Sign Builder Illustrated April 2015 by Sign Builder Illustrated

monument design Creating Look and Feel

LAMINation advice Preserving Winning Graphics

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Number 238 | April 2015

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April 2015

34 48

Portraits of Hope BY MIKE ANTONIAK

Transforming lives and landscapes with paints and large format prints.

40 48

Monumental Installs BY PETER PERSZYK

Design ideas for monuments and pylons.

Wrapping the (Un)Ordinary BY LORI SHRIDHARE

Covering vehicles (and other objects) from head to toe.

Durability on Demand BY JASON YARD

New study yields insight into the benefits of choosing the right overlaminate.

Sign Builder Illustrated (Print ISSN 895-0555, Digital ISSN 2161-4709) (USPS#0015-805) (Canada Post Cust. #7204564) (Bluechip Int’l, Po Box 25542, London, ON N6C 6B2, Agreement # 41094515) is published monthly by Simmons-Boardman Publ. Corp, 55 Broad Street, 26th Floor, New York, NY 10004. Printed in the U.S.A. Periodicals postage paid at New York, NY and Additional mailing offices. Pricing, Qualified individual working in the sign industry may request a free subscription. 12 issues per year. Non-qualified subscriptions Print version, Digital version, Both Print & Digital version: 1 year US/ Mexico/Canada $50.00; foreign $99.00. Agency subscriptions: 1 year US/Mexico/Canada $45.00; foreign $89.10. Single copies are $15.00 ea. Subscriptions must be paid in full in U.S. funds only. Prices are subject to change. Copyright © Simmons-Boardman Publishing Corporation 2015. All rights reserved. Contents may not be

Sign Builder Illustrated // April 2015

It’s Time for Wayfind BY JO-ANN KELLY

Getting started on the process of finding one’s signage way.

BY BILL FREEMAN

Directions to help you shine a light on the message.

Staying Ahead With Fabrics BY MIKE COMPTON

Uncovering the real opportunities in soft signage.

76 82

Illuminating Post-and-Panels

Eye of the Wrapper BY JEFF WOOTEN

An education in wrapping transit buses for Towson University.

The (Digital) Sign Industry BY JEFF WOOTEN

A conversation with DSF Chair Ken Goldberg about these two industries.

reproduced without permission. For reprint information contact: Arthur Sutley, Publisher (212) 620-7247 or asutley@sbpub.com. For Subscriptions & Address Changes, please call (800) 895-4389, (847) 763-9686, Fax (847) 763-9544, e-mail signbuilder@halldata.com, or write to: Sign Builder Illustrated, Simmons-Boardman Publ. Corp, PO Box 1172, Skokie, IL 60076-8172. POSTMASTER: Send address changes to Sign Builder Illustrated, PO Box 1172, Skokie, IL 60076-8172. Instructional information provided in this magazine should only be performed by skilled crafts people with the proper equipment. The publisher and authors of information provided herein advise all readers to exercise care when engaging in any of the how-to activities published in the magazine. Further, the publisher and authors assume no liability for damages or injuries resulting from projects contained herein.

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Agenda

How-To Columns

APRIL 2015 April 8-11: The 2015 ISA International Sign Expo, with educational and networking events, will be held at the Mandalay Bay Convention Center in Las Vegas, Nevada. (www.signexpo.org)

MAY 2015

Departments

22 The Name Game BY Mark K. Roberts

Corporate name changes offer new opportunities for increased sign sales.

No Distractions

BY DAVID HICKEY

Keeping one’s eye on the sign prize when it comes to visibility.

The Name Game

No Distractions

A Sample of Your Wares

BY Mark K. Roberts

Minimizing your losses in the sign industry.

UpFront

Dispatches

Sign Show

SBI Marketplace

Editor Jeff Wooten reminds you not to forget that the visual side of the industry applies to your shop as well.

The latest news from around the industry.

The newest products and services from sign manufacturers.

Advertisements and announcements from the sign trade.

88 Shop Talk

Mark K. Roberts provides six simple tweaks you can make at your sign shop to improve its performance.

On the Cover This design for the Portraits of Hope prints-and-paints campaign takes flight. Photo: Portraits of Hope. 4

Sign Builder Illustrated // April 2015

May 3-7: LIGHTFAIR® International, the world’s largest annual architectural and commercial lighting tradeshow and conference, is scheduled to take place at the Javits Center in New York City. (www.lightfair.com)

JUNE 2015 June 4-6: The 2015 SEGD/ NEXPO Conference will take place in Atlanta, Georgia. (www.segdexpo.org) June 13-19: InfoComm 2015, a conference and tradeshow produced by the audio-visual communications association, uploads at the Orange County Convention Center in Orlando, Florida. (www.infocommshow.org)

JULY 2015 July 23-25: The Mid South Sign Association’s Annual Meeting & Tradeshow happens at the Embassy Suites Nashville SE in Murfreesboro, Tennessee. (www.midsouthsign.org) signshop.com

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Up FRONT

by jeff wooten

April 2015, Vol. 29, No. 238 Sign Builder Illustrated (ISSN 0895-0555) print, (ISSN 2161-0709) digital is published by Simmons-Boardman Publishing Corporation

Visual Appeal

executive offices

President and Chairman Arthur J. McGinnis, Jr.

Why do some shops have a hard time saying “cheese?”

ometimes it seems that there’s a select group of sign makers out there who have a tendency to forget that they’re actually working in a visual medium. No I’m not talking about the creative production side of signage for their customers; instead it’s more along the lines of what they do afterwards and the difficulty they have documenting and marketing their work to potential customers (and even existing customers). Of course, the intent here is not to sound critical; instead think of this more of an observation with some suggestions—especially if you recognize yourself in the following descriptions. The reason I bring this up is that the ISA International Sign Expo takes place this month (April 8-11) in Las Vegas, Nevada, which hopefully means I’ll be meeting a few attendees wanting to talk about some of the great-looking signs they’ve designed, built, and/or installed to be featured in our pages. However there are a few that leave me perplexed when they inform me that, at some point, they’ll have to go out and take photos of said signage to show me. Whaaaaaaat? Even if it’s just for internal reference only, sign makers should always try to keep a photographic record of all the signage they work on. This gives you voluminous choices when it comes to marketing pieces and portfolios. (And if intended for later usage in magazine articles, photographs of the production process, as well, hint, hint.) Then again, even if you are someone who already takes photos of the signage being produced at your shop, how invested are you in the finished presentation to show to customers? Are the photos a high-enough quality of

Sign Builder Illustrated // April 2015

Publisher arthur j. sutley 55 Broad Street, 26th floor New York, NY 10004 212/620-7247; fax: 212/633-1863 editorial editor

Jeff Wooten

323 Clifton Street, Suite #7 Greenville, NC 27858 212/620-7244; fax: 212/633-1863 jwooten@sbpub.com managing editor

resolution? Is the finished sign hidden in the shadows? Or is an obstruction blocking the full view of it? Or did the photo turn out fuzzy (a common problem when taking nighttime shots of illuminated signage)? If the quality of the photo is questioned, can you count on the customer not to equate that to the quality of the sign? Technological advancements in today’s Instant Gratification Age seem tailored more toward quickness and convenience than quality and lasting imagery. The transition from film camera to digital camera to cell phones might lend some to think that the composure of a shot isn’t important. But I’d argue differently. In the sign industry, image is indeed everything. Always try to use the highest possible resolution. Those images will look a lot crisper when either printed out for your portfolio or shown on tablets. (And if you’re worried size taking up too much available space, consider flash drives, which can help you save and store images from whatever camera you’re downloading from.) I’ve even noticed some shops that have generated dynamic results from investing in a professional photography studio to capture images of their signage. Speaking of “investing,” I’d argue that a camera is just as important a piece of equipment for your shop as a router, inkjet printer, engraver, etc.—particularly when it comes to marketing. (Hey, where exactly are the camera manufacturers at these industry tradeshows?) Hopefully while you’re checking out the technologies and materials on the exhibit hall floor, you should also keep an eye open to how to market yourself and the work you do. So not only is it all about the Benjamins these days; it’s all about the portfolio too.

Ashley Bray

55 Broad Street, 26th Floor New York, NY 10004 212/620-7220; fax: 212/633-1863 abray@sbpub.com contributing writers

Butch “Superfrog” Anton, Mike Antoniak, Mike Compton, Bill Freeman, David Hickey, Jim Hingst, Jo-Ann Kelly, Peter Perszyk, Mark Roberts, Lori Shridhare, Randy Wright, Jason Yard art

Corporate Art Director Wendy Williams Designer Emily Cocheo production

Corporate Production Director Mary Conyers circulation

Circulation Director Maureen Cooney advertising sales national sales director

Jeff Sutley 212/620-7233; fax: 212/633-1863 jeffsutley@sbpub.com west & midwest regional sales manager

Kim Noa

212/620-7221; fax: 212/633-1863 knoa@sbpub.com Sign Builder Illustrated is published monthly. All rights reserved. Nothing herein may be reproduced in whole or in part without written permission of the publisher. To purchase PDF files of cover and layouts or hard copy reprints, please call Art Sutley at 212/620-7247 or e-mail asutley@sbpub.com. Circulation Dept. 800/895-4389

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Dispatches

Tradeshow Graphics Make a

Fashion Statement

Conroe, Texas—ABI Digital Solutions recently created a number of graphics for ENK International’s Coterie, a tradeshow dedicated to women's apparel and accessories designers, and the graphics were as fashionable as the wares on the show floor. ABI Digital Solutions started in 1993 as primarily a billboard vinyl producer. Today the company does all types of vinyl projects or “anything bigger than a brochure,” as General Manager Tobe Bashor sums it up. Tradeshow graphics are a big part of the company’s profits. With a five-meter-wide FUJIFILM Uvistar2 machine for superwide 8

Sign Builder Illustrated // April 2015

printing, a FUJIFILM Acuity Select, and a 3.2-meter Durst Rho 320R press for doublesided printing, ABI Digital Solutions can handle all types of printing. The shop can even complete dye sublimation and finishing in-house, and it offers a number of digital printing processes, including solvent and UV. “I’m one of the few shops that can do everything internally,” says Bashor. ENK International was one of ABI Digital Solutions’ first tradeshow clients, and the shop has been working with them since 1999. On this particular project, they provided all of the show graphics—everything signshop.com

Insuring a New Look for State Farm

For the Coterie show, ABI Digital Solutions created banners; mesh signs; and 80-foottall, double-sided entrance drapes. The shop also provided foamcore directional signs.

from foamcore directional signage for the parking, shuttle buses, and meeting rooms to the double-sided entrance drapes that measure ten feet wide and eighty feet tall and were composed of twenty pieces. Mostly Duratex media (including the mesh and matte vinyls) was used to complete the project because of its consistency. ABI Digital Solutions often creates additional signs for the many shows ENK International produces, so color matching is important. “I’ve got to be able to produce additional graphics that match the ones that I produced in January,” says signshop.com

Bashor. “Their vinyl comes in the same shade of white, it prints the same with minor adjustments in color management, and it’s easy to maintain color throughout the year, which I have to for this client.” ABI’s ColorGATE software also helped keep color consistent across different presses and on six different materials for this project. ABI keeps color records on hand for future jobs, as well. “I keep record of everything that they’ve approved for color, and then throughout the show, I’m making sure everything matches what I have approved,” explains Bashor. “So when they order another sign three months from now, I know exactly what I printed in January, so I can visually match it.” When the graphics were completed, ABI Digital Solutions trucked them up to New York, where tradeshow management installed them. “We delivered everything rolled on ten-, twelve-, and sixteen-foot rolls," explains Bashor. "Nothing was folded.” In total, the project took about threeand-a-half weeks to complete. —Ashley Bray

I s l i p , N e w Yo r k — A m e r i c a n Signcrafters has provided turnkey signage for many leading financial services and insurance companies, and it is now working with State Farm Insurance to build a series of new signs for the company’s corporate offices across the United States. The project involves manufacturing and mounting a variety of backlit signs that reflect State Farm’s updated logo, which now boasts a more contemporary design. The new signage will have a bright and eye-catching look and will reduce overall energy consumption. These signs were made by American Signcrafters, which has extensive in-house capabilities including comprehensive project planning, management and tracking, permit procurement, sign design and engineering, three fabrication facilities, and installation and remediation services. “We’re pleased to apply our very deep experience developing financial services signage solutions to the needs of State Farm,” said Jeff Petersen, founder and C EO of American Signcrafters. “State Farm understands the role that high-quality, customized signage can play in an overall marketing strategy and how it can have a positive impact on corporate visibility.” The work is currently underway with completion expected this spring.

April 2015 // Sign Builder Illustrated

Dispatches + NCCCO Marks Twenty Years of Certification

Partnering Up to Produce a Divine Monument Allentown, Pennsylvania—When St. Josaphat Ukrainian Catholic Church needed a new monument sign as part of its 20142015 Vibrant Parish Project Campaign, it took a team effort between Valley Wide Signs & Graphics and Peachtree City Foamcraft to get the job done. Valley Wide Signs brought in Peachtree because the project called for a foamcore monument sign. “We knew that Mike [Fetter] and his team would not only provide a quality product, but he would also help us work directly with the client to accommodate their diverse needs,” says Steven Gingras, president of Valley Wide Signs. Working with the client was the biggest challenge on this otherwise straightforward project, as all the sign decisions had to be approved by the large, diverse group that made up the Parish Advisory Committee. In fact, seven months of this nine-month project were spent agreeing on design, colors, and size. Gingras has some advice for reaching a decision when “there are more opinions than there are people involved.” He says, “Be very careful about trying to push a certain opinion upon them. They must get to their own decision as a group through all their committees and trying to push them to a decision will backfire. "And be patient. Be very, very patient.” 10

Michael Fetter, sales manager at Peachtree, adds that it helps to find an ally in the group. “When dealing with a committee, always identify the person who has the personality to steer the group and keep them on task,” he says. Valley Wide Signs created a design based on the architecture of the church. Once the committee approved it, they visited Peachtree’s facility to see the foamcore product firsthand and observe an impact durability test before Peachtree got to work carving the monument. The monument's letters were integral to the sign and were CNC-routed out of the foam. “[We] discussed using dimensional aluminum letters instead, but in order to stay within budget and get the size sign they wanted, it was decided to go with integral letters,” explains Gingras. The entire sign was encapsulated in Peachtree’s Poly-Armor™ protective coating and painted with 100 percent acrylic, exterior latex PPG Pittsburgh Paint. Valley Wide Signs installed the monument on the church property in three hours with two installers. “It was a direct burial of two aluminum posts that fit into a sleeve within the sign,” says Gingras. “It took about an hour to dig the holes with a walk-behind powered auger.” —Ashley Bray

Sign Builder Illustrated // April 2015

Fairfax, Virginia—The National Commission for the Certification of Crane Operators (NCCCO) is celebrating the twentieth anniversary (www. nccco.org/20Years) of its professionally developed and nationally accredited personnel certification programs. “Over the past two decades, CCO certification has made an indelible contribution to crane safety by establishing a national benchmark of the knowledge and skills needed to operate cranes,” said NCCCO President Thom Sicklesteel. “CCO certification, without question, is one of the most powerful tools available to an employer in ensuring only qualified personnel work with and around cranes.” NCCCO is preparing a slate of activities and announcements as part of a special Twentieth Anniversary Recognition Program developed to mark the occasion. “There’s a tremendous amount that administering almost one million examinations can tell us, and we’re excited about sharing that information with the industry, as well as outlining the role we believe professional certification can play in addressing such issues as the nation’s skills shortage,” said NCCCO CEO Graham Brent. Studies have demonstrated an 80 percent decline in crane-related fatalities in areas where professionally developed certification has been adopted. “Insurance companies, project owners, and risk managers recognize the key role that CCO certification plays in workplace risk mitigation and the impact it has on the safety of crane operations overall,” said Brent. "CCO certification has been successful for one major reason: It works.”

