rather than a default. Armenian, Russian and English cover the three main audiences on an Armenian show floor, and a single multilingual leaflet set is often more practical than three separate runs: one design, three text blocks, one prepress pass, and a consistency that reads as competence on the stand. Where the audience at a specific booth is predominantly one group, a language-specific run printed in higher quantity reads better and feels more considered. The decision is cheap to make now and expensive to reverse after prepress.

Budget allocation across a group of stands is worth doing explicitly rather than evenly. A central national stand at a front-of-hall position draws different traffic from a regional stand at the back of a hall, and equal giveaway volumes across both will leave one over-supplied and the other short on the final morning. Publish the per-stand footfall assumption behind the split, keep a shared reserve that can be released to the busiest stand on day two, and record what each stand actually took. That record is the single most useful artefact an exhibitor group owns at the end of a show.

Printed guides, maps and handouts that get kept

A printed guide at a tourism expo is not a brochure. It is a working document that someone folds into a bag, opens on a train and uses once or twice before losing interest, so it has to be light, it has to open flat after being folded, and it has to carry a small amount of genuinely useful information rather than a spread of atmospheric photography. That argues for a compact format, a paper weight that holds a fold and does not double in size from the weight of ink, and a layout where the useful content is on the inside. A visitor who folds a sheet in half twice has already decided whether to keep it; a sheet that needs three folds or a rolled tube has already been lost.

Specification decisions follow from that. Finish matt or silk rather than gloss for a folded sheet that will be read in daylight, because gloss disappears under glare at the exact moment the visitor is looking for an address. Ink coverage should be moderate rather than full, both for handling and for the reason that heavy coverage on a small folded sheet makes it stiff. For a map-heavy sheet, a slightly heavier stock and a shorter fold are the pair that matters, because a map that cracks along the fold is a map that gets thrown away. If the sheet will be carried in a pocket or a tote, check the finished size against the pocket before the artwork is locked.

Quantity planning for printed guides follows footfall, not attendance lists. A useful way to build the number is to take the organiser’s published attendance figure for the public days, apply a take rate in the single digits for a general handout and a much higher rate for a guided walk or a printed route handed out at a talk, then add a reserve of roughly a fifth for the last morning when the hall is fullest. Where the stand runs several languages, divide rather than multiply: a visitor takes one sheet, not one sheet per language. Splitting a single large run into per-stand allocations with a shared replenishment quantity handles the uncertainty better than one big delivery to the booth.

The proof sign-off is where printed guides lose weeks, and it is always the same three artefacts: a paper proof of the fold, a check of the language blocks against the supplied copy, and a check that any map or logo supplied by a third party is cleared for the print run being quoted. A digital proof on a screen cannot show fold behaviour or stock weight, and a stand team that discovers a broken fold on opening morning has lost the printed line entirely. Book the physical proof into the schedule rather than treating it as a courtesy, and allow time to reprint, because a re-run of a folded guide is a full production cycle rather than an overnight fix.

Giveaways that survive the journey home

The test for a tourism giveaway is simple: does it still look presentable after a week in a suitcase, and does it still carry the destination when it is used? That single question rules out most of what gets handed out on a stand. Paper items fail it, because they fold, tear and are discarded within a day. Very small plastic items fail it, because they are lost before they leave the hall. Anything with a battery or a liquid fails a different test entirely, because those items cannot move through baggage screening or a border without a declaration. The most reliable answers are unglamorous and durable: a tote that can be carried and reused, a luggage tag that attaches to something the visitor already owns, a bottle or a compact travel item that fits a hand.

Materials matter for one reason above others, which is how the item looks after use. Cotton that has been washed a few times softens and keeps the print readable; a non-woven or polyester tote that has been dragged behind a suitcase develops a shine across the front panel that kills a centred print within two uses. If the design is a large front panel, a woven or heavier non-woven base holds it better. If the design is a small mark, a lighter and cheaper base is defensible, because the print will not be the part that fails. This is a specification decision made once and applied across a whole group of stands, and it is worth getting right before the artwork is finalised rather than after the first complaint from a stand team.

Quantity discipline on giveaways is the other half. Two numbers should be fixed before the show and one should be flexible. The fixed numbers are the core quantity, which must not run out, and the reserve held for a mid-show release. The flexible number is everything above that, which is what gets cut when the footfall estimate proves wrong. Reserving part of the run for a second-day call-off is the mechanism that makes this work, and it only works if the reserve is physically holdable and reachable, which in practice means it stays at the production or distribution point rather than being delivered to the stand in advance and stacked under the counter with the rest.

For an exhibitor group running several stands, treat the giveaway as a single order with internal allocation rather than as several separate orders. One production run, one artwork approval and one delivery, with per-stand packs or labelled cartons at handover. That removes the duplicated setup work that makes small separate orders slow, and it makes the mid-show release possible in a single movement instead of four.

