N u m b e r 26 4
The How-To Magazine
SIGN BUILDER
illustrated
J u n e 2017 | s i g n s h o p.co m
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Contents June 2017
Vol. 31
No. 264
How-To Columns
14 18
40
NO SCHEDULE FOR CREATIVITY
By Brooke Albring Tips for better managing and inspiring your designers.
CUSTOMER DELIVERY
By Mark K. Roberts How to drive business in your direction.
departments
8 10 51 52
EDITOR’S COLUMN
The future is now with the Cloud, but Editor Jeff Wooten reports there are still some dark patches in the forecast.
IN THE INDUSTRY
Digital signage drives traffic to a space museum, and air pollution becomes ink.
Sign Show
The newest products and services from sign manufacturers.
SBI Marketplace
Advertisements and announcements from the sign trade.
Features
20
Shop Talk
David Hickey details how the search is on for the next generation of workers.
28 32 37 40 42
48 2
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June 2017
48
OVER THE EDGE
By Jim Hingst Make edge peel a thing of the past.
ON THE SCENE
By Lori Shridhare Murals and the art of the story.
MIXED MEDIA
By Ashley Bray What to consider when choosing materials for ADA signs.
evoking lunar light
By Sean Callahan LED fixtures provide a glow inside new Blue Moon Brewing Company restaurant.
CARE ABOUT FABRICS
By Jamie Herand Get a handle on SEG and pillowcase fabrics.
A LESSON IN PLANNING
By Jeff Wooten Project management passes the grade for a school’s monument sign.
YOU WANT TO BECOME A ONE-STOP SHOP?
By John Fulena Then you should partner with a one-stop shop.
signshop.com
Cover Photo: 3M 1080 Wrap Series Gloss Flip Psychedelic.
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100 sunset shift (pictured)
905 black galactic gold
372M matte imperial red pearl
What is your favorite type of vinyl wrap?
June 2017, Vol. 31, No. 264 Sign Builder Illustrated (ISSN 0895-0555) print, (ISSN 2161-0709) digital is published by Simmons-Boardman Publishing Corporation
Subscriptions: 800-895-4389
executive offices President and Chairman Arthur J. McGinnis, Jr. 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 jwooten@sbpub.com “I like when shops wrap the unexpected like musical instruments, sports equipment, or even mini fridges. The challenges involved make for a great story!
“It’s hard to choose between vehicles and walls (depends on my mood that day), but I’m always attracted to those wraps bent more toward the artistic side.”
Managing Editor Ashley Bray 55 Broad Street, 26th Floor New York, NY 10004 212-620-7220 abray@sbpub.com
Contributing Writers Brooke Albring, John Fulena, Jamie Herand, David Hickey, Jim Hingst, Mark K. Roberts, Lori Shridhare
art Creative Director Wendy Williams Art Director Nicole Cassano Graphic Designer Aleza Leinwand
production Corporate Production Director Mary Conyers
circulation Circulation Director Maureen Cooney
advertising sales Associate Publisher Jeff Sutley 212-620-7233 jsutley@sbpub.com
“Wall graphics. They can completely transform your surroundings while also diversifying a shop’s portfolio outside of traditional signage.”
Mid-West & West Coast Sales Manager Heather Bonato 212-620-7225 hbonato@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.
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Editor’s Column
AGENDA
By Jeff Wooten
June 2017 JUNE 8-10:
This year’s SEGD Conference, Experience Miami, will be headquartered at the Loews Miami in Miami, Florida. (segd.org)
JUNE 8-11:
The Texas Sign Association’s sixty-fourth annual conference happens at the WinStar World Casino in Thackerville, Oklahoma. (txsigns.org)
July 2017
A Cloud-y Forecast
JULY 26-30:
Sign shops need to be more vigilant on the Web.
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to figure out how to protect your self and your shop in today’s Electronic Age. Experts offer three essential pieces of advice to help prevent this vicious malware virus (as well as really any type of cyber virus) from attacking you: • Make sure that your software patches are up-to-date, that you are using the newest operating system, and that you are employing appropriate antivirus services. • Back up all the data that matters to you and your shop; and • Do not open any suspicious links. That last one can be a bit of a bear since a lot of design work is exchanged via emails and Cloud sharing, but you have to work a little smarter in avoiding anything suspicious that shows up in your inbox. Think about contacting the client first before opening anything sent by them via email. “It was the age of wisdom, it was the age of foolishness.” The Cloud may have enhanced communication and productivity, but it has also increased the need for added vigilance on your end. And working smarter can hopefully lead to some Great Expectations.