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Dispatches + 2015 CorelDRAW International Design Contest Now Open “I’ve used CorelDRAW for years, and to be recognized by the CorelDRAW community is a true honor,” said Alexei Oglushevich, winner, 2013 CorelDRAW International Design Contest. “Through this design contest, I was able to see the incredible work that designers create using CorelDRAW. It’s truly inspiring.” All design submissions are subject to the Official Rules, available at coreldraw. com/design-contest.

photo: alexi oglushevich.

Ottawa, Ontario— Corel has launched the 2015 CorelDRAW International Design Contest, which runs to May 31, 2015. During that time, participants can submit artwork created in CorelDRAW® X7 or Corel® PHOTO-PAINT™ X7 for their chance to win. With over $100,000 USD in prizes available, this year’s contest promises to bring out the best in CorelDRAW designers and artists. “Seeing the artwork and designs that people create with CorelDRAW Graphics Suite is what inspires us to develop and maintain the program,” said Gérard Métrailler, vice president, Product Management, Graphics & Productivity at Corel. “The International Design Contest gives us an opportunity not only to see more of this incredible artwork but also to showcase CorelDRAW users and give them

the exposure that they truly deserve.” Participants can submit entries into a ny o f t h e fo l l o w i n g c at e g o r i e s : Advertising/Specialty; Vehicle Wraps; Textile/Fashion Design; General Illustration & Fine Art; Student; and Speed Drawing Video (time-lapse videos showing creation of a design in CorelDRAW X7 or Corel PHOTO-PAINT X7). Three winners will be chosen for each category—including one grand-prize winner. The result: a total of eighteen winners. Judging will take place throughout the months of June and July, and Corel will announce the winners at the end of July. The grand-prize winner will receive a Roland VersaStudio BN-20 Desktop Printer/Cutter, a Wilcom Embroidery e3 with All Elements, an iStock Signature 50 Annual Subscription, and $10,000 USD in cash. In total, the grand prize is valued at $30,000 USD. Other prizes include products from Corel, Wilcom, iStock, Stock Layout, EuroSystems, and Monotype. Do you have artwork you have created in CorelDRAW® X7 or Corel® PHOTOPAINT™ X7? Enter it for a chance at over $100,000 in available prizes.

Boston, Massachusetts— Semper International, a leading placement firm for skilled help in the graphic arts and printing industry, finds that the number of companies reporting sales growth increased for the fifth straight quarter, to nearly

Sign Builder Illustrated // April 2015

60 percent for Q4 2014. The report offers a number of critical insights that Semper found in the survey data. These include: + Eighty-five percent of respondents reported a profitable Q4 2014; + One-third (33 percent) of companies saw an increase in sales during the first two weeks of 2015; + Nearly two-thirds (62 percent) of respondents expect sales to grow during Q1; + Sixty-two percent of businesses are diversifying, up five points from last quarter; + The leading areas of diversification continue to be Web-based media and wide format printing; and + F orty-five percent of all respondents expect to hire staff during Q1 2015. This report is available at http://ow.ly/JQ2xV.

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photo: 3m.

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SignSHOW A D H E S I V E S / TA P E S FASTENation Silver Tape Products are Suited for Both Interior and Exterior Applications FASTENation offers its Silver Tape® products, which are double-sided, high-performance, acrylic-based adhesive tapes designed for a wide variety of materials with varying levels of surface energy. These superior, high-bond, industrialstrength tapes provide long-term holding power and are the perfect products to replace mechanical fasteners. Silver Tape products are vibration dampening and resistant to wind and water. They can act as a sealant and form a permanent, tension-free bond. Resistant to UV, aging, plasticizers, yellowing, and solvents, Silver Tape products are suitable to bond together many synthetic materials. 800/876-9922; www.fastenation.com

B A N N E R S /M AT E R I A L S / E Q U I PM E N T The BravoBanner System Automates the Banner Finishing Process for High-volume Production The BravoBanner® system from E.L. Hatton Sales Co., automatically applies adhesive-based BravoTabs and BravoTape simultaneously along the top and bottom edge of banners. With adjustable widths and hem taping speeds of up to eighty feet per minute, BravoBanner can finish one hundred medium-length banners per hour with a single operator, thereby dramatically reducing labor costs. The system’s efficient mechanical footprint (less than 50 square feet) and low electricity requirements save on precious floor space and power when compared to sewing or welding systems. www.bannerups.com

D I G I TA L P R I N T I N G E Q U I PM E N T/ S U P P L I E S The Future is Now: National Business Brand Campaign for Epson Epson America, Inc., regional headquarters of Seiko Epson Corporation, has launched the “Cityscape” campaign, which highlights the company’s wide range of high-performance business products in key strategic markets. Using the tagline, “Where there’s business there’s EPSON,” the campaign showcases a wide range of innovative business solutions and underscores Epson’s deep-seated commitment to today’s business marketplace. The creative approach for the campaign centers on images of futuristic city skylines that mash-up Epson products—robots, digital label presses, point-of-sale systems, projectors, and business printers—with ultramodern architecture and iconic structures to generate eye-catching science fiction-like imagery. Building active engagement with the Epson brand and elevating the company’s impact on business, the first phase of the campaign kicked off with airport signage simultaneously in New York (JFK), Los Angeles, Chicago, Atlanta, San Francisco, and Denver and will extend to a range of media channels (print, digital, radio, TV, venue advertising, direct response, and Epson social channels) through the end of 2015. www.epson.com

New Constant-Current LED Driver from Innovations in Optics, Inc. Innovations in Optics, Inc., introduces the Model 5000D-100 LED Driver/Controller for powering its Aurora™ Classic Line Source Illuminators. The 5000D-100 LED Driver provides constant current in either continuous, pulsed, or PWM modes. An embedded system adds network control with 10/100Mbps Ethernet connectivity. The 5000D-100 is also available for third-party LED illuminators to be used as a constant current DC to DC driver/controller. Drive current in continuous mode is selectable from 200 to 2000 mA at 7.5 to 60 VDC output. The output current setting is adjustable from 100 percent down to 10 percent, with duty cycle adjustment from 100 percent to 1 percent via the Ethernet interface for a 100:1 dimming range. Both analog and digital remote controls are built-in. Other features: temperature sensors for both the current driver and its hosted line source, cooling fan operation tied to the +24 VDC input power, and a DIN rail mounting clip. www.innovationsinoptics.com

Five-color Production Printer Series Lets You Increase Revenue and Cut Costs Ricoh Americas Corporation has announced the availability of the RICOH Pro C7100X series, its latest production cutsheet device family that offers users a fifth color station to help enable a wider range of applications. These high-speed, production color printers and multi-function devices (MFPs) deliver the ability to print with white or clear via the fifth station. Ideal for small and mid-sized print providers, the RICOH Pro C7100X series provides these shops with the flexibility and capabilities to create the type of eye-catching output their customers want without the expensive price tag normally associated with printing equipment in this engine class. With the ability to produce jobs that use clear or white ink to outputting near offset image quality on oversized media, window clings, VDP, P-O-P displays, and custom materials, printers can now create output that differentiates them from their competition. www.ricoh-usa.com/rpp

Sign Builder Illustrated // April 2015

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SignSHOW DY E S U B L I M AT I O N Fisher Textiles Adds Yoga Fabric Made from Recycled Yarns to Lineup Fisher Textiles introduces ET 3000 Yoga, a fabric made with REPREVE recycled yarns produced from recycled plastic bottles. With a soft hand and an adequate stretch, the fabric is 14.5 ounces/linear yard and is comprised of 86 percent REPREVE Recycled Polyester and 14 percent Spandex. It is compatible with dye sublimation printing and is treated with Sorbtek, a moisture management system that allows perspiration to move away from the body, dries quickly, controls odor, and promotes comfort. ET 3000 Yoga is stocked at sixty inches wide, and free sample rolls are available for testing. 800/554-8886; www.fishertextiles.com

Graphics One Introduces Its New Metalnox EL 900 Heat Press The Metalnox EL 900 from Graphics One, Inc., features an affordable and cost-effective heat press with a transfer platen area that is well suited for medium to wide format dye sublimation and heat transfer applications. The Metalnox EL 900â&#x20AC;&#x2122;s easy-glide drawer and the specialized platen shocks require little effort to operate the press. The plates are coated in a double layer of Teflon for added durability and protection. Featuring an even and accurate heat and pressure distribution along the entire platen (with its centrally located and adjustable pressure system), the EL 900 heat press provides flawless transfers every time. Additionally the Metalnox EL 900 heat press utilizes a userfriendly and configurable digital control panel for time and temperature settings. It provides a small footprint that can easily fit into any workspace environment, and itâ&#x20AC;&#x2122;s constructed with industrial-grade materials for durability and longevity. www.graphicsone.com

Sign Builder Illustrated // April 2015

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FAB R ICS Imprintables Warehouse Offers WallFrog Removable Fabric Wall Graphic Media Versatile, easy-to-use, and eco-friendly, WallFrog™ is a new media for printing vibrant, repositionable fabric wall graphics with wide format solvent, eco-solvent, and UV printers. The biodegradable polyester fabric can be used to create graphics for children’s rooms and nurseries, as well as temporary decals, signage, and other wall decor. Its 5-mil thickness and special matte coating for easier (borderless) cutting and weeding make it especially suitable for smaller, more detailed images and decals. These features, along with an excellent white point, allow for rich colors and photographic reproduction. They also make it easy to boost sales with sports cut-outs. WallFrog works like traditional vinyl in that you print, cut, weed away the excess, and apply. It is extremely thin and easy to cut; no white border is necessary. WallFrog features a low-tack, removable, and repositionable adhesive formulated to maintain a stable level of strength over time. It can be applied on most normal and even sensitive indoor surfaces like interior walls, laptops, phones, and more. WallFrog is sold in 20-, 30-, and 54-inch widths in 100-foot-long rolls. 800/347-0068; www.imprintables.com

Outwater’s Tensioned Fabric System by FOGA Outwater’s Tensioned Fabric System by FOGA® introduces a comprehensive range of clear anodized, extruded aluminum profiles and accessories that have been engineered for use with tensioned fabric. The system readily and cost effectively creates customized, single- and double-sided, LED backlit or unlit signs, banners, exhibits, pop-up displays, and light boxes of any size desired. Comprised of integrated channels that run the length of each profile, silicone strips sewn into the perimeters of tensioned fabric can be easily pressed into the slots of the system’s configured modular profiles, enabling perfect results every time without the need for any tools or special skills. Easy to cut, miter, and connect, Outwater’s Tensioned Fabric System by FOGA® works with any type of décor and is intended for use in decorative and promotional wallscapes, advertisements, signage, and more. 800/631-8375; www.outwater.com

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April 2015 // Sign Builder Illustrated

SignSHOW L A M I N AT I N G E Q U I PM E N T/ S U P P L I E S WrapSure is USI’s Newest Pouch Lamination Line USI, Inc.’s new WrapSure pouch lamination kit sets the standard for value. It is now offered as a competitively priced product bundle with everything you need to get started. The kit includes the WrapSure twelve-inch thermal pouch laminator, fifty WrapSure 3-mil letter wraps, one hundred vertical luggage tags, and one hundred clear plastic loops. The leading marketer of roll and pouch laminating machines and films, binding equipment and supplies, and many other office accessories (including photo ID systems and mounting and display boards). Using a multi-channel distribution network, USI and its licensed affiliates offer quality products to a wide array of customers including local print shops and in-house corporate printers. 800/282-9890, ext. 7265; www.usi-laminate.com

LED MODULES/TUBES/STRIPS Traxon Technologies Partners with Galaxy Glass & Stone to Release MediaGlas Traxon Technologies, a global leader in solid-state lighting and control systems, is pleased to introduce MediaGlas™ through its partnership with Galaxy Glass & Stone®. MediaGlas is a highly customizable line of monolithic and laminated architectural glass products designed specifically for use with Traxon & e:cue LED lighting and controls. Exclusively available through Galaxy Glass & Stone, MediaGlas is for use in a wide variety of back-lighted LED applications, such as medium-resolution image displays and precisely color-controlled light emitting surfaces. It is comprised of light-modifying elements that diffuse, disperse, and reflect, while offering both aesthetic and functional purposes. The combination of light and glass creates infinite appearances and forms, as well as enables the communication of information with text and graphic imagery in architectural applications. Intelligently controlled by an e:cue Butler and Action Pad, MediaGlas offers endless variations in color, intensity, directionality, and timing. www.traxontechnologies.com; www.galaxycustom.com