Booth apparel for staff who work the floor for four days

Apparel decisions for a tourism stand are dominated by the working conditions rather than by the logo. A stand in a hall with a full air conditioning system behaves very differently from an open area beside an entrance, and exhibitors who choose once in January and hope for the best usually choose for the wrong one. The practical approach is to build a two-layer rotation: a branded cotton or cotton-blend layer that carries the identity and reads well in a photograph, and a plain or subtly branded outer layer for warmth or for a change of appearance. Staff rotate through both, so every garment carries the destination mark while nobody is uncomfortable for a full day.

Sizing is the most common cause of a rushed order. A sizing list collected by the stand manager in one message, with a reserve of a couple of pieces per size, avoids the second-week scramble that produces a T-shirt with a name printed across the shoulders because it was the only one left. Sizing also has to account for the person who staffs the information desk and stands still, which is a different garment from the one worn by someone walking a queue. Where the stand is shared with a partner or a regional authority, agree the colour split before printing rather than discovering the mismatch when the boxes arrive.

Decoration method follows volume and artwork, and this is the one decision worth getting right early because it determines the artwork deadline. A flat mark in a small number of colours at a few hundred pieces is straightforward. A photographic regional image or a wide colour range across a larger run moves the decision, and a photograph on a garment generally needs a digital process rather than a stencil one. Whichever route, the artwork needs to reach prepress as vector where possible and as a high-resolution image where it cannot, and the prepress step should produce a physical or photographic sample on the actual garment colour before the run starts. A colour approved on screen and rejected on the dark garment fabric is a lost week.

Plan a small reserve for replacements and for the staff member who joined late. Two or three pieces per size, produced in the same run so the colour matches, cost far less than a single rushed garment printed after the show has opened. Deliver the reserve with the main order, clearly labelled, and leave it with the stand manager rather than the production site.

Procurement mechanics for Armenian B2B buyers

Merchandise for an event is usually bought inside a normal procurement process, and the things that slow it down are predictable. The order needs to be quotable against a specification, it needs a named approver, and it needs an invoice format the accounts department can file. Quotation lines should separate the printed or decorated item from any undecorated stock so that a change of quantity in one line does not force the whole order to be re-approved, and they should state the production window and the artwork deadline explicitly, because those are the two dates the approver is actually buying.

VAT is shown separately on the quotation and on the invoice, and both are issued in Armenian drams. For accounts that file through an accounting platform, an electronic invoice in the required format can be issued against the same order; this should be stated on the purchase order rather than discovered at invoicing. Delivery documentation should reference the stand and the receiving contact, and for a show-floor handover the receiving signature is what closes the delivery, which matters if a replenishment call-off happens later in the week. Where a group of stands is supplied, a single order with an internal allocation sheet keeps the approval chain to one document rather than several.

Artwork approval is a contractual step, not a courtesy. The approver should be the person who owns the destination mark and the printed copy, and the approval should cover the language blocks, not only the logo. For a multilingual guide, that means a named person per language confirming the text, because the most expensive reprint in this category is the one caused by a translation error that nobody with the right language read. Set that up as a checklist attached to the proof, and keep the signed proof with the order record so the production run can proceed without a further conversation.

Payment terms and any credit arrangement are agreed between the supplier and the account before the order is placed, not during the show week. Nothing in this page should be read as an offer of terms; they are part of the commercial conversation and belong in the quotation and the contract, not on a marketing page. What belongs here is the operational sequence: specification agreed, artwork approved, proof signed, purchase order raised, production scheduled, delivery made, invoice filed. Teams that map those six steps against the organiser’s published calendar find that the whole order fits comfortably; teams that start at artwork sign-off find that the printed line does not.

Production and delivery into the show

Production runs against the organiser’s published opening day, working backwards. Decoration lead time is counted from approved artwork rather than from the order, because the artwork cycle is the part that slips: a design that arrives late compresses everything downstream and turns a comfortable schedule into a rush. For a printed guide the count includes prepress, proofing and drying; for a decorated giveaway or an apparel line it includes the garment or item stock and the decoration run. Delivery is scheduled to land before the stand is built, not during the build, because a delivery that arrives mid-build means storage inside a booth that is not yet locked and a carton that cannot be found at open time.

Where the organiser publishes a build-up window in its exhibitor manual, delivery should sit inside that window and outside the busiest build hour. Where several stands in a group are supplied together, a single consolidated delivery to a central point with per-stand packs is faster to unload and far easier to account for than several vehicles arriving separately. Cartons should be labelled by stand and by order line so that replenishment can be pulled without unpacking everything on the first morning, and the receiving contact should be the stand manager rather than the driver, since that is the person who knows what arrived and what is missing.

Storage inside a stand is a real constraint and it is worth planning rather than improvising. Space behind a counter is limited, and giveaway stock consumes it fast. A reserve quantity held outside the stand, released to the busiest booth on day two, protects both the inventory and the booth layout. Anything ordered as a mid-show call-off should be produced in the same run as the main quantity so the colour and print match exactly, which is why a reserve decided at order time is cheaper than a reserve ordered on the first morning of the show.