Jeff Wooten Editor, jwooten@sbpub.com
August 2017 AUGUST 11-13:
The Tri-State Sign Expo commences at the Downstream Casino Resort in Joplin, Missouri. (tristatesignexpo.com)
September 2017 SEPTEMBER 10-14:
The PRINT 17 exhibition and conference returns to McCormick Place South in Chicago, Illinois. (graphexpo.com)
SEPTEMBER 28-29:
Photo: Shutterstock/Den Rise.
T
echnology in today’s sign shop can seem straight from a Charles Dickens novel. “It was the best of times, it was the worst of times.” It wouldn’t be all that surprising to see Dickens 2.0 recasting Tale of Two Cities with Madame Defarge off to the side digitally needlepointing via design software as businesses who haven’t upgraded are sent to the customer service gallows. LED components are now replicating neon (p. 37), all types of images can be upsized as a wall mural (p. 38), CAD/ CAM software is helping modify designs and creating toolpaths for CNC routers (p. 42), and print providers can reasonably consider offering digital signage as well (p. 48). And the Cloud has helped make file sharing much more convenient with your customers and your employees. Then again, all it takes is news about the global ransomware cyber attacks last month to scare the Dickens out of you. You’ve no doubt heard how hundreds of thousands of computers were shut down by hackers exploiting a software vulnerability. The malware encrypted a user’s data and demanded cryptocurrency payment in exchange for unlocking the data. So, in essence, the Cloud equally makes paying attention to security much more stringent and maybe more stressful. That’s why it’s extremely important
The Mid South Sign Association Annual Meeting and Trade Show takes place at the Sheraton Memphis Downtown in Memphis, Tennessee. (midsouthsignassociation.org)
The 2017 NSSA Northeast Sign Expo, featuring over seventyfive exhibits, will be held at the Connecticut Convention Center in downtown Hartford. (nssasign.org)
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In The Industry Air Pollution Becomes Ink
N Digital Signs Drive Traffic
at Cosmophere
L
ogan, Utah—Begjnning as a temporary planetarium at the Kansas State Fair Grounds in 1962, the Cosmosphere International SciEd Center & Space Museum in Hutchinson, Kansas is today located on the campus of Hutchinson Community College and is one of the largest space museums in the world. The 105,000-square foot facility houses a significant collection of Russian/Soviet space artifacts (including a Vostok and Voskhod spacecraft), as well as the U.S. Apollo 13 command module, Odyssey. Recently Cosmosphere underwent a marketing makeover to better reflect the its focus on STEM (Science, Technology, Engineering, and Math) education. This included a new name and logo. The facility’s signage also went through a transformation to better reflect the museum’s mission and to encourage new and repeat visitors. Cosmosphere officials replaced their faded vinyl sign with a monolithic pylon featuring a digital message center from Watchfire Signs. The sign is affectionately called “Bertha” by the museum’s marketing department because of its size. The sign was designed by Luminous Neon Art & Sign Systems, a leading sign company serving Kansas and Missouri. 8
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In addition to the pylon sign, Luminous also designed and installed the facility’s illuminated building letters. “The previous display was static and didn’t positively reflect what was going on inside Cosmosphere,” said Tom Sellers, CEO of Luminous. “The new sign is dynamic and exciting and serves as a physical manifestation of the museum’s mission.” The high-resolution sign displays trailers of films being shown in the Carey Digital Dome Theater, including first-run Hollywood films and documentaries. It also promotes photos of kids at the museum’s space camps, photos of artifacts, and messages about workshops, speakers, fundraisers, and gift store sales. The museum is at an intersection with more than 8.2 million exposures a year, including daily traffic to local schools. “We have been able to tie sales of fundraising raffle tickets and visits directly to the new sign, [which is our] greatest point-of-sale voice,” said Mimi Meredith, the museum’s vice president of development and marketing. In fact, a teacher who passed the sign and saw a trailer for The Polar Express the week before Christmas quickly made reservations and brought her class to view the movie the next day.
ew York, New York—At the end of March, Air-Ink™, the world’s first ink created from air pollution, hit the streets of New York. Delivering creativity from the streets, for the streets, New Yorkers e n co u n te re d A i r- I n k a r t wo r k throughout Manhattan, including Artist Buff Monster’s mural collaboration with Tiger Beer (Asia’s premium lager) that was displayed on 28th Street and 7th Avenue. “I had a lot of fun working on this campaign with Tiger Beer and showing off how something bad can be transformed into something beautiful when science and art come together,” said Monster. To make the ink, Tiger Beer teamed up with Anirudh Sharma, co-founder of Graviky Labs, which is an MIT spin-off that works to build technologies that can make a realworld impact. Using a device they created, they collect raw carbon/ soot from things like car tailpipes and chimneys, put it through a purification process, and then convert it into printing ink. The Air-Ink initiative furthers Tiger Beer’s support of those whose unconventional ideas make a positive change in their communities.