Sign Builder Illustrated // April 2015

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SIGN ACCESSORIES Hurricane-Proof Signs are Now Possible Windbreaker Systems has recently come up with a unique, patented way to protect signs and solar panels from wind damage. With the increasing demand in LED message centers and the cost associated with them, this system can protect most signs and panels from all types of wind damage. This unique system ties into any single pole sign (regardless of size) below the sign or panel and allows the sign to turn with the wind, greatly reducing the force created by the wind. The release mechanism can be adjusted to activate at any selected threshold wind speed. If the Windbreaker System activates at, say, seventy-five miles per hour, the wind force is dropped significantly and the required footing size is proportionately reduced, resulting in less cost for installation. The system is reset by pushing the sign back to its original position. Installation of the system requires a certified sign company. www.windbreakersystems.com

S I G N B L A N K S / PA N E L S / S U B ST R AT E S New White Fome-Cor ValuBoard Offers a Fresh, Clean-looking Decorating Option The Fome-Cor® ValuBoard™ line has been expanded with new White ValuBoard sheets, which features white, extruded polystyrene foam sandwiched between two white, non-coated kraft liners. ValuBoard by 3A Composites USA offers a smooth surface for decorating—including mounting and laminating applications—with no unsightly flutes to show through (such as those experienced with corrugated cardboard displays). ValuBoard is recommended for creating shortterm point-of-purchase displays, exhibits and kiosks, and interior signage, as well as for long-term framing applications. It can be fabricated with mounting/laminating, knife-cutting, die-cutting/punching, and embossing techniques. ValuBoard is now available with white kraft liners/white foam, as well as natural kraft liners/white foam and natural kraft liners/black foam, in the 3/16-inch thickness and standard 48-by-96-inch sheets. Additionally all ValuBoard color options are available as custom cut-to-size orders. 800/626-3365; www.GraphicDisplay.com

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April 2015 // Sign Builder Illustrated

SignSHOW SIGN frameS The Unveilng of Several New Fabric and Magnet Pop Up Displays The Pop Up Straight Fabric line from Tex Visions utilizes aluminum criss-cross frames that snap together in seconds. These products stand straight and are available as table displays and floor-standing models in six sizes from 2.5 feet-by-2.5 feet to 12.2 feet-by-7.4 feet. All models are available with or without sides. Prints are done on Multisol® X FR, a wrinkle-free, opaque-knitted polyester with a slight stretch. The Pop Up Curved Fabric line also utilizes aluminum criss-cross frames, but they are curved to create a warm, inviting feeling for tradeshow booths. This line features four floor-standing displays ranging in sizes from 5 feet-by-7.4 feet to 12.2 feet-by-7.4 feet, and a 7.4 feet-by-5 feet table display model. The Pop Up Magnet displays use magnets to connect the frame together and hook at the top of the prints to make it easier to line up panels. The print also connects magnetically and is printed on PVC Opaque 20ml. www.texvisions.com

V E H I C L E G RA P H I C S New ORAFOL Social Media Pages Dedicated to Solid-color Wrapping and Vehicle Restyling Market In an effort to recognize the talented installers utilizing ORAFOL restyling products, ORAFOL Americas has launched new social media pages on Facebook (orafolvehiclewraps), Instagram (orafolvehiclewraps), Twitter (orafolwraps), and YouTube (http://bit.ly/1waURrX). These new social pages are focused on the consumer vehicle restyling market where ORAFOL solid color, textured, and paint protection products are used. ORAFOL is dedicated to providing premium solutions for both installers and consumers for their vehicle restyling applications and plans to expand this product offering to meet the growing demands of the market. 888/672-2251; ww.orafolamericas.com

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Sign Builder Illustrated // April 2015

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VINYL/VINYL FILMS/SUPPLIES Clear Overlaminate has Improved Textured Matte Finish and Optimized Adhesive for UV Output Interlam Pro™ Emerytex®, a 125-micron (5-mil) PVC overlaminate with a pressure-sensitive acrylic adhesive from Drytac®, is now available with a more durable, sand-textured finish that provides greater uniformity and an improved matte, antiglare appearance. The heavier coat weight and unique cross-linking adhesive on the textured finish is popular for use on aqueous, solvent, and latex inkjet output and has now been optimized for use on UV inks as well. Interlam Pro Emerytex provides superior clarity for enhanced color definition and has UV stabilizers that prevent discoloration and degradation of both the film and adhesive, extending the durability of outdoor graphics for more than three years. It has also been tested for anti-slip properties (Test EN-13036-4) and is approved for use on floor graphics. The film’s new textured finish is excellent for use on retractable banner stands, event signage, tradeshow graphics, point-of-purchase displays, counter mats, mouse pads, and floor graphics. Additionally it can be used to laminate simple, flat vehicle graphics—such as those on delivery trucks—due to its scuff resistance. www.drytac.com

It’s Now Easier than Ever to Obtain Media Profiles for Roland Printers The new Roland Profile Center from Roland DGA is a free, one-stop site that makes it easier than ever for end-users to access and download Roland-branded media profiles—as well as VersaWorks® profiles offered by other major media manufacturers—with just a few clicks of a mouse. Locating, downloading, and importing a profile from the Roland Profile Center requires only a few simple steps. The process is documented through a PDF and a video that is available at the “Support” section of the Roland Profile Center Web site. www.rolanddga.com

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April 2015 // Sign Builder Illustrated

HOW-TO

By Mark K. Roberts

Dimensional

The Name Game Corporate name changes offer new opportunities for increased sign sales.

fter being in business for thirtyeight years, I have enjoyed installing new signs. I have also enjoyed updating numerous existing signs. Each of these types of assignments offers my clients a new and fresh appearance in their quest to attract better business. And this is never more so the case than it is with monument sign designs. For many years, I have invested in the Peachtree City Foamcraft monument signs. Once my clients decide on the size, style, and textures they want, we go about creating a fullcolor design for their proposed sign. Most of my Peachtree monument signs are designed to serve a particular client; however if the existing company moves and a new company

leases the space, we can remove the original sign and create an updated version of it for the new owner or tenant, using their logo, colors, and perhaps some hand-tooling for that extra touch of creativity. Fortunately for us, we do not have to pour a new slab; we just use the existing one from the initial installation. We recently found ourselves called upon by a new company, Curtiss-Wright, to change the name on one such monument sign that we had built and installed for another client, FW Gartner, years earlier. The sign we had initially built here consisted of two pan-formed logo signs that identified then-tenant. These one-and-a-half-inch-deep pans were attached to the center of the monu-

The updated monument sign for the new client.

Sign Builder Illustrated // April 2015

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Top: A photo of the monument sign for the previous tenant. Right: The author removing the pan face from it. ment sign with concealed hanger bolts. For the horizontal textured bottom of the sign, we had originally cut three-inch red Plexiglas® letters and glued them individually to the bottom portion of the monument sign. We had to use a pattern then not only because of the small size of the letters but also because of the num-

ber of letters that we had to apply. After all the spacing and gluing had been performed, the bottom copy was complete, and it looked perfect. The middle of the sign had been customized to accommodate the anchor points to attach the sign. Below the surface of the monument sign, the sign plaque

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was attached to these anchor points. However the Curtiss-Wright company decided they wanted us to instead install new white 0.080 aluminum to cover the four flat surfaces. So we cut the new white aluminum sheets in our shear to the exact measurements. From there, we adhered 3M high-

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Sign Builder Illustrated // April 2015

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performance two-mil vinyl to the main faces of the sign—one on each side. Next we adhered two smaller horizontal signs (which were lettered in black high-performance vinyl). The client is pleased with their new signs, and we are well poised to propose companion signs to complete the package. Changing the corporate look on existing signs is an ongoing task, yet it is one that we jump at when the opportunity to do so arises. Fresh, new sign faces definitely increase the “notice” factor, and that is another perk we can all enjoy. Always be on the lookout for signs that could use a little tender loving care. Introduce yourself and let this prospective client know that their new and effective signage program is only a few days away. Lead your prospects and clients into a new phase of prosperity by always upselling and increasing the value of the existing signs.

Top: The pan face removed from both sides of the monument sign. Bottom: Removing the glue from the previous letters.

Mark K. Roberts is a thirty-eightyear veteran of the sign industry, as well as the owner of The InterSign Group (www.theintersigngroup. com) in Houston, Texas.

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April 2015 // Sign Builder Illustrated

HOW-TO

By David Hickey

Regulations

No Distractions Keeping one’s eye on the sign prize when it comes to

Foundation, Inc., has proven this to be true. But the impact of a federal study producing similar results provides significantly more credibility when we argue this point at the state and local levels. Major research initiatives wind their way through TRB meetings for several years—from preliminary research to final rule to regulations. Being engaged in this conference allows the International Sign Association (ISA) and the sign industry to watch closely as issues develop. If necessary, then we can engage researchers and present alternative viewpoints or avenues. This can be significant in the end product. This year, there were two smaller victories that bode well for the sign industry and may be powerful tools in combating misperceptions about our industry’s products.

all Photos: Shutterstock.com

visibility.

ecently a group of researchers interested in all facets of transportation issues held their annual convention in Washington, D.C. It might seem somewhat tangential to the sign and visual communications industry, but the Transportation Research Board (TRB) frequently studies issues that affect signs and visual communications. Last year, for instance, one of the major topics of discussion at the annual meeting was a report by the Federal Highway Administration that found no link between electronic message centers (EMCs) and driver distraction. This sort of scientific research into areas that affect our industry can be extremely beneficial. We’ve known that EMCs did not contribute to driver distractions. Research by the Signage

Sign Builder Illustrated // April 2015

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Sign Builder Illustrated // April 2015

The first issue is part of a multi-year Canadian research project that is expected to lead to recommendations for traffic safety guidelines in Canada. It will be published in full later this year. Researchers have identified twentyfour important questions or variables about electronic sign usage. The questions are broken down into intrinsic sign characteristics and placement guidelines. The questions explore issues related to brightness, message sequencing, color, and animation, as well as placement, density, and the like. The Canadian study also stated that the appropriate brightness of EMCs is at 0.3 footcandles above ambient. This has long been the position of ISA and other industry groups like the Outdoor Advertising Association of America (OAAA). In 2011, ISA published research that determined 0.3 footcandles was an appropriate balance between readability and objectionably bright. With the backing of the Canadian research project, we hope to have a greater opportunity to sway U.S. policy makers. Another issue is more along the lines of the dog that didn’t bark. In other words, it wasn’t research that was presented—but that which wasn’t. In an eight-hour session devoted to driver distractions, each segment focused on issues inside the vehicle: cell phones/texting, increasingly complex consoles, etc. In a day devoted to driver distractions, there was no mention of signs in any capacity. So it’s becoming clear that drivers have more issues than signage when it comes to things that can take their eyes off the road. Newer technologies—like in-car communications and entertainment—are proving far more of a concern than signs. It’s important that ISA and the sign and visual communications industry is known to key researchers in this particular academic field. This is why we attend TRB, as well as the American Planning Association national and regional conferences each year. We’ll continue to build these relationships and invest time and resources into ensuring that the positive aspects of signs are understood. David Hickey is vice president, Government Affairs, at ISA. He can be reached via email at signcodehelp@ signs.org. signshop.com

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Business Management

A Sample of Your Wares Minimizing your losses in your sign

money, and patience. What are the final results your client wants to accomplish with this new sign? Would he or she like to sell a product or promote a product? There is a lot to consider in this stage of the game, and to minimize your time and close the sale, you must take the lead in the transaction. Perhaps your potential customer is a bargain shopper. Chances are they want to save money, and perhaps they can. But starting at the bottomend price would only result in bottom-end results. Arrive at a workable budget the client is comfortable with. Once the client knows he or she can afford the product, the stress levels begin to fade. The client is now moving into the â&#x20AC;&#x153;owner mode,â&#x20AC;? and minimal persuasion is all it takes to close the transaction. This is a great time to pull out your props! Show the customer some of your samples of

Photo: sai.

business.

e all need to act like the sign company owners that we are. We must exude the qualities of a professional advertising consultant, marketer, promoter, fabricator, installer, and cashier. When I began my sign business part-time back in 1976, the sign industry was a totally different animal. The majority of sign production was accomplished with hand lettering and screen printing. Back then, skills had to be learned to create saleable sign products and to implement effective marketing and promotion techniques. Speed and efficiency were the order of the day, and creativity and neatness (as well as active promotion) could guarantee a nice profit come Friday afternoon. Today developing a sign project takes time,

Sign Builder Illustrated // April 2015

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Sign Builder Illustrated // April 2015

Mark K. Roberts is a thirty-eight-year sign veteran, a magazine columnist, and the owner of The InterSign Group (www.theintersigngroup.com). signshop.com

Photo: colorado signs.

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letters, banner material, and other substrates. These materials have a wide variety of price, quality, and longevity, so I call this something for everyone! Allow your client to touch and feel the samples, so he or she can appreciate the value you have placed in your quality sign products. In the long run, serious buyers purchase the best they can afford to maximize their budget. Some of your masterpieces are too large to show your prospects while inside your sign store. In order to maintain the sales of these larger signs, you must capture their images on high-quality photographs. Invest in a Single Lens Reflex Camera and make sure you have adequate lighting to properly capture photos of your craft. Take a lot of photos and only display the “wow” images. Beautiful sign photos with adequate lighting will certainly impress your prospects and customers, and that is our goal—to sell a lot of sign projects. If your telephone is still a little lazy when it comes to ringing, take the afternoon off and visit some of your clients. When you make a personal appearance at your client’s office, they are usually anxious to see you. And why not? We are the purveyors dedicated to the increase of our client’s coffers. Arrive with samples applicable to the client’s needs and share with him or her the value of these new time-savers. Full-color digitally printed banners, stand-up point-of-sale signs, and digitally printed advertising signs attached to the ceiling grid with almost invisible clips are all great ideas for your worthy customers. If you are the first to show these to your clients, you will clinch the order. Be creative, but most importantly, be on time when your customers and clients need you the most. Above all, keep your mind in the game. We are professional sign salespeople, and we must keep looking for the next big thing when it comes to point-of-sale signage and graphics. And the good news is that there are more advertising items coming all the time! Be sure to sell your fair share.

