A campaign is rarely one ad. The same idea has to work as a square, a vertical, a horizontal, a banner and a poster. Often it needs a different version for every product, offer or market. A single enterprise campaign can run to twenty-five sizes.

The Editor puts all of those sizes on one canvas. You see them together, you edit them together, and you decide exactly which of them each change touches. Add a feed and one master design becomes a full set of sizes and content variants that you review visually.

One surface, several names. The Editor and the Ads Editor are the same thing, and Creative editor is another name for it. The Template editor is the same surface too. What differs there is what you do with the result: you save your work as a template, and you can then generate variations from it with a feed in Sheets. Everything in this article applies to static, video and display work.

Three things make cross-format work predictable: seeing every size at once, controlling which sizes a change reaches and choosing how a movement translates between them.

Open a work and all of its formats render together on a single infinite canvas.

Zoom out to take in the whole set. Zoom in to work on one size. The Editor always shows you which format you are working in, so you know where an edit will land. Formats also keep their order between sessions, which means the canvas looks the same when you come back to it.

You add a new format or size from the canvas. It appears alongside the ones already there.

This changes how you work more than it sounds. Every size used to be its own editing context. You worked blind to the others and switched constantly. You found out too late that a change had broken a size you were not looking at. Now the whole set is one visual field. You compare sizes at a glance and spot drift immediately.

[Suggest screenshot here: a work zoomed out so eight to twelve formats are visible together on the canvas, with one format active]

A good habit. Work zoomed out when you are making changes that cross formats. Zoom in for detail work on a single size. Before you finish a session, zoom all the way out for one full-set check. It takes ten seconds and catches problems early.

Every change you make has a scope, and you set it.

You can apply a change to every format that holds the element. You can apply it to a selection of formats that you pick. Or you can apply it to the single format you are working in.

When you scope a change to a selection, the Editor greys out the formats you have left out. That greying is a preview of the consequences. You see the reach of the change before you commit to it.

Get into the habit of setting the scope first and editing second. Two seconds of looking replaces an hour of restoring formats you did not mean to touch.

Single-format changes create deliberate exceptions in your set. Keep them rare and keep them intentional, so the set stays easy to reason about later.

A literal pixel offset means different things on different sizes. 40 pixels is a nudge on a 1080 by 1920 story and a major move on a 300 by 250 banner. So when you drag an element in a multi-format work, you choose how the move translates.

You have three options.

The old workflow meant dragging by the same absolute distance across mixed sizes, then hand-fixing every small format afterwards. You no longer need it.

Print Mode follows the same thinking. You turn it on in the Editor, and you choose how far it reaches: every format at once, a selection of formats, or a single one.

Selecting a subset is the part that is new. It matters when a campaign mixes digital and print, because you can put the poster and the press ad into Print Mode and leave the social sizes exactly as they are.

[Link: What is Print Mode and How Do You Use It? — https://help.trypencil.com/en/articles/14627150-what-is-print-mode-and-how-do-you-use-it]

Manually spaced layouts break quietly. Swap a product image, lengthen a headline or resize one element, and things overlap or drift apart. The Editor gives you rules instead, so a layout rearranges itself correctly when the content changes.

Select two or more related elements and group them. You then select, move and scale the group as one unit, and it carries shared settings.

Group by meaning rather than by position. A product image with its price and badge. A headline with its subhead. A button with its icon. If two elements should never drift apart, they belong in a group.

Group early, before you start adapting formats. Layout rules live on groups, so a design grouped by meaning adapts predictably. A design made of loose layers fights you on every size.

A group can hold a layout rule rather than a set of fixed positions.

Members can flow in a row or a column, with a spacing value between them. Or they can flow into a grid of cells. Either way, the arrangement becomes a rule. Swap a member, resize one or feed in longer copy. The group reflows instead of overlapping.

If you find yourself nudging items so the gaps look even, that is the signal to use a layout rule instead.

Turn on autofit for a button and the button frame adapts to its label. Longer copy grows the button and shorter copy shrinks it. The padding stays consistent. This holds across formats and through feed-driven copy changes.

Fixed-size buttons fail as soon as the copy changes. A translated call to action, a feed variant with a longer line or a simple copy revision clips or overflows. Then you fix every affected size by hand. Autofit makes the button responsible for itself.

Turn it on by default. Choose a fixed size only when that is a deliberate design decision. Autofit works best on a button inside a group with a layout rule. The neighbouring elements then make room as the button grows.

Sometimes you need one size and nothing else competing for your attention. Focus mode isolates a single format and steps the rest of the set back.

While you are in there, you can drag elements off the canvas. They stay fully visible in the space around it. Park two elements, rework the layout underneath, then drag them back into place with their settings exactly as you left them.

Only elements inside the canvas render in your outputs. The space around it is a workspace, so nothing you park there reaches an export. Zoom out before you finish and check that nothing important is still sitting outside a format.

Park elements rather than deleting them. A parked element keeps its settings. A deleted one does not.

Your feed drives the content. The canvas is where you review what it produced.

Generate variants from a feed, then open any one of them. It opens as a real, editable design with all of its formats. You have the same tools you have anywhere else in the Editor.

You can fix a single variant without touching the others. Reposition an element or adjust a layout, and the rest of the set stays exactly as generated.

Fix the master. If every variant shows the same problem, the fix belongs on the master design or on its layout rules rather than on fifty variants one by one. Per-variant fixes are for genuine exceptions: one awkward product photo, one headline that runs long.

Review the whole variant set zoomed out first. Scan for outliers before you open anything.

[Suggest screenshot here: the variant view, with one variant opened as an editable design]

Pencil renders the canvas and your exports through the same engine. Fonts, colours and image sharpness in a finished file match what you approved on screen.

That matters most at the end of a project, when you are signing off a large set under time pressure. You can approve on the canvas and trust the output. No opening exports to check that a typeface held or a brand colour landed.

Run through this once. It prevents most rework.

Delete this section, and the two screenshot notes and the Print Mode link note above, before the article goes live.