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Sign Show CUTTERS/PLOTTERS Wide Format Finishing Solutions Provider Colex Unveils Its Newest Sharpcut Flatbed Cutter The Sharpcut 3232 is Colex’s most productive solution for automated finishing of wide format media of 10-by-10 feet and fabric/textile applications. The system is designed to speed up the process of cutting soft to rigid boards, vinyl, fabric, and textiles by utilizing the automatic board feeder or the roll feeder. The Sharpcut Conveyor operates with minimal operator intervention when equipped with the automatic board feeder or the roll feeder and features a Triple Interchangeable Tool Head station that selects the proper tool for the job and an energy-efficient 6-Zone Vacuum System with a Vision Registration System. The Sharpcut Conveyor package includes a Fixed Knife, Oscillating Knife, and a Router. colex.com
Digital Printing Equipment/Supplies Now Available: Epson-3M UltraChrome GS3 Ink with 3M MCS Warranty Epson is shipping a new series of co-branded Epson-3M UltraChrome ® GS3 Inks designed for use in Epson’s advanced SureColor® S-Series roll-to-roll solvent printers, including the SC-S40600, SC-S60600, and SC-S80600. The premium inks provide signmakers and print service providers with a 3M ® MCS™ Warranty for finished printed graphics created using supported 3M films, clears, overlaminates, and application tapes once they have completed the 3M certification process. Epson is now shipping Epson-3M UltraChrome GS3 inks in CMYK, Light Magenta, Light Cyan, and Light Black. proimaging.epson.com
HP Latex Print and Cut Solutions Simplify, Accelerate Sign and Display Production The HP Latex 300 Print and Cut Series is a dual-device solution for simultaneous printing and cutting in a single workflow, delivering 50 percent time savings. Designed for sign shops, quick printers, and print service providers to help grow business, the 54-inch HP Latex 315 Print and Cut and 64-inch HP Latex 335 Print and Cut solutions offer dramatically more efficient production for a broad range of applications such as high-quality floor and window graphics, as well as stickers and customizable clothing. Additionally HP Latex Print and Cut solutions work with the recently released HP Signage Suite, a Cloud-based software solution with Web-based apps for easy signage creation. The suite is designed for integration into PSPs’ web-to-print operations, making it possible to receive orders 24/7. hp.com/go/latex
Mutoh America Expands Its Soft Signage Printer Line with the New ValueJet 1948WX The seventy-five-inch, four-head ValueJet 1948WX printer from Mutoh America, Inc., provides outstanding performance at a competitive price with a four staggered print head design and blazing fast print speeds up to 2,199 square feet/hour on a variety of dye-sublimation papers. The printer also includes large dual heaters for quick dry times and adjustable pressure rollers for better paper handling. The printer also offers 1440-dpi for high-quality printing as well as smart printing, which includes the Intelligent Interweave printing technique virtually eliminating banding, DropMaster ink technology, and ValueJet Status Monitor app for mobile printer monitoring. mutoh.com
FABRICS Fisher Textiles Rebrands Frontlit SEG Fabric with a New Name DD 4444 Domination from Fisher Textiles is a new fabric specially treated for UV-curable, direct, and transfer sublimation printing that was previously known as DD 4444. DD 4444 Domination is very stable with a gorgeous sheen. In addition to frontlit SEG, this fabric is excellent for banners, exhibit graphics, photographic backdrops, and retail advertising. It weighs 5.4 ounce/yard2 and is stocked at 125 inches wide. It is flame-retardant and meets NFPA 701 and Class A under ASTM E 84 (UL 723). Sample rolls are available for testing. 800/554-8886; fishertextiles.com
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Sign Show PAINTS/COATINGS/FINISHES Sherwin-Williams Begins Offering GENESIS Lustral Coating System for the Sign Industry Sherwin-Williams, through its Product Finishes Division, introduces GENESIS® Lustral™ Coating System, a single-stage 2K urethane. With a streamlined mixing ratio, GENESIS Lustral uses two mixing clears and a toner system to produce a full gloss range and vast colors. Formulated with automotive-grade pigments, GENESIS Lustral provides excellent color stability that resists fading and chalking under harsh conditions. A unique, single-packaged, accelerated reducer provides fast dry times while maintaining a long workable pot life. GENESIS Lustral is designed for finished applications such as channel letter, pylon, large neon, electronic digital, and LED-illuminated and wayfinding signs. oem.sherwin-williams.com/sign