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Portraits of Hope Transforming lives and landscapes with paints and large format prints.

ast year, residents of New Yorkâ&#x20AC;&#x2122;s inner city neighborhoods saw the drab laundromats where they often gather revitalized with vibrant wraps and colorful graphics. This summer, visitors to MacArthur Park in Los Angeles will see the destination assume new hues when hundreds of giant balls, painted with a comparable mix of flowers and forms, float on the water. These projects (and many more) are the realization of Portraits of Hope, a vision shared by brothers Ed and Bernie Massey to use art on a grand scale to benefit children and the communities where they live. Drawing on support from government leaders, corporate sponsors, volunteers, and the printing trade, they combine public art and civic involvement to empower and enrich young lives, espe34

Sign Builder Illustrated // April 2015

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Portraits of Hope combines large format graphics and wraps along with civic involvement to empower and enrich young lives.

cially the disabled and disadvantaged. “We’ve worked with communities all over the country, large and small,” says Bernie, spokesman for Portraits of Hope. “These projects are really amazing collaborations and, for me personally, incredibly rewarding. “The dynamic public visuals stand out and command attention in the best of ways, but the story behind the visual transformations is what makes Portraits of Hope, ‘Portraits of Hope.’”

All photos: Portraits of Hope.

Creative Therapy The brothers started the non-profit in 1995 to develop and implement public arts projects as creative therapy for hospitalized or physically disabled children. Since then, notable successes include wrapping airplanes, blimps, buildings, lifeguard houses, New York taxis, and NASCAR racecars. Before last summer’s laundromat transformation, Portraits of Hope wrapped the fleet of emergency vehicles serving the area around Aspen, Colorado. To date, more than 70,000 children and 800 hospitals, school programs, social service agencies, and civic groups have consignshop.com

tributed to Portrait of Hope’s success. Although the scope and setting of projects vary, each shares common goals and procedures. At the core, they are developed to enrich the lives of disadvantaged children through personal achievement. Through their participation and artwork, they learn values of civic responsibility and team work. “Without the support of (the printing) industry, none of these could happen,” notes Bernie. His brother Ed adds, “The generous spirit of many in the industry has made all our projects possible and enabled thousands of children, many with very difficult circumstances, to beam with pride and achieve in a very big and public way.”

Digital Graphics Large format digital printing provides the means for imparting those lessons and bringing these projects to life. Every project features the Portraits of Hope’s iconic logo flower and other graphics designed by Ed, an accomplished artist. They are first printed as black outlines on large format presses and digital media. April 2015 // Sign Builder Illustrated

Portraits of Hope transformed six laundromats in New York using MACtac vinyl printed on an HP Scitex XL 1500 solvent inkjet printer and painted by children volunteers.

These graphics are then hand-painted by the children, from a pallet of fourteen colors. Since the goal is to be totally inclusive, the Massey brothers have had to develop some special paint brushes and methods so every child could contribute, regardless of disability or physical condition. They also rely on volunteers in every community to help coordinate each project and assist in these paint sessions. “There’s so many steps, we need volunteers all the time, and almost always depend on installers who donate their time,” says Bernie. Support takes many forms: cash contributions, outright sponsorship, materials given or sold at cost, and donations of time and services. “No one pays the full cost because we always need something donated,” says Bernie, “and we scale each project in terms of the financial support we have for it.”

Visual Transformation These projects begin in several ways. For the most visible, large-scale initiatives, the brothers look for opportunities to transform the familiar in high-profile settings into something uniquely visual and engaging. These can be the most difficult to pull off, as they must con36

vince civic leaders to sign off on them. “We have to go to the local government and explain how we want to take this asset they have and transform it visually in a way that will benefit the entire community,” says Bernie. “The biggest challenges are getting government approval then lining up financial support.” Occasionally local representatives approach the group about bringing a Portraits of Hope project to their community. Or corporate sponsors contact the Masseys about backing a project as a community outreach/public relations initiative. That’s how the New York laundromat transformation came about. “We’d worked with Proctor and Gamble on a project involving the Santa Monica ice skating rink, and they were very happy with the experience,” recalls Bernie. “Early last year, they approached us again and asked if we could come up with something in a major city [connected with a P&G product] for another project.” The Massey bothers submitted five proposals, including the laundromat wraps. “In the inner city, these serve as neighborhood community centers, where adults and kids spend hours at a time,” notes Bernie. “They’re taken for granted and tend to be pretty dull. We thought if we could visually transform them, we

Sign Builder Illustrated // April 2015

could add some positive energy.” P&G selected its Gain brand of laundry products as official sponsor. With that goahead, the brothers scouted 150 laundromats in the city before selecting six for the project, four in the South Bronx, one in Washington Heights, and one in Harlem. The project called for total wraps, including washing machines and dryers. Because of the wear and tear and heat generated in these spaces, they needed durable materials. MACtac, a long-time supporter, donated its IMAGin® JT5529BFD Pro vinyl for washers, its JJ5999MBF for dryers, and its IMAGin® M Series™ EMR328 and EMR329 films and PermaFlex® PF6500 overlaminate film for floor graphics. Printsignshop.com

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2009 2015

Introduces MAP-LV Ultra Low VOC. Moves to Delaware, OH

ing services were donated by Imagic of Los Angeles on its HP Scitex XL 1500 solvent inkjet printer. Distributor Laird Plastics provided logistical support to see the project through. In New York, they required a mix of former and new volunteers. “While Ed and I were measuring one laundromat, some school kids came by and asked what we were doing,” recalls Bernie. “When we told them, they got real excited and ran and got their principal. Then their school became involved.” Hundreds of children participants were drawn from the neighborhoods surrounding each laundromat, assisted by supporters from New York Cares and Hudson River Park. Installation services were donated by Owen Palmer and a team from 5zero4 Designs, Los Angeles. “We always use our graphics and try to do some things different when we can,” says Bernie. “Here Ed made chandeliers and lamps out of Gain bottles and designed special graphics for laundry carts, baskets, and recycling containers.” The transformation was so festive and welcoming that several laundromats still shone with their new colors this year,

long after the planned three-month run for the project. The Masseys are on to the next, steeped in preparations for the summer transformation of MacArthur Park Lake. They’re also formulating plans for even further into the future, which could bring the benefits of Portraits of Hope to communities and children nationwide in 2016.

Transforming Shelters “We have this huge initiative we’ve wanted to do for a long time, beautifying animal shelters all over the country,” says Bernie. They hope to wrap shelters in flowers, shapes, and animal designs, once again printed digitally and painted by local children. “It could be our largest campaign ever,” notes Bernie. “Many shelters are blighted, and we want to make them more inviting and get kids involved and aware of animal adoption.” It will require ambitious support from communities and their corporate citizens. “We’re going to need a lot of help in volunteers, materials, regional printing, and installation services and will start in those areas where there’s the most interest and support,” says Bernie.

Anyone interested in helping can contact the Masseys on the group’s Web site (www.portraitsofhope.org). “The industry’s assistance to our projects—from donating materials, supplies, logistics to printing, shipping, and installation—is instrumental in making them a reality,” says Ed. “The printing industry makes these projects happen,” says Bernie. “They’ve been very generous with their support.”

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Monuments / By Peter Perszyk //////////////////////////////////////////////////////

This monument takes its visual cue from the history of signage— backing shield, inverted heraldic flag, and titled parchment banderole overlay all trimmed with an elegant border of gold.

Monumental Installs Design ideas for monuments and pylons.

hen there’s a need for a key identity sign, monument and pylon signs can offer chances for the sign builder to show off. Still it’s always important to design with the install in mind—not everything has to be so “monumental” all the time. While I would never advise you to limit what you design, keep in mind that “good” design and “logical” design go hand-in-hand. I’m often reminded of a pylon sign designer I once knew. The sign design that he’d created to stand upright on a slight rise at the en-

trance to his client’s studio was visually elegant. However when the length of his design exceeded the simplicity of his sign sheet production solution by several inches, he realized that he was going to need to go back to the drawing board and change the dimensions. Poof! He instead had to come up with the perfect pylon sign. The sign industry knows what works and what does not work when it comes to sign design. But the design world is run by several different groups with several different agendas—and you need to realize that some of these folks are more interested in pure image than a realistic goal.

Sign Builder Illustrated // April 2015

Onto Commonly the monument/pylon will take on one form (brick, for example) and the sign builder simply attaches the face or letters to said structure using bolts, screws, or stand-offs. This is a marriage of convenience. I call this method the “onto” approach. Adopting the “onto” approach helps keep the production techniques separate and limits issues involved either with the sign’s creation and/or install. But one problem with the “onto” approach remains the coordination of different trades/agendas that can get involved with this sign. signshop.com

The design feature at the top of the first section helps the assembly and the install and gives the monument some added finesse. The silver box tube band between sections creates a visual break to take the viewers gaze away from any transition between faces.

The light-grey perimeter frame of the cap matches the proportions evenly along the sides and at the ends.

With letters that exceed their expected width based on the font height, the design of this monument sits atop a smaller concrete support.

The minimalist concrete design here helps take the monument design into a different, much cleaner look. When designing, sign shops should be careful not to assume that a monument base will be covered by landscape or mulch.

When the architect or general contractor has the plans in hand, the monument/pylon sign may end up taking on a gangly nature. This is a symptom of budget-cut disease. During this onset, the sign builder is heavily involved in the fabrication process but then learns from the other party that “we are short on money, so cut back on the trees and shrubs, use a stock color trim for the fascia, and while you’re at it, reduce the size of that main monument out front by 20 percent.” The once clean look of the original design intent ends up not as good as expected. Keep in mind that, visually, the relationship of the base (brick, masonry, signshop.com

concrete, etc.) to the cabinet should align with the main sign body and the masonry cap. I like to call this effort at keeping pace “sempiternity symmetry” (or everlasting symmetry). But sometimes, rules are meant to be broken. Check out the “Gingras, Cates, & Luebke” monument sign that’s pictured above (middle row, right). With letters that exceed their allotted/expected width based on the font height, the design of this pylon sits atop a smaller concrete support. Ironically the building address on the lower support does not keep in theme with the upper portion of the sign layout. Spelled out nicely on the box band accent, this text is intended to be readable. April 2015 // Sign Builder Illustrated

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Don’t pass up the chance to optimize the monument base with a few good plants.

A Bed for Flower One might think that using a minimaliststyle monument/pylon base would (or even should) end up being hidden by any accompanying landscape or mulch. If so, the main monument/pylon design will take on a much different, much cleaner look. But the truth of the matter is that the aspects of landscaping are out of the hands of the sign designer/sign builder. So don’t pass up the chance to optimize the design of a pylon base with a few good plants. Depending on the location of the monument/pylon sign, it can be assumed that the flowers being used for decorative purposes won’t be there in winter, so using greens to fill in here is a very good concept to work with. However it’s also very risky. The same infill base with additional vertical sliding skirt could keep a sign base looking like it’s still not finished.

Counting on the greens to replace flowers is a good concept to work with—but chancy. Worse yet, it could appear that it hasn’t been built nor installed correctly! This coordination aspect between trades, again, may be the cause of a few sign installation faux pas of the past. And who’s really to say? The reverse of this can ruin a good sign when the groundskeepers don’t maintain it.

In-Between One alternative to the “onto” approach for a typical monument sign is what might be called “in-between.” This is when the monument/pylon sign’s main cabinet is mounted between supports. When the design calls for the sign cabinet to be mounted between masonry or stonework, the trick is to employ an expandable section(s). The intent is a trim section that’s comprised of overlapping components that, when installed, looks like a single item. (Note: Isn’t this con-

The colonnade look that many fence rows take on is often emulated in the signage at the entrance to a facility. signshop.com

April 2015 // Sign Builder Illustrated

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A trim section of overlapping components can look like a single item when installed. cept the reason that a standard 301 “Lshaped” hanger bracket featured in the N. Glantz & Son catalog comes with one side slotted?) The give-and-take of the reveal will account for variations in the surface and any leveling issues. Logic would be to have the same mechanism at both ends so that the sign is centered in the middle. Thinking of masonry work as only bricks may lull you into complacency. Concentrating on the variation on natural stonework sets the brain into compensation for the variation mode. An alternate to the “in-between” monument/pylon is to mount the sign cabinet to stringers that are cut-to-fit on site. This is especially handy where the structure has been provided by “others.” This is also an easier option for a single-face location. However double-sided monuments and pylons also adapt to

The “in-between” sign and its supports make this look like a single cabinet. this process (or incorporate the support element as part of the design). Eliminate any onsite variation and make the “in-between” sign and the supports a single cabinet. Decorative elements at the ends, using a real structure, or adding an accent create a similar yet different look.

Into Some methods for monuments/pylons require that the sign fit “into” the base. Simplicity or full control by the sign builder is usually the solution for these designs. But this process can also be made flexible by combining it with techniques from the “in-between” method to help the cabinet look like it belongs. You can also frame out the opening so that the original sign slot is hidden behind the scenes. Any time a portion of the sign is intended to be modified onsite, a trim

The opening here has been framed out so the original sign slot is hidden behind the scenes. signshop.com

April 2015 // Sign Builder Illustrated

Is the illusion on this monument created by coated metal sheets held in place by coated rivets? element does a nice job of finishing. Most aluminum extrusions can easily be trimmed and fit to complete the project.

Faking It

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Then again, there’s the concept of “don’t make it, fake it.” One thing that sign builders are good at these days is creating a look and feel without the need for the real thing (digital printing, CNC routing, etc.). Years ago, I worked for a company that created a large “stone” monument sign. The cut plate company logo and signature were mounted “onto” the main face parallel to the Interstate. As the viewing distance was significant, the letters were very tall and the monument very large. The fact that the design was to be “stone” and quite massive did not complicate the process. We used faux-finish sheeting. This wasn’t painted, mind you; just fake. The applied surface aggregate gave the appearance of a sedimentary slab, cut from a quarry, and hauled to the site, like some Moai on Easter Island. You may hesitate to innovate in such a manner but don’t let this hold you back. Being “fake” puts the control completely in the sign builder’s lap. I’m not expecting Z-Brick to make any major inroads into the sign world, but I’ve seen “faux” done—and done quite well. Keep in mind that one reason masonry works is the resistance to the elements. Creating a look and feel that doesn’t survive may not sell well. I like to call faux-finish the “Disney Effect.” Trashcans might be the same base metal unit at Disneyland, but they’re painted to look differently in different sections of the park. You can put this approach to work at your shop, even if you use stock sign components and extrusions. signshop.com

Print With Compassion Launches at ISA Sign Expo 2015 Suwanee, Georgia—Mimaki USA, a manufacturer of wide format inkjet printers and cutters, has launched “Print with Compassion,” a series of educational sessions and hands-on training using Mimaki products, which will produce real-world objects and materials for use by local communities and organizations throughout the U.S. The initial Print with Compassion program will be co-located at the ISA International Sign Expo, April 9-11, 2015, to be held at the Mandalay Bay Convention Center in Las Vegas. Participants in the Print with Compassion program at the International Sign Expo will help create a kindergarten environment while learning each step of the digital printing process using solvent, latex, UV, and dye sublimation technologies. Hands-on sessions include Design for Large Format Basics; Color Management for Non-Color Managers; Cut-and-Print, UV Printing, and Textiles Print Production; and Finishing and Assembly. A business session on how to integrate new technologies into existing operations and an ROI overview will also be presented. All objects and materials created during the program will be donated to a local charity. The program runs on Thursday and Friday, April 9-10, 2015, with sessions ranging from sixty to ninety minutes each. There is no charge for Expo attendees, though pre-registration is required. (Note: Participants must also be registered to attend the ISA International Sign Expo, as well. For a list of the session times and to register for both, visit www. printwithcompassion.com.