If a delivery runs late, the useful move is to split the order rather than to compress it: send the printed material and the apparel, which are the long-lead lines, on the original schedule and move the undecorated or replenishment items later. A show with an incomplete giveaway allocation on the first morning recovers; a show whose printed guides arrive after the consumer day does not.

Planning timeline: four checkpoints back from opening day

These checkpoints are relative to the opening day published by the organiser, and the intervals widen or narrow according to which line is on the critical path. The printed guide is normally the binding constraint, so the first checkpoint is the guide, not the giveaway.

T minus eight weeks: specification and quantities locked

Confirm stand category and size from the organiser’s published exhibitor categories, agree the design system, take the sizing list from the stand team, and split the giveaway volume across stands using a footfall assumption rather than an even division. At this checkpoint the buyer should have a specification, a per-stand quantity sheet and a named approver for artwork. Print artwork and copy preparation should start here, because the guide prepress and proof cycle sits on the critical path.
T minus five weeks: artwork approved and prepress running

Logo files, copy and language blocks arrive for the prepress check. The guide goes to a physical proof at fold and stock weight, and the apparel decoration route is confirmed against the artwork. Any third-party map or mark supplied by a destination partner is cleared for print here. This is the last point at which a design change is free, and the last point at which a quantity can be increased without moving the delivery date.
T minus three weeks: production complete, packing and allocation

Decoration and printing finish, every line is inspected against the approved proof, and the delivery is packed per stand with the replenishment reserve labelled and held back. The delivery note names the receiving contact and the build window. Nothing should be left for the week of the show except the reserve release, because that is the only part that benefits from being late.
T minus one week: delivery, handover and stand set-up

Consolidated delivery lands before the busiest build hour, cartons are checked against the per-stand allocation, and printed material is placed in the booth rather than stored behind it. Apparel is handed to the stand manager as sized sets with the reserve separated. The replenishment reserve stays outside the stand so it can be released to the busiest booth on day two, and the day-two call-off route is agreed before anyone leaves the venue.

Questions exhibitors ask before ordering

When do we need final artwork if the organiser has not published the dates?

The organiser publishes the final show calendar in its official programme, and that publication is the anchor for the whole schedule. Artwork is the item that should be ready before it, because the prepress and proof cycle for printed guides is the longest single step in the order and the one that cannot be compressed. In practice that means artwork and copy approved by roughly eight weeks out on a published calendar, with the exact dates set against the opening day once it appears. Quantity confirmation can follow a week later, because quantities drive the run rather than the artwork.

Can you deliver to the stand, or should we collect?

Both are normal. Delivery to the stand is arranged inside the build window published by the organiser, ahead of the busiest build hour, with cartons labelled by stand and by order line so a mid-show replenishment does not require unpacking everything on the opening morning. Collection works well for groups supplying several stands, because the allocation can be checked as a single consignment at one point. Whichever route is used, the receiving signature is what closes the delivery, and it should come from the stand manager.

Do you handle multilingual guides for regional and city stands?

Yes. Armenian, Russian and English can be produced as one multilingual sheet with three text blocks in a single prepress pass, or as separate language runs where a specific booth has a clearly dominant audience. A single set is usually the more practical choice because it keeps one design, one proof and one production cycle, and it reads as consistent across a group of stands. Language-specific runs are worth it for a destination booth where the audience is predominantly one group, and the copy should be confirmed by a named approver per language before the proof is signed, because a reprint in this category is a full cycle rather than an overnight fix.

Is Corp-Merch a partner or official supplier of Tourism Expo Armenia?

No. Corp-Merch is an independent corporate merchandise and print supplier. We are not a partner or sponsor of the exhibition, we hold no official status with it, and we have no commercial relationship with the organiser. We supply exhibitors who choose to buy from us, we work to the organiser’s published calendar and exhibitor manual like any other supplier would, and every reference to the show on this page describes a production planning exercise rather than an involvement in the event.

Role of this page

Corp-Merch is an independent corporate merchandise and print supplier. We are not a partner, sponsor or official supplier of Tourism Expo Armenia, and we have no commercial relationship with the organiser. Nothing on this page implies an official connection to the exhibition, its organisers or its programme. Event names and references are used to describe a planning exercise: the exhibition’s dates, hall allocation, exhibitor manual and venue arrangements are published by the organiser in its official programme, and this page does not reproduce, alter or vouch for them. All specifications, quantities, lead times and commercial terms described here are our own general working practice for exhibitor merchandise, and any order is governed solely by a separate written quotation and contract. Any claim about the exhibition, its programme or its organisers should be checked directly against the organiser’s own published materials.

Send the specification and we will quote against it

The more of the specification you can send, the more precise the quotation. Useful detail is the stand category and floor position, the number of stands if the order covers more than one, the footfall assumption behind the giveaway quantities, the language mix for any printed material, the sizing list for apparel, and the opening day the organiser has published. If the dates are not yet confirmed, say so and we will quote against a planned window and state the artwork deadline it implies.