SIGN BLANKS/PANELS/SUBSTRATES 3A Composites Introduces the Next Generation of Graphic Display Boards The new PRO Series line of graphic display boards from 3A Composites USA includes: Gatorfoam® PRO (offering all of the characteristics of the original heavy-duty graphic display board with superior ink adhesion and printability, outstanding dimensional stability, and increased dent and scratch resistance), Sintra® EDGE (comprised of moderately expanded PVC in a homogenous sheet with a low-gloss matte finish and a PRO surface coating in white on one side that readily accepts ink in direct printing applications), and Foam-X® PRO (featuring enhanced printability and increased rigidity and stability with a memory core that is resistant to denting). GraphicDisplay.com
Driven to Excellence With Printable Magnet from Magnum Magnetics • World-class service, not lip service • Quality printable magnetic material, made in America • Quick delivery times • Custom solutions to fit your printing needs Call us today at 800.258.0991
800.258.0991 magnummagnetics.com sales@magnummagnetics.com 12
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Sign Show SOFTWARE-DESIGN/PRINT/ROUTER/ESTIMATING SAi +EnRoute for Flexi Enables Fast and Simple Output of Design Files to CNC Routers An add-on to Flexi version 11 and 12, the new SAi +EnRoute for Flexi solution from SA International (SAi) allows sign businesses with a CNC machine and Flexi software to simplify the file clean-up and toolpath preparation of 2D or 2.5D Flexi design files for CNC output. For such businesses, this addition ensures a smoother design-to-output workflow, faster turnaround times, and a reduction in costly production errors. In particular, SAi +EnRoute for Flexi offers the capability to reduce the number of manual steps required to prepare Flexi designs for production and easily save and reuse commonly needed toolpaths while an automatic clean-up tool converts curves to lines and arcs for CNC router output. ThinkSAi.com
VINYL/VINYL FILMS The Finishing Touch: 3M Introduces Five Textured Overlaminates for Interior Walls To enhance the look and feel of a space with digitally printed wallcoverings, 3M offers five new cast vinyl décor overlaminates that add texture and a protective finish. Embossed with a unique texture, the new 3M™ Décor Overlaminate 8600 Series offers designers and graphics manufacturers stylish matte finishes in Classic Linen, Knit, White Fir, Riverbed, and Plaster. Choosing to add texture will not compromise image quality since the design is printed on a base film—a flat surface for superior image quality—then layered with the embossed overlaminate. Development of the new overlaminates drew inspiration from the comfort and freshness of fabric and the calming yet rugged balance of the natural world. 3M.com/WallWrap
Digital Signage Solutions
The Gallery Advantage:
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June 2017
Sign Builder Illustrated
13
How To DESIGN
By BROOKE ALBRING
No Schedule for Creativity Tips for better managing and inspiring your designers. enhances our abilities to think creatively and solve thorny problems. Our designers desperately need to be managed differently to excel at their work since rigid rules and regulations can greatly inhibit their creativity.
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their deeply internal world of creative thought all day long. They literally bring to life the words exchanged between our sales people and clients.
If your goals are creativity, productivity, and making more money, then it’s time you begin to fuel your designers. This requires inspiration that is facilitated from allowing their brains to be in an alpha brainwave state. Scientists have described this brain action to be what
Feel and Atmosphere The setting in which a designer spends their time creating is extremely influential to their productivity. Both lighting and wall colors can affect their mood and how they interpret their computer screens. Noise can distract or encourage them to deepen their focus. Personal belongings and touches to the room further their emotional connections to work. Comfort brings about relaxation, relaxation creates alpha brainwaves, and signshop.com
Photo: Dreamstime.com.