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April 2015 // Sign Builder Illustrated

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Wrapping the

(Un)Ordinary

Most wrapping starts with the practical, the “how-to,” and the feasible. Few start with the unordinary and the challenging. That’s where Mark Caron comes in, using his talents as both an artist and a sign maker to wrap everything from bathrooms to helmets (and of course, vehicles). When we first interviewed Caron in January 2014 (“Everything That’s Fit to Wrap”), he operated as a one-man sign shop based in Payson, Utah. In addition to vehicles, his wrapped objects included dressers, nightstands, hard hats, doors, helmets, etc.. Today MHC Sign & Design (www.mhcsigns.com) still continues both vehicle and object wrapping—but now with part-time help from Mark’s wife, Tera.

Sign Builder Illustrated // April 2015

signshop.com

//////////////////////////////////////////////////////////////////////////////////////////

>>>>>>>>>>>>>>>>>>>

all photos: mhc sign & design.

Covering vehicles (and other objects) from “head to toe.”

Mark Caron has seen an uptick in business over the course of the last year-and-a-half. Part of MHC Sign & Design’s success may come with risk-taking, as he continues to take on projects that are new to him and those that challenge his skills and know-how. “As the market grows, we are excited to jump into these projects with confidence—knowing that we can complete these wrap jobs,” he says. “What we don’t know, we learn. What we do know helps us hone our skills to perfection.” His reverberating motto is: “Try, try again, try even again, research, develop, apply, and achieve success.” While Mark pushes the boundaries on the medium being wrapped, he is also enjoying playing with the materials. Although MHC Sign & Design uses their Roland VersaCAMM VS-540i and GX-640 vinyl cutter to “print constantly,” the Carons are also working with the sample charts of 3M Avery, ORACAL, and other vinyl manufacturers to signshop.com

restyle and wrap entire vehicles—including parts you might not think of wrapping, such as the side mirrors, the wheels, the bumpers, and even the interiors. “We’re doing this without using any sort of digital print,” says Mark. “With the available color schemes, skins, fibers, and films that are available from these vinyl suppliers, the possibilities are beyond our dreams and are adding to the customer’s finished graphics! “We really love the look of putting together matte and gloss films of the same color.” And when Mark says that each wrap is “unique,” he really means it. Recently the Carons wrapped a bathroom floor, and based on the positive results, they were also able to do some restyling to the shelving, the mirror, and even the toilet seat and tank. “Everything blends well and matches,” he says. “Everyone who sees the bathroom wraps loves them!” April 2015 // Sign Builder Illustrated

Mark says that, no matter the surface being wrapped, every one of these objects has its unique qualities: the curvature of the vehicle, the design of the furniture, the layout of the specific room, the client’s particular taste, etc. “It all has to be considered,” he says. Still, even beyond the unconventional objects, there’s plenty of innovative work to be done on vehicles. Mark recently heard from a client who had seen a truck wrap done by MHC Sign & Design. The client asked if the shop could wrap his Honda Shadow road bike using the same color scheme. He specifically requested that they wrap the front and rear fenders, side covers, and gas tank. “And he concluded by telling us that he wanted us to make it look ‘cool,’” says Mark. With these orders, the Carons worked with the color scheme but deepened it so that the finished effect was richer and bolder than the original truck wrap. “We then added some anthracite carbon fiber and gloss black stripes and cut out some custom vinyl letters,” he says. “The bike wrap turned out ex-

cellent, and the customer loved it! “We learned a ton in trying to seamlessly wrap an entire ‘egg,’ as it took some trial and error.” And how did they manage these trials and errors? Simple: “We took a break, walked away from it for a while,

>>>>>>>>>>>>>> Every object has its unique qualities: the curvature of the vehicle, the design of the furniture, the layout of the specific room, the client’s particular taste, etc. It all has to be considered.

>>>>>>>>>>>>>> did some thinking, and came back with better results and success,” says Mark. When working on vehicles, sometimes it’s a “surgical wrap,” which pinpoints certain parts of the car. “It might be just the grill, hood, or

roof of a car that has some paint wear and clear coat peeling. Those are always so much fun,” says Mark. “We typically talk our clients into using a carbon fiber, an alligator skin, or a textured film to give their car an ‘edgy’ look.” Or sometimes, the vehicle needs a style upgrade. “For example, a client of ours drove over his Jeep Wrangler, which was ‘tricked out’ to the max,” says Mark. “But he didn’t want a wrap—he wanted tire tracks, all over it, up and around everywhere. And he wanted it in three different colors. “So we began by taking pictures and designing a proof.” After the customer approved, MHC printed and cut the graphics and installed them. “Then we applied the vinyl over the gas cover, hinges, and windows, turning the Jeep into quite a unique piece,” says Mark. Meanwhile another wrap project crossed the boundaries between building and vehicle: a food trailer. As part of an annual carnival in Payson, portable businesses are set up and broken down over the course of a weekend. This

MHC Sign & Design thrives on challenging and unique wraps such as a bathroom floor and a Honda Shadow road bike, as well as certain sections of a vehicle (the grill, the hood, the wheels, etc.). 50

Sign Builder Illustrated // April 2015

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Greener Solutions

For a food trailer that exhibits each year at an annual carnival, the shop recently redesigned new wraps to reflect a more modern look.

gives MHC Sign & Design a chance to work their magic as part of the carnival fun. “They only stop by once a year, so we have to be ready to meet their needs when they call,” says Mark. Working on wrapping a trailer that sells carnival fare (nice, large signs that shout “hot and fresh curly fries”) for the last two years, Mark works with their limited budget to upgrade the design to a more modern look. The first year they worked on this project, Mark measured the bottom skirting around the trailer and used

the color scheme the client picked out (purple) to design food graphics for the menu boards, along with matching text to help the display “pop.” “We digitally printed the vinyls and applied them to Lexan™ sheeting,” he says. “We installed them early morning before the carnival started, and it all worked out perfectly.” This past year, MHC continued to work on the menu boards along the middle section of the trailer, again designing with the client’s choice of colors. They printed and applied the vi-

Sign Builder Illustrated // April 2015

nyl to Lexan once again. “The unique part about this trailer is that every piece of Lexan or acrylic is a different size,” says Mark. “And nothing is square at all, so we print the background big and the text a little smaller. This way, it will fit when we retrofit the Lexan back into the frames built into the food trailer.” Next year, MHC will work on the top section—but without Lexan. And the digitally printed vinyl graphics will be applied to the aluminum sheeting of the trailer.

signshop.com

Custom Wraps:

photo: mhc sign & design.

Wall Wrap Considerations Wall wraps may seem straightforward since they offer the installer a flat surface, but Mark Caron, owner and operator of MHC Sign & Design, argues there is still a lot to consider. “Walls are always unique to wrap,” he says. “There is a lot more than just the texture to consider—including the paint, the finish, the way the sun hits it, the dust, the traffic, and many, many factors.” Mark recalls one wall project that taught him a few lessons. “We had an interior wall that we were asked to put a die-cut logo onto. The wall was matte black and the vinyl was gloss white,” he says. “As we started cleaning the wall with just soapy water, the paint began to wipe off.” His advice for when this happens is to just stop working immediately. “Notify your client and explain what’s

happening,” says Mark. “Have them repaint the area or wall with paint that is better suited for the vinyl. Two to three weeks later, you can go back and install the vinyl.” According to Mark, if you go back without letting the paint completely

cure, you’re taking a chance on removing the paint once again. “This can happen with low-tack transfer tape,” he says. “Take your time and let it cure. “The end result will be worth the wait.” — Lori Shridhare

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Durability on Demand New study yields insight into the benefits of choosing the right overlaminate.

effective and economical means of ensuring your signage looks its best for as long as a business needs. Laminates can be used in a variety of applicationsâ&#x20AC;&#x201D;from interior and exterior

Sign Builder Illustrated // April 2015

floor and wall graphics to point-of-purchase and traditional signage. Sign professionals can even choose from differing textures and finishes for unique looks to best suit many applications. photo (far right): ashley bray; all other photos: mactac.

usiness owners depend on indoor and outdoor graphics for a variety of purposesâ&#x20AC;&#x201D;drawing business, conveying important information, enhancing an environment, and catching the eye of a consumer to communicate a clear message. But without vivid color, clearly displayed visuals and lettering, and a long lifespan, the investments made in these graphics can be for naught. Weathered and faded signage or graphics can even convey the opposite message that your business intends, reinforcing the importance of durability and maintainable aesthetics for the printed graphic. Under the right circumstances, the application of an overlaminate can be an

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/ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / L a m i n a t i o n / B y J a s o n Ya r d

But selecting the right product takes careful consideration, as well as knowledge of the proper use of overlaminates and how they can enhance a given application. While aesthetics are important, all laminates are designed for the purpose of protecting a given image. This can be protection from harmful UV rays where constant, direct sunlight is a concern; protection from physical damage (including scuffs and scratches); or protection to simply maintain an enhanced look and feel for your graphic for a prolonged period. For both indoor and outdoor applications, the right laminate can mean the difference between an enduring image and early deterioration. From those perspectives, itâ&#x20AC;&#x2122;s important to choose an overlaminate product that is made to last, offering the appropriate protection for a printed image. Given that many printed graphics serve advertising purposes or to simply enhance the environment in which they are placed, this is often the number one criterion for laminate films. Having a proper gauge on the lifespan of an overlaminate product is critical for recommending the right products for a signshop.com

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Overlaminates are not a one-sizefits-all solution. Certain materials better suit certain applications, and knowing the hows and whys is essential to making the right choice. Partnering with a knowledgeable supplier can help you come to the right decision.

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Sign Builder Illustrated // April 2015

given project. Not all graphics need to last for decades—some are explicitly designed for short- or medium-term projects, and it’s not uncommon for manufacturers to over-specify with products that may outperform the needs of a given application, forming an unnecessary spend for the end-user. With that in mind, working with a supplier that knows the longevity of its overlaminate products—and knows which products in its portfolio are best suited for a range of applications—can be critical for sign professionals needing to make a reliable recommendation to their customers. And since wall graphics come in different shapes and sizes and are placed in a wide variety of environments, it takes a range of careful testing for a supplier to accurately predict how well its products will hold up. Exposure to UV rays, tack and peel, elongation, abrasion, and more must all be accounted for when assigning durability ratings to different pressure-sensitive solutions. For instance, there are a series of specific tests, collectively termed “weatherometer testing” (or WOM testing) that accurately rate the durability of a portfolio of products, including laminating film offerings. Through its stringent quality assurance processes, WOM testing provides a reliable, accurate, and repeatable reproduction of real-world weathering conditions. The WOM effectively replicates realworld outdoor environments, accelerating the process by utilizing intensified solar radiation via Xenon arc lamp, temperature, and humidity controls. Weather-ometer testing highlights the importance of selecting an overlaminate product that can provide enhanced protection for the long term—the protection that your customers need. And it’s not just the product, but the signshop.com

right supplier that can help your business identify exactly what it needs from an overlaminate. Keeping prominent, eye-catching graphic treatments looking vibrant for the long term is critical to your business’s reputation, and an overlaminate solution can be key to maintaining an enhanced look. But it’s important to remember that overlaminates are not a one-size-fits-all solution: Certain materials better suit certain applications, and knowing the hows and whys is essential to making the right choice. While some overlaminates can be used nearly everywhere, that doesn’t necessarily make them right for a specific application. For instance, a point-of-purchase display or other short-term graphic may be best suited to a lower-cost promotional grade product. Home décor, lobby, or boutique settings can benefit from higher-end laminates that enhance the overall look and feel—a variety of these products have become increasingly popular for their ability to add “flash” to enhance the messaging. The right selection of overlaminate products ultimately depends on the enduser’s specific needs. Partnering with a knowledgeable supplier can help you come to the right decision. Jason Yard is marketing manager for MACtac® Distributor Products (www. mactac.com).Yard is responsible for marketing to MACtac Graphic Products’ large customer base and offering training on the details of application techniques. Leading MACtac’s Application Nation program, he focuses on educating customers on the best uses for MACtac’s products, matching products to applications, and proper installation methods. signshop.com

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Wa y f i n d i n g / B y J o - A n n S . K e l ly / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /

It’s Time foR

Wayfind

Getting started on the process of finding one’s signage way.

he most valuable thing you can invest in to develop the wayfinding side of your sign business is your time: Time to educate yourself. Time to assess your company’s strengths. Time to grow the relationships that lead to winning sales-building contracts. Not enough time you say? Then make it a team effort. Split the time with people on your staff or interested friends or family members. There is a sensible approach to building your skills and your sales in the category. Professional and trade organizations such as the International Sign Association (ISA), the United States Sign Council (USSC), the Society of Experiential Graphic Designers (SEGD), and the American Institute of Architecture (AIA) all provide various books, white papers, seminars, Webinars, conferences, and tradeshows featuring content on this topic. 58

Sign Builder Illustrated // April 2015

Once you’ve developed a basic understanding of the process, do your own fieldwork. Test drive exterior wayfinding patterns in corporate parks and university campuses and navigate the interiors of healthcare complexes and buildings with public access. See for yourself what works and what doesn’t and then learn from the experience. And wherever you can, study architectural plans to visually test designated routes, anticipate a visitor’s decision points, and avoid traffic bottlenecks (human or vehicular). While the time may come when you initiate and manage a signshop.com

complete project, more than likely, you will work with a designer or architect on a sign program they’ve developed for their client. Seek out those professionals in your region who may be willing to talk to you about their needs and preferences when developing a wayfinding plan.