D
esigners. You can’t live with them, and you can’t live without them. They’re our creative, imaginative, out-ofthe-box thinkers who may often be perceived as moody, rebellious, and emotionally charged. There seems to be an ongoing theme within many of our sign companies that designers are not only the most challenging employees to manage but also the hardest to please. In the April and May issues of Sign Builder Illustrated, I described the money-making potential that lies within all sign company art departments. This article suggests ways in which these magical “sales people” can keep their creative juices at peak levels by utilizing alternative ways to manage them. Out of habit, misunderstanding, and fear of letting go, art departments tend to be managed like the rest of the sign company. This is where certain conflicts can begin. Designers are generating layouts, ideas, solutions, and sign concepts from
More Play Time During Work Through the alpha state, inspiration is pulled from life experience, mimicking forms, emotional interactions and connections, and being playfully engaged. Back in the day, before sign design was done on computers, artists were sketching, painting, and physically present on job sites utilizing their skills. What an awesome way to keep things spicy! Today designers need to get out from behind those desks and begin stretching their minds and bodies. This could be done in a variety of ways, but one of the best and most useful ways is to let them get their hands dirty by helping during the production and/or installation work. Here are a few additional thoughts: • Encourage them to take walks, hit the gym, or bring their bike to work to use on breaks. • Allow them to draw, color, mold some clay, or bring in a musical instrument. • Let them mingle, play games, and spend time in other employees’ areas more frequently.
How To DESIGN
By BROOKE ALBRING
graffiti walls or even a fish tank. • When designers aren’t regularly interacting with clients, try easing up on that dress code. Don’t be alarmed if they walk around in socks—that’s a fun sign of creative productivity. • Let them design in different locations—outside, at home, a coffee shop, or an art museum.
those brainwaves are what will bring in more money! Try letting designers play around with some of these ideas: • Provide speakers for music and quality
lighting with dimmers to control how much light is being used. • Give designers a small budget to paint and furnish their space. Don’t be visibly shocked when you come back to
Scheduling All designers are unique, but there is one thing that holds true for all of them: Creativity does not have a schedule. Most sign companies require designers to be in the office during standard working hours. Would it surprise you to know that ultimately this setup does not benefit the company financially? Forcing designers to work when they are creatively at their lowest will have you missing out on the speed and qual-
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Photo: Designer Brooke Albring for Oakhurst Signs in Florida.
*on select items
How To
Design
ity of work that happens when their minds are “flowing.” Additionally working against their internal clock will drain and disconnect them and could also create feelings of resentment. It’s possible that you are now thinking, “What if I need a revision or design done immediately and they aren’t here?” or, “How will I know they are actually working if I can’t be there to watch them?” Here are a few points to help work around these fears and to begin utilizing your design team better during their creative peaks: • Start small and begin by allowing a two-hour range for them to come in and leave by. • Try working with your design department to attach realistic deadlines to projects instead of attaching their productivity to the actual hours they have
worked. This gives them accountability while allowing for more freedom. • If you feel better having a designer in the office at all times, try rotating your designers so one is always in during working hours. Let the department determine the rotation and how the schedule looks. • Keep in mind that some designers work brilliantly during the night when the rest of the world is fast asleep. Try flexing their schedule to a shortened afternoon shift in the office. • When creative flow is jammed, working conditions are out of your control and consistently stressful, and your energy is quickly depleted. However, when creativity is moving and the flow is wide open, your mood is pleasant, and the task takes much less time. During these times, you may notice that work attitudes and actual produc-
By Brooke albring
tion are remarkably improved, which positively impacts income and your whole company. In Conclusion Designers might be a different type of worker than your employees in other departments, but they certainly hold a substantial amount of control over our sales. Traditional methods of management may tend to alienate and deplete many of your designers. If your goals are creativity, productivity, and making more money, then it’s time you begin to fuel your designers. Brooke Albring has over ten years of conceptual design experience and is CEO of BA Innovative, a design firm in St. Petersburg, Florida. For more information, visit bainnovative.com or reach out at brooke@basigndesign.com.