Gaining Entry into Wayfinding

While you’re increasing your knowledge of the process, you should be expanding your outreach to potential customers. One of the most effective ways that sign makers have entered the wayfinding arena is by developing entry-level relationships with large-scale businesses such as corporations, healthcare networks, and regional hotel groups. They do this by producing banners, posters, and small signage orders, as well as doing sign maintenance and increasing the scope of the projects over time. I can think of several small sign companies in our customer base that have earned large-scale projects by providing dependable, cost-effective, quality products and services and winning their clients’ trust. Each has gone on to complete successful wayfinding pro-

grams that continue to generate sales as the complexes have grown and required more signage. (Note: See photos in this article for examples.)

When an Opportunity Comes Along

Let’s say a project comes along that you really would like to tackle. Look before you leap. Review the size, complexity, and deadlines. Is it for interior, exterior, or both? Is it a new project or a refurbishment? What types of signs are specified? Consider the applicable regulatory requirements. Next do a business self-assessment. Is your staff qualified to handle the level of work? How much upfront investment of time and money will it cost you? Do you have—or can you access—the equipment and resources? How will this affect—or be affected by—other projects on your books? Don’t be afraid to walk away if the task is currently beyond your capabilities. Or ask a knowledgeable supplier for help. Once you’re ready to submit your proposal, follow the Request for Proposal (RFP) to the letter. Address all sections

completely and submit it on time. Provide a thorough capabilities statement and references from companies or individuals with whom you have had an excellent working relationship. Be sure to demonstrate any previous success with delivering a project on time and at (or under) budget. When pricing the job, consider your costs for the following elements: design and planning, if required; materials and production; project management; installation and punch list review; total cost of product and administrative expenses; additional expenses for travel, hotel, per diems, etc. (if distance requires it); and unanticipated surprises. When you get the job, hold a “kickoff” meeting. Work with the client to appoint an in-house task force of up to five people who will coordinate all responsibilities on the client side. Confirm the communications chain of command. Set and stick to working guidelines: schedule of activities and milestones, acceptable method of approvals and timing of same, designation of who signs off at different levels, and inclusion of other stakeholders (general contractor, designer, etc.) and decision-makers.

all photos: hub willson photography for fastsigns, allentown, pa.

Kevin Wenck is the owner of FASTSIGNS in Allentown, Pennsylvania, and his shop recently completed a wayfind project for a nearby sports stadium. The wayfinding sign work they designed, built, and installed are featured throughout this article.

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April 2015 // Sign Builder Illustrated

Mendon, Massachusetts—When The Art Institutes needed to roll out their new brand identity at a handful of North American locations, they hired branded environments implementer Aion Solutions to get the job done. Part of the challenge Aion faced was creating graphic solutions for wayfinding and staff directories that could be changed easily and that worked within The Art Institutes’ new brand environment. Aion leveraged Visual Magnetics’ magnetic-receptive print materials to create changeable, layerable signage for faculty and staff. Using VM-POLYmatte®, Aion created high-impact wayfinding graphics that can change based on the floor, design of the facility, and use-case. When one of the school locations hosts an event, the signage can be changed by staff, since new graphics

can be printed in-house on a waterbased inkJet printer using a speciality media by Visual Magnetics. “Aion’s clients are being forced to do more in less space and are having to use rooms for multiple purposes,” says Kevin Delahunty, CEO of Aion Solutions. “Visual Magnetics gives them the ability to do that without sacrificing look and quality.” Now several of The Art Institutes’ facilities, including locations in Houston, Phoenix, and Miami, can change their wayfinding on the fly, making it easier for them to communicate floor designations and room locations to visitors. Aion’s take on the staff directory communicates information for 50 to 150 faculty members on a single board without losing any of the graphic impact and polish of The Art Institutes’ brand. Staff print their

own directory updates on-demand using the same small-size, magnetic receptive inkjet print media they use for wayfinding. Delahunty’s team also used the Visual Magnetics Graphic System to create a collage wall to display student artwork. Students and staff can print artwork onto Visual Magnetics print media and add it to the board. If an Art Institute location hosts an exhibit, the board can be changed to match the surrounding show. Because of the flexibility of Visual Magnetics’ materials, adding a new staff member, changing an office location, swapping out signage for a multipurpose room, and displaying new student artwork can be done easily in just minutes. As a result, The Art Institutes’ faculty and staff are communicating more effectively with students.

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Changeable, Branded Wayfinding Helps the Art Institutes

At your business, appoint an in-house coordinator, communicate project milestones and requirements to all internal departments, share initial documents and deadlines with staff, and establish regular meetings to track progress. There are six basic steps to the wayfinding signage process. Depending upon your role in the program, you may be responsible for some or all of them: Step 1: Discovery is all about gathering significant data. Hold an initial Task Force meeting. Do a plan review and a walk- or drive-thru survey of the physical plant. Develop questions for a “Stakeholder Survey” of the people who work at and frequent the site. Capture all relevant data supported by photos. The discovery stage also includes determining the message schedule, location maps, decision points, mounting situations, viewing distances/obstructions, and room numbering Step 2: Conceptualize the design. If it has not been provided, report your findings to the task force and other decision

makers. Recommend solutions based on those findings. Discuss design approaches, materials options, and related budget considerations. Also consider the effects of local/federal regulations (such as ADA, HIPPA, NFPA, and ANSI) on the plan. When determining the design, pick up cues from the architectural environment, including the interior and exterior features. Pay attention to the client’s brand regarding design, shape, colors, etc. Consider the corporate culture, as well as the age, ethnicity, and education of the employees and visitors and the areas and activities in which they will participate. Step 3: Final design approvals. These come once you have further developed the approved concept. By this time, samples for sign selection have been provided, prototypes have been tested in select locations, and a final budget and timeline have been set. Room numbers—if required—have been reviewed and confirmed. At this point, all stakeholders should have signed off on the sign schedule and

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April 2015 // Sign Builder Illustrated

site mapping and committed to sticking with it. Donâ&#x20AC;&#x2122;t begin without it. Step 4: Sign-off, production, and installation begin. Make sure you have secured written approvals for all elements and designated phases. At this point, you will coordinate scheduled delivery and installation with the Task Force and your internal team. Begin production, provide temporary signs as needed for the work area, and install signs on a pre-determined schedule, sometimes coordinating with other trades that precede or follow you in the process. Step 5: Review and report. This includes an inspection of all installed signs. Conduct a walk-thru and punch list review with the Task Force. Assess the project, make any necessary corrections, and provide a summary.

Always look before you leap into a project. Review the size, complexity, and deadlines. What types of signs are specified and are they for interior, exterior, or both? Is it a new project or a refurbishment?

Step 6: Sign standards are confirmed in a Sign Guide to be used by the client for maintaining the continuity and look of the system for any future changes or additions. The Guide includes: product literature and warranties, the Sign Design manual, message schedule, location map, templates and direction for the re-ordering, and the internal permissions process.

Grow Your Wayfinding Business Use this success to lead to more wayfinding projects. Request a letter of recommendation from the client and other partners in the project. Secure professional photos of the completed job and showcase them on your Web site and in advertising and marketing materials, as well as through your social media and in trade publications. Attractive, effective signs are just one element of the overall plan that enables people to get from an entry point to a desired destination. Visual cues, new technology, and inspired design play significant roles today. This means the more you want to develop a lucrative wayfinding business, the more time you should continue to invest in building your own expertise. JoAnn S. Kelly is marketing director at Clarke Systems (www.clarkesystems. com) in Allentown, Pennsylvania. 62

Sign Builder Illustrated // April 2015

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When designed and illuminated well, postand-panel sign systems are an attractive way to help people navigate with ease.

Illuminating

Post-and-Panels

Directions to help you shine a light on the message.

all photos: howard industries.

ost-and-panel signs are probably one of the most requested types of signage that shops manufacture and install for their customers. These signs have an enduring appeal that always sells year-in and year-out. These systems are commonly used for exterior direction and identification purposes and, when designed and built well, are an attractive way to help people navigate with ease. Sign panel materials include aluminum, PVC, 64

Sign Builder Illustrated // April 2015

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Top, Left: The use of white raceways to mount sockets and ballasts onto the post-and-panel sign will help to distribute the light internally. Top, Right: The size, depth, and type of illumination source are crucial for ensuring proper and even light distribution. Poster box-style LED modules allow you to place them wherever needed (and help eliminate the appearance of hot spots and dark shadows). Left: LED modules have grown popular with sign shops because they can be employed in a variety of post-andpanel signs from large to small.

high-density urethane, etc., while post extrusions can appear as square, radius, round, and a variety of other shapes. However when lighting components are introduced into their formula, this can help you spur sales even more. (Note: Please keep in mind that if the business using the post-andpanel is not open at night, the need for illumination may not be necessary.) Realize that you have lighting options. Post-and-panel signs can be illuminated with a variety of ground-mounted or wall-mounted gooseneck exterior light fixtures. Or they can be internally illuminated using either fluorescent, neon, or LED light sources. LED modules are really gaining popularity in post-andpanel signage and can be used in a variety of signs from small to large. LEDs last three to six years longer than fluorescent lighting and use around 80 percent less energy than neon.

Designing for Illumination There are some considerations you will need to keep in mind when it comes to designing for illuminated post-and-panel signs. First off, verify that the area in which the sign is going to be placed allows internally illuminated sign structures. (Note: Always confirm the zoning specifications for the area before starting). Using reflective vinyl graphics on a non-illuminated sign is a good alternative to the employment of light fixtures that may not be allowed in the jurisdiction. Then make certain the location(s) where the post-and-panel sign(s) will be installed has easy access to electricity. The size, depth, and type of illumination source are crucial for proper and even light distribution. If the cabinet is too narrow, you will see hot spots from the light source. The use of white raceways to mount sockets and ballasts onto

When lighting components are introduced into the post-and-panel signage system mix, they can help you sell even more of these types of signs to your customers.

Sign Builder Illustrated // April 2015

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the post-and-panel sign will help to distribute the light internally. Earlier I told you about the popularity of LEDs. Well the poster box variety of LED modules mount on a tracking system that allows you to place the light source wherever it is needed. This means you don’t have to populate the entire sign, saving you time and money in labor and unnecessary materials.

Powering for Illumination Of course, when discussing illumination, you also have to consider where the transformers and power supplies are going to be located. I have some tips for you when it comes to the placement of these power supplies on or near illuminated post-and-panel systems: + Always mount power supplies away from routed copy and

Impress

When it comes to illuminated post-andpanel signage, your main objective is to convey its message clearly & concisely. other graphic elements of the sign face. + When using a polycarbonate panel, mount the power supply in the very far top, bottom, or side corner, depending on the use of either horizontal or vertical fluorescent bulbs. + You can also bend a white piece of aluminum into a tent shape and place it over the power supply. This will help it act as a light deflector and will also help hide the shadow of the power supply.

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Decorating for Illumination Keep in mind that your main objective is to convey the sign message clearly and concisely, so there are some panel decorating options you have to consider when it comes to illuminated post-and-panels. One of the more popular ways to decorate the sign is direct application

of die-cut vinyl lettering/logos to a polycarbonate/acrylic panel. With this method, the entire panel is illuminated, as it disperses light around all of the vinyl graphics. Another method of vinyl application is referred to as “fisket” graphics. This process involves covering the entire panel with vinyl and “weeding” (removing) the stencil-cut letters/logos. This will allow the light to shine through the removed Continued on page 70

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Innovative Jib Boom for Sign Jobs

Bradenton, Florida—Reach-All LLC has added the CraneMate™ Platform Mini Crane to its line of work platforms for aerial truck crane applications. The Mini Crane is a portable, compact six-footreach jib boom with a two-foot extension section that mounts on a work platform to improve safety and increase job versatility. The synergy of an eleven-foot sheave height articulating boom combined with a powerful 360-degree worm gear rotation adds needed maneuverability for sign lifting, maintenance, and removal. One worker can now accurately lift, position, and install a 500-pound sign precisely and safely. Other features include: A hydraulic cylinder that articulates the boom to 80 degrees vertically; a self-contained 12-volt winch with remote control; an auxiliary radio remote FOB control for ground override use; removable hardware for easy install and break down; and exterior platform forks that securely hold a sign during crane extension. SignMakers of Hardin County, Inc., in Elizabethtown, Kentucky has lately been doing a lot of high-rise pylon sign work for area hotels and shopping centers, and its two-man installation crew has been successfully using Reach-All’s work platforms for these jobs. “The

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Photos: signmakers of hardin county, inc.

+ Lastly using the smallest recommended transformer will also help eliminate any unwanted shadowing.

three-by-ten-foot platform gives us much more room than the threeby-five-foot hanging basket we’d been using,” says Eugene Lewis, owner of SignMakers. “If you have to put a thirty-foot pattern up on a wall, it’s much easier for two guys to put ten feet at a time as opposed to one guy in a bucket trying to roll out thirty feet. And when the pattern is up, instead of one guy watching one guy working, both guys are drilling and mounting.” “It’s also a little faster when you put channel letters on the wall, because you can take eight or ten or twelve letters up with you at a time.” The 360-degree rotation capability has also proven attractive with their pylon work as they’re able to park the truck in one position and rotate the platform around the sign. “Before you had to set the truck up a couple of different times to get the work done,” he says. “Now we can set up around a pole and never move the boom because you can rotate that basket around and reach all the way around to do the welding.” Even with these advanced features, caution must still be exercised. “We are always extracareful everyone has their safety harnesses tied on and wearing hard hats,” says Lewis. “You don’t get a second chance working eighty, ninety, or a hundred feet in the air.”

For further information and to view a video of the CraneMate in action, visit www.reachallplatforms.com.

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Continued from page 68 sections of the vinyl graphics. If you’re trying to achieve a more dimensional appearance, routing your graphics directly into the sign face is an option as well. Once the letters/logos are routed and removed (creating a stenciled void in the panel), acrylic can then be applied one of three ways: + The first option, referred to as Acrylic Backed Copy, consists of attaching the acrylic behind the routed panel. This will create an indented letter the thickness of the aluminum panel. + Option two, Push Thru Flush Copy, involves routing the acrylic to fit flush within the copy area of the routed panel. This process leaves a clean, seamless appearance to the sign graphics. + The third and final option, Push Thru Extended Copy, entails once again routing the acrylic copy to fit within the copy area of the routed panel, but it pushes through the routed panel and extends out past the surface of the sign face. For added color “pop,” apply translucent vinyl to the face of the letters and hollow out the inside of the acrylic letter wall. Doing so will allow light to pass through more readily. When lighted, the Push Thru Extended Copy technique will cast an aesthetically pleasing halo of light around the edges of the letters, in addition to illuminating their frontal surface. Bill Freeman is vice president of Architectural Sales at Howard Industries (www.howardindustries.com).

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Sign Builder Illustrated // April 2015

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S o f t S i g n a g e / By M i k e C o m p to n / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /

Photos (this page): shutterstock.com; (inset) Orbus exhibit & display group.

Staying Ahead with Fabrics Uncovering the real opportunities in soft signage.

igital textile printing on soft signage has been a major growth area for several years, and this growth continues to accelerate at a rapid rate. One of the most significant opportunities is in premium backlit fabrics for retail, commercial, and

tradeshow displays. Increasing numbers of mid-range and high-end retail stores are opting for the look and feel of fabric for in-store signage. The same is true with airports, commercial marketing venues, and tradeshows. The opportunities are growing even into recreational venues such as amusement parks and sporting arenas. signshop.com

April 2015 // Sign Builder Illustrated

1. A panel may also receive vinyl applications for additional sign effectiveness. 2. Tradeshows are one market opting for the look and feel of fabric materials.

How do you stay ahead of the curve and gain business from this exploding market sector? Determine how to differentiate your offerings. What do you have that’s new, different, or worthy of extra time and attention—both from your customer’s perspective and the end-user’s perspective? This is critical in today’s changing market, and one opportunity is in backlit fabric. Backing Up Backlit Fabric In some major domestic cities, backlit advertising is prevalent, whereas in others it isn’t yet widely used. Even for those who print in markets that are saturated, differentiation is feasible. A common misperception in our 72

industry is that a backlit is essentially, well, a backlit. Due to the explosive growth, many suppliers will brand a fabric as being “backlit” to take advantage of the demand being created by the market. The truth though is that not all backlit fabrics are created equal. So from a technical perspective, what do you need to be on the lookout for in a backlit fabric? Quality backlit fabrics are typically heavier fabrics weighing at least eight ounces on average, with premium backlits often weighing at least nine ounces. Premium products are knit and can be cold-cut as opposed to being hotknifed, as they will not be frayed on the edges of the roll. This makes the print

Sign Builder Illustrated // April 2015

and finish process extremely easy while creating a clean finish without excess waste. Most authentic backlit fabrics will be coated to maintain optimal color density and exceptional finished print quality. This is extremely important for the elimination of “pin holes” and “hot spots” when the fabric is placed in a backlit frame. There are a variety of quality backlit frame manufacturers in the market, and the majority use well-designed LED lights to illuminate the fabric. Pin holes or hot spots are created by the lighting when the backlit fabric is not properly coated. This allows light to be too intense (resulting in hot spots) or to show through small areas over the signshop.com

Photo (top): Top Value Fabrics; Photo (bottom): ABI Digital Solutions

3. Note the clean appearance of the raceway-mounted backer panel in this photo.

Photos: top value fabrics; (inset) trivantage.

surface of the lit fabric (resulting in pin holes.) Excessive pin holes or hot spots can be controlled with state-of-theart knitting technology and by utilizing advanced proprietary coatings and fin-

ishes during the manufacturing process. LED lighting should be properly diffused by the finished fabric, giving the end-product an impressive, high-quality look and feel.

The end-result will be a display that presents a wide, brilliant color gamut with unmistakably rich, dark hues, as well as bright, impactful colors. Increasingly those who win bids for high-profile projects are working with high-quality backlits. Giving your production team this advantage can make

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ply a silicone edge can cause headaches for the printer and end-user. Before you choose a backlit fabric, study your options, print sample rolls, and take the product all the way through the stages of production to test the viability of the end-product for your customers. Providing a high-quality product will bring loyalty and residual business, as your customers continually change out the fabric for new fashion seasons, holidays, tradeshows, events, and in-store promotions. An additional benefit of choosing a backlit targeted to retail, expo, and event customers is that it may double as an upscale frontlit fabric. Premium backlits are outstanding when printed for frontlit applications too. They show especially well with event lighting that moves across the display, as this has become increasingly popular for high-profile special events. Fabric Mesh: A New Hit on a Growing Market Fabric mesh is rapidly growing in popularity in the soft signage market. Fabric

Providing a high-quality, backlit fabric product will bring loyalty and residual business, as your customers continually change out the fabric for new seasons, holidays, tradeshows, events, and in-store promotions. It can even double as an upscale frontlit fabric.

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Photo: shutterstock.com.

the difference in winning the project. There are other critical aspects to consider when choosing a high-quality backlit fabric as well. In addition to the fairly obvious needs of selecting a total solution that includes the right equipment, ink, and printing technology, the construction of the fabric is critical. For example, you need a fabric with just enough stretch to properly fit a frame. Excess stretching in the fabric will cause the fabric to sag in areas, especially in large backlit frames. It will also cause wrinkles where the silicone edge snaps into the frame. A poor fit wonâ&#x20AC;&#x2122;t result in the dazzling brilliance that quality backlit is known to produce. The finished look should be smooth, as if the surface appears to be glass. The weight and stretch of the fabric are also important to consider when applying the silicone edge to the fabric. Fabrics without the proper construction and high tenacity yarns are very difficult to finish, and attempting to properly ap-

mesh offers an ideal solution for indoor as well as short-term outdoor applications. Examples include marathons, football stadiums (and other sporting event arenas), golf tournaments, and outdoor concert venues. In the past, vinyl mesh was commonly used for these types of events. Fabric mesh can be sustainable just like backlit fabrics and many other fabric media options, and it can yield surprisingly favorable margins. In addition to the availability of PVC-free and fully REACH-compliant options, fabrics are always much less expensive to ship than vinyl, which conserves fuel and shipping costs. Additionally fabric displays are easier to install, which typically saves in labor costs as well. Vinyl stays in the environment forever, while fabric can be recycled. Fabrics also provide recurring business. A great fabric mesh will be constructed of high-tenacity yarns to withstand short-term outdoor climate changes and should be at approximately a 65/35 airflow. The printed, finished product allows premium print results, with proper airflow, strength, quality, and tenacity. It will last more than a week outdoors and makes for perfect signage indoors too, where light can show through the fabric without affecting the quality of the printed imagery.

formance, as well as taking the steps to stay ahead of the competition. When choosing a fabric for an application, always study your optionsâ&#x20AC;&#x201D; keeping in mind that fabric construction is critical to print quality, finishing, and an impressive finished product. If youâ&#x20AC;&#x2122;re paying approximately the same price per square foot, why not choose a fabric that will help you win more business? Also be sure to choose a vendor that will stand behind their products

and help you create the finished product that best meets the needs of your company and customers so you can impress them and earn their business time and time again. Mike Compton is business development manager for Top Value Fabrics (www.topvaluefabrics.com). Mike has more than thirteen years of success working in all aspects of digital printing on textiles.

A Fabric-fresh Outlook The graphics and sign segment is strong and growing. In fact, the recently released 2014 SGIA Specialty Imaging Industry Benchmarking Report for the Graphics & Sign Community indicates that companies reported median sales growth of 17.7 percent for 2013, as compared with 19.2 percent in 2012 and 16 percent in 2011. Further inspiring confidence, the report shows that two-thirds of companies self-reported that both their sales and production levels increased during 2013 and that 45 percent of companies reported increasing employment during the same period. The moral of the story is that the market continues to expand, and thereâ&#x20AC;&#x2122;s business to be won both by hard work, dedication, and outstanding persignshop.com

April 2015 // Sign Builder Illustrated

Ve h i c l e G r a p h i c s / B y J e f f W o o t e n / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /

Eye of the

Wrapper

An education in wrapping transit buses for Towson University. The university wanted to wrap fifteen of its transit buses with partial wraps that would feature full-color vinyl graphics of the school’s logo. To accomplish this, they turned to an experienced sign company also located near their Baltimore County campus. Shannon-Baum Signs & Graphics (www.shannonbaum. com) is a full-service sign shop in Eldersburg, Maryland that has some history on its side, as the company is currently

The side “swoosh” design was a bit harder to install because it required window perf graphics to be incorporated into the design. 76

Sign Builder Illustrated // April 2015

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all photos: shannon-baum signs & graphics.

owson University, located in Baltimore, Maryland, is the second-largest public university in the state (with close to 23,000 students) and is home to its Tigers athletics teams. Officials with the university’s Parking and Transportation Services recently embarked on a rebranding project that would not only spruce up the campus environment but also interject a little more school spirit into their modes of public transportation.

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Wrapping buses offer installers a different kind of challenge. The flat surface makes application a bit easier, but all of the windows required a lot of trimming. celebrating its sixty-fifth anniversary (“Quoth the Ravens Job,” February 2015). When the RFP for this project went out, their skills and know-how helped them competitively win the bid. The buses included: (3) Twenty-six-foot-

long Chevys; (5) thirty-three-foot-long Freightliners; (3) forty-foot-long Bluebirds; (2) thirty-eight-foot-long Freightliners; (1) sixteen-foot-long Ford; and (1) twelve-footlong Ford. One of the designs prominently fea-

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Sign Builder Illustrated // April 2015

tures the Tigers logo accompanied by gold and grey strips along the sides and back of the buses, the Towson University name along its sides, and grey and black tiger stripes along the bottom of the sides and rear. The second design has a gold and white “swoosh” accompanied by the “Towson University” name. University officials supplied the designs to Shannon-Baum designers as PDFs for output on the company’s Roland SOLJET wide format eco-solvent printer. “The university sent the images to us as Illustrator® files, and then we used an image of the bus with measurements to create a template at half-size to work from,” says Denise Baum, third-generation vice president of family-owned Shannon-Baum. “Then we exported this to our VersaWorks® program and enlarged it to full size before proceeding with RIPing and printing.” The shop printed the graphics onto 3M™ IJ180CV3™ vinyl with 3M™ 8519™ overlaminate along with ClassicVue® automotive window perf film and Lamex® window perf laminate. Shannon-Baum’s team of talented installers used a felt squeegee to apply the wraps to the surfaces via the dry method of installation, and they trimmed any excess material with X-ACTO® blades. The black buses were brought in to Shannon-Baum’s 36,000-square foot facility throughout the year. “Each bus took anywhere from two to three days signshop.com

to complete,” says Denise. These transit buses had never been wrapped before, so there was no challenging need to remove any sticky, leftover adhesive residue. However this isn’t to say that there weren’t other challenges. One involved applying the wrap design over certain areas of the buses. “The ‘swoosh’ design on the sides was a bit harder to install,” says Denise, “since this required us to have to incorporate the need for window perf graphics in the design.” Another challenge revolved around scheduling. “We work on lots of wraps, so finding the time to work the buses into our installation schedule throughout the year required some finessing,” says Denise. “The overall size of a bus can be a challenge, but we have several bays large enough to handle vehicles of their size.” When it comes to comparing the differences between wrapping buses as opposed to cars and trucks, Denise says, “Buses are easier since they’re a flat surface,” she says, “but they’re also harder, as there’s more trimming around the windows.” Although the designs for these bus graphics were supplied by the university, when it comes to vehicle wraps in general, Shannon-Baum designers also enjoy sitting down and working with its customers to find a great layout. “Someone may have just a logo that they want to use and have no idea how to use it,” says Denise, “and we can help them grow with it from there.” Meanwhile the success of this Tigers project isn’t giving Shannon-Baum any “paws” about doing further bus wraps. In fact, this job led to a bus graphics project for another client. “They’d noticed our wraps around campus and asked the university how to get in touch with us,” says Denise. signshop.com

April 2015 // Sign Builder Illustrated

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1. Choose up to 10 categories of interest and check off on card. 2. Select up to 28 suppliers and record InfoDirect # on card. 3. Mail card to start getting info! InfoDirect #

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 80

Company

Page

3M Commercial Graphics . . . . . . . . 51 Ability Plastics, Inc.. . . . . . . . . . . . 19 AdamsTech. . . . . . . . . . . . . . . . . . . 28 Allanson Lighting Components. . . . 32 Allwood SignBlanks Ltd.. . . . . . . . . 57 Alpina Manufacturing. . . . . . . . . . . 86 Alpina Manufacturing. . . . . . . . . . . 86 Arris Sign Systems. . . . . . . . . . . . . 69 Bayer MaterialScience . . . . . . . . . . 20 Biesse America. . . . . . . . . . . . . . . . 56 Brinks Mfg. (Van Ladder) . . . . . . . . 83 Brooklyn Hardware. . . . . . . . . . . . . 70 Central States Signs. . . . . . . . . . . . 86 Clarke Systems. . . . . . . . . . 41, 43, 45 Coastal Enterprises/Precision Board. . . . . . . . . . . . . . . . . . . . . . 21 Corel Corporation . . . . . . . . . . . . . . 75 Delcam . . . . . . . . . . . . . . . . . . . . . . 79 DSA Phototech . . . . . . . . . . . . . . . . 18 Duxbury Systems . . . . . . . . . . . . . . 86 Elliott Equipment. . . . . . . . . . . . . . . 65 Epilog Laser. . . . . . . . . . . . . . . . . . . 73 FASTENation, Inc.. . . . . . . . . . . . . . 74 FASTSIGNS International . . . . . . . . 23 Fisher Textiles. . . . . . . . . . . . . . . . . 57 Gemini, Inc.. . . . . . . . . . . . . . . . . . . . 7 Gemini, Inc.. . . . . . . . . . . . . . . . . . . 47 GH Imaging.. . . . . . . . . . . . . . . . . . . 86 Graphics One. . . . . . . . . . . . . . . . . . 52 Gravotech Inc.. . . . . . . . . . . . . . . . . 62 Hartlauer Bits. . . . . . . . . . . . . . . . . 70 J. Freeman, Inc. . . . . . . . . . . . . . . . 69 Kern Laser Systems . . . . . . . . . . . . 17 Keystone Technologies. . . . . . . . . . 15 Lind SignSpring Group. . . . . . . . . . . 87 Magnum Magnetics Corp.. . . . . . . . 16 Marabu North America . . . . . . . . . . . 5 Master Magnetics. . . . . . . . . . . . . . 61 Matthews Paint. . . . . . . . . . . . . . . . 37

Page

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39 Mimaki USA. . . . . . . . . . . . . . . . . . . 13 40 Mutoh America, Inc. . . . . . . . . . . . . 38

InfoDirect #

Company

Page

Companies in Sign Show

41 National Banner Co. . . . . . . . . . . . . 86 42 ORAFOL Americas. . . . . . . . . . . . . . 11

43 Orbus Inc. . . . . . . . . . . . . . . . . . . . . 53 44 Orbus Inc. . . . . . . . . . . . . . . . . . . . . 86

45 Orbus Inc. . . . . . . . . . . . . . . . . . . . . 86 46 Ornamental Post, Panel & Traffic. . 87

47 Outwater Plastics. . . . . . . . . . . . . . 25 48 Presto Tape. . . . . . . . . . . . . . . . . . . 87

49 Principal LED. . . . . . . . . . . . . . . . . . . 3 50 Rapid Tac. . . . . . . . . . . . . . . . . . . . . 27

51 Reach-ALL LLC . . . . . . . . . . . . . . . . 60 52 Roland DGA Corp. . . . . . . . . . . . . . . 84

53 Seiko Instruments USA. . . . . . . . . . . 1 54 Sherwin-Williams Company. . . . . . 68

55 Sign America. . . . . . . . . . . . . . . . . . 85 56 Sign-Mart Inc.. . . . . . . . . . . . . . . . . 29

57 Sign-Mart Inc.. . . . . . . . . . . . . . . . . 86 58 Signs365.com. . . . . . . . . . . . . . . . C4

75 77 79 81 83 85 87 89

3A Composites USA. . . . . . . . . . . . . 19 Drytac. . . . . . . . . . . . . . . . . . . . . . . 21 FASTENation, Inc. . . . . . . . . . . . . . . 14 E.L. Hatton Sales Co.. . . . . . . . . . . . 14 Epson America, Inc. . . . . . . . . . . . . 14 Fisher Textiles. . . . . . . . . . . . . . . . . 16 Galaxy Glass & Stone . . . . . . . . . . . 18 Graphics One. . . . . . . . . . . . . . . . . . 16 Imprintables Warehouse . . . . . . . . 17 Innovations in Optics, Inc. . . . . . . . 14 ORAFOL Americas. . . . . . . . . . . . . . 20 Outwater Plastics. . . . . . . . . . . . . . 17 Ricoh Americas Corp.. . . . . . . . . . . 14 Roland DGA Corp. . . . . . . . . . . . . . . 21 Tex Visions . . . . . . . . . . . . . . . . . . . 20 Traxon Technologies. . . . . . . . . . . . 18 USI, Inc.. . . . . . . . . . . . . . . . . . . . . . 18 Windbreaker Systems. . . . . . . . . . . 19

59 SloanLED. . . . . . . . . . . . . . . . . . . . C2 60 Southern Stud Weld . . . . . . . . . . . . 85 61 Stamm Manufacturing.. . . . . . . . . . 42 62 Stimpson Company, Inc.. . . . . . . . . 24 63 Stouse Inc. . . . . . . . . . . . . . . . . . . . 87 64 SunRise LED Inc.. . . . . . . . . . . . . . . 39 65 Techno CNC Systems LLC. . . . . . . . 78 66 Top Value Fabrics. . . . . . . . . . . . . . 67 67 TRC Electronics. . . . . . . . . . . . . . . . 44 68 Trotec Laser . . . . . . . . . . . . . . . . . . 46 69 US LED. . . . . . . . . . . . . . . . . . . . . . . 31 70 VKF Renzel USA Corp. . . . . . . . . . . . 55 71 Wilkie Mfg., LLC . . . . . . . . . . . . . . C3 72 Y.J. Inc.. . . . . . . . . . . . . . . . . . . . . . 33

Sign Builder Illustrated // April 2015

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D i g i t a l S i g n a g e / By J e f f Wo ot e n / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /

The (Digital) Sign Industry A conversation with DSF Chair Ken Goldberg about these industries.

Sign Builder Illustrated // April 2015

“Traditional signs aren’t going away. And neither are digital signs. Because of this, it’s important to recognize that they’re going to coexist.” signage itself is not just one technological component, but rather a bunch of technologies—display, content, software, etc.—applied as a solution.” The second barrier involves retraining a sales force that typically makes its money selling traditional signs to understand what terminologies like “bandwidth,” “screen resolution,” and “pixels” mean and how they’re going to sell this information to their customers. “A vinyl print or a dimensional letter is very different than a digital sign that’s managed over the Internet,” he says. “So you could also dedicate a sales team strictly for these projects or signshop.com

all photos: dse.

“T

raditional signs aren’t going away. And neither are digital signs. Because of this, it’s important to recognize that they’re going to coexist.” That’s the message Ken Goldberg, current chair of the Digital Signage Federation® (DSF), would like sign makers to comprehend when it comes to understanding the interest digital signage has created in our industry. Fortunately sign makers already have the customers showing excitement in digital signage. The challenge for shops, when entering this field, is figuring out where the demand is coming from and how they’re going to meet that demand. And make no mistake, interest is there—and rising. “At last year’s ISA Sign Expo, I noticed that a number of traditional sign companies were either starting to resell existing digital signage solutions or come up with their own [which I don’t advise],” says Goldberg. However Goldberg pinpoints two barriers that can prove challenging for any traditional sign builders looking to make a move into offering digital signage. And both are related to education. The first barrier is realizing that digital signage isn’t a threat to traditional signage. “But you need to understand the many technologies and elements that go into it,” he says. “Digital

partner with an integrator or solutions provider.” Goldberg’s association, DSF, is the only independent, notfor-profit trade organization serving the digital signage industry. Its mission is to “support and promote the common business interests of the worldwide digital signage, interactive technologies, and digital out-of-home network industries” through certifications, continuing education, conferences, publications, and presentations offered by the DSF and affiliate groups. The organization is made up of a collection of end-users, distributors, integrators, content providers, etc., and provides “leadership and networking opportunities” focused on building a strong foundation for the advancement of the digital signage industry. Since its inception five years ago, DSF has grown in size, influence, and value to its diverse membership. Goldberg is DSF’s fifth Chair (a new one is selected each year), and his history in the digital signage industry is quite impressive. After beginning his career as an equities analyst at Standard & Poor’s and becoming an executive at a twenty-one-store apparel chain, Goldberg co-founded CFT Consulting, a provider of retail systems consulting. There he was instrumental in driving retail-focused offerings (including digital signage) across the company’s solution groups. He currently serves as the CEO of Real Digital Media (www.realdigitalmedia.com), a digital systems platform solutions provider in Sarasota, Florida. When it comes to sign makers getting more active within the

digital signage industry, Goldberg firmly believes that networking is a valuable opportunity to do so. He mentions the DSF Meet-and-Greet events started by predecessor chair, Kim Sarubbi, as an opportunity for people to meet other folks with similar interests in digital signage in a nonselling environment. These events are held four times a year in metropolitan locations across the country and allow attendees (even competitors) to come together and share regional and local outlooks with one another in a casual environment. “When people wear their industry hat first and their company hat underneath it, so much gets done in a positive way for both,” says Goldberg. One can use these opportunities to network with the DSF Board of Directors, as well as other professional members. Enduser guest speakers also deliver presentations about how they’ve successfully applied digital signage. (Note: This year’s remaining three events will take place in Denver, Colorado (July 22); New York City (November, to coincide with Digital Signage Week); and San Francisco (December 10). To learn more, visit www.digitalsignagefederation.org.) In addition to continuing to focus on DSF members and the industry at large, Goldberg envisions his tenure to involve further help increasing the understanding of digital signage technology and awareness of its tangible benefits. One of his first initiatives involves building communities or special interest groups within the DSF membership. In fact, DSF recently started a special interest group for persons in the systems integration and distribution business. “I

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April 2015 // Sign Builder Illustrated

really think this is an opportunity where the end-users, technology vendors, advertisers, and agencies in the systems integration and distribution business can get together and understand each others’ needs, what standards might be of interest to them, and provide feedback to the standing committees like education, advocacy, and outreach and other programming that we do,” he says. Goldberg has also taken notice of the adoption of digital signage and its advanced structure in European and Asian territories and aims to extend the presence of DSF beyond the U.S. to overseas and the rest of the Americas. “We have a very active regional council in Toronto,” he says, “And in South and Central America...there are emerging markets and large population centers with a great deal of interest in digital signage.” The thinking is that these global initiatives will serve their members well. “To be able to understand what someone is doing with digital signage in Germany or the Philippines might be useful to someone in Iowa, as well,” says Goldberg. The DSF also intends to continue to work actively with other trade organizations where it makes sense (Digital Signage Expo, National Retail Federation, International Sign Association, etc.) “Our educational efforts are kind of the linchpin of what DSF does,” says Goldberg, “whether it’s from certifications; our biweekly, live panel, free Webcast Hangouts on particular topics; seminars; or Web resources. Stepping those up or maintaining them at a high level is important.” One issue Goldberg mentions digital signage grappling with these days is the role of mobile technologies (smart phones, tablets, etc.) and how they relate to traditional and digital signage.

“My personal opinion is that [mobile] is part of a continuum of engagement that can start with a sign on the outside of the building, then follow up with a static sign on the inside, and then video delivered on a digital sign with a call to action that ends up with content or information on someone’s smartphone—‘bring your own display,’ if you will,” he says. “The ‘hot topic’ is figuring out where we all fit in this continuum.” Meanwhile Goldberg’s message to sign builders (and A/V pros and integrators) is that there’s still a lot of business to come. “The digital signage industry has been around for over a decade,” he says. “We’ve only scratched the surface of what can be done. Working together, there’s money to be made for everybody and careers to be built for everyone. “So come on in. The water’s fine.”

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DSF at ISA In addition to the three remaining Meet-and-Greets being conducted by the Digital Signage Federation this year in Denver, New York City, and San Francisco, the organization will once again have a presence representing the digital signage industry at this year’s Dynamic Digital Park section of the exhibit hall floor of this year’s ISA International Sign Expo (April 9-11 at the Mandalay Bay Convention Center in Las Vegas, Nevada). Founding and current members of the DSF have worked closely with ISA and, under prior auspices, created their own organic way of developing education at the ISA Sign Expo. These including conducting informational programs the day before the Expo, as well as participating in some of the on-floor Digital Park education sessions. “We’ll be at Booth #942 talking to sign companies about how they can enter the digital signage market or how they can implement digital signage as part of their comprehensive offerings,” says DSF Executive Director Brian Gorg. “We’ll discuss the different options and basics of digital signage—including the advantages of going through the certification program that’s a part of our association and how to partner and gain access to a wider range of suppliers out there. “We’ll also present case studies on how different companies and organizations are using digital signage in new and innovative ways that sign makers may want to capitalize on.” Gorg hopes that interested sign companies will show up at the Dynamic Digital Park and learn how to enter this market and gain access to the highly qualified vendors/suppliers/consultants who are members of DSF. “They can treat this as sort of an entry point for how they can approach this subject,” he says.

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April 2015 // Sign Builder Illustrated

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Sign Builder Illustrated // April 2015

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“

SHOP TALK

B y M a r k K . R o b e r t s

The InterSign Group of Houston, Texas

Six Steps to a

Successful Shop

s sign shop owners, how do we increase our walk-in clients? Neatness counts big time. If you have a storefront sign business with several windows, you should decorate your windows in a professional manner that will attract the clients you want to serve. Make sure you clean them every day. Don’t neglect your consistent marketing efforts. Prospects don’t know you, and even your own clients can forget about you if you aren’t working to keep your sign company at the top of their mind. So if your sign business needs a little tweaking today, here are a few tips to get back on track: Step One: Put on your sales face. Are your business cards dated? Why not create some new ones? Armed with your new cards, call on a client. Introduce yourself, present your card, and tell your prospect in sixty seconds or less why your sign company is the best in your market. Bring along a portfolio with ten to twelve pages of full-color photographs showing the work you want to sell. Step Two: Drive a good-looking shop vehicle. If you want to sell to higher quality customers and clients, you must maintain your shop vehicle at all times. Whatever vehicle you have, keep it in top working order. Make sure it is clean inside. Change your vehicle advertising every two years. More prospects and clients will notice the upgrade

in your vehicle graphics and come looking for you for the same upgrades. Step Three: Guide your client. We’ve all encountered a sketch or two presented by the client that’s really, really bad. Without hurting anyone’s feelings, you can direct your client to a much better design with some ideas that will garner attention. An attractive sign that’s balanced, easily readable, and informative will be an easy sale. Step Four: Search for ancillary sign sales. These signs are those you buy, rather than make yourself. Search the Internet, sign catalogs, and sign magazines for sign companies that will sell you their products wholesale, and you will sell them at retail. These products could be printed business cards, pre-printed banners, full-color magnetic signs, or a host of other products. Step Five: Work harder in your business. Look around your facility. Are you happy with what you see? If not, do something about it right now! Eliminate clutter, do a thorough cleaning, add a coat of paint, increase the lighting inside your shop, and keep several cans of air freshener handy. Step Six: Network. Join social clubs, get involved in your community, or volunteer. People will notice your participation and ask what you do for a living. Now the door swings open to your soft-sale approach, which will guide your prospect to what they want.

Sign Builder Illustrated // April 2015

all Photos: Shutterstock.com

Tips to increase your sign business right now.

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The Wilkie Model 58XRB Is designed from the start with your needs in mind. • Power level power rotate basket with easy front entry to access the work in front of you. • Jib winch which stores behind the basket when not in use. • Storable mainline winch for quick conversion from service truck to capable hydraulic crane. • All hydraulic extension for ease of maintenance and smooth extension. • Sliding face rest. • Joystick controls in basket. • Available in two load ratings standard rating # max load at 23’ or 1995# in Wilkie’s reduced rating at 23’ • Full 360 degree working rating. • Optional: 110 volt outlet in basket, Welding leads in basket, Air outlet in basket, Pressure washer in basket. • Custom truck rigging This Model mounts on a non CDL truck with carrying capacity to spare. Order your turnkey work ready Rig today, Wilkie has you covered.

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