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June 2017
Sign Builder Illustrated
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How To BUSINESS MANAGEMENT
By MARK K. ROBERTS
Customer Delivery
I
f you are a small business or a new start-up, it can be quite challenging to drive customers in your direction. With that in mind, I am listing some great ideas in this month’s column to help get you started in solving this challenge. Think “outside” the box. Perhaps you could use another set of legs to expand your business. If so, it may be the time to start considering an outside sales person. I personally have had outside sales personnel, and they are great for drumming up new business. Just make sure you have the manpower for the extra business that could come your way. Word of mouth. Another way to drive business in your direction is to ask your customers to write a testimonial of their great experience with your company. You could post these testimonials on your shop’s Web site. This gives potential customers trust in you. I read testimonials of products I am looking to buy from manufacturers. Doing this has helped me many times. Take an interest in your customers. Become your customer’s best friend. Do 18
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Making your customers feel valued leads to customer retention and more sales.
that you are their number-one dependable sign source. Tap into your customer’s emotions. Many customers want to be one step ahead of their competitors. Let them know what their competition is buying. I sell sports decals to parents at school events every fall. If one parent buys a certain decal or sign package, all the other parents want it. Sometimes I mention the most popular items being bought and that is usually all the selling I have to do. They want their child to have what everyone else is buying and, many times, even more. The same scenario works in selling to businesses. Let them know if you have noticed their competition buying certain types of signs. They want to have everything and more of what their direct competitors are doing. Provide a high-quality product. In time, your customers will realize that you are looking out for their best interest and not using sub-standard materials. Many times, I have had customers call me wanting to order additional signs for their business because the previous signs we made still look great even after five to seven years on the job. Improve your in-store business model. Let your customers know you accept credit cards. Let them realize their needs and wants then provide them with the solution that will help them. Often this is the difference between a customer making the purchase or declining the sale. Customer retention goes a long way, especially when they speak well of your business to other potential customers. Run your business in an efficient and honest manner, and it will continue to bring you rewards.
If possible, see what you can do about offering same-day service at no extra cost. Also deliver signs ahead of the agreed-upon delivery date. Show them
Mark K. Roberts is a thirty-nine year sign veteran offering vehicle lettering, wall lettering, digital printing, and a lot of advertising ideas for your business.
whatever feels comfortable with that particular client to make them feel valued. Bring them donuts or gift cards. Take them to lunch. Ask about their kids, hobbies, and interests. Doing so goes a long way towards customer retention and sales. Always greet your customers personally by name. Give them superb service.
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Photo: Shutterstock/ Evgeny Karandaev.
How to drive business in your direction.
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VINYL BY JIM HINGST
Over The Edge E
dge peeling makes every sign maker’s list of top vinyl problems. Failure to properly clean the substrate and failure to resqueegee the graphic after removing the application tape causes many edge-lifting problems. While graphics installers often get blamed if a problem occurs, application mistakes aren’t the only reasons. Problems can even begin before the 20
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graphics leave the shop. Laminating a print before an ink has had time to fully cure can trap solvents. These trapped solvents can migrate through the printed vinyl film and attack the adhesive system. Also be aware that some films are susceptible to solvent attack and require special processing. Be sure that, before you use a new film, you study the manufacturer’s literature and understand the
limitations of the product. For example, some films cannot be printed to the edge and require that the printer allow for an unprinted border. Following application, graphics often encounter grueling environmental conditions that work against the edges of a graphic. Every job is a little different. So make sure that you understand the potential problems with each application signshop.com
high-pressure sprayer and cleaning with strong solvents and bug and tar remover. Even hand waxing graphics can cause edge lifting because petroleum distillates in the wax can attack the exposed adhesive along the edge of the vinyl. Because firetrucks and emergency vehicles are frequently waxed, all edges should be edge sealed. One of the best ways to prevent problems is to educate your customer after you install the graphics. As a suggestion, print a list of “Dos and Don’ts” explaining in detail everything that a customer should know about graphics care. Then respectfully review the list with him or her, so there are no misunderstandings. Edge Sealer Prevents Edge Peeling Many of the edge peeling problems can be avoided by using either a liquid edge sealer or an edge-sealing tape. That seems like a simple solution, so why don’t more sign makers do it? Excuses abound. The reality is that edge-sealing graphics only takes an average of ten to fifteen minutes per vehicle. You don’t need to edge seal every exposed edge of the graphics; you just need to treat the potential problem spots on a vehicle (such as the gas filler door, underneath the wheel well, and along the seams of roll up door panels). In many cases, if you ignore these potential problems, you could be asking for trouble. Here are some edge-sealing products that you should have in your vinyl application toolbox:
Photo: 3M.
Make edge peel a thing of the past. and plan accordingly. Graphics for petroleum or chemical tankers, for example, are regularly subjected to spillage during filling. Films on these vehicles require overlaminates and edge sealing to prevent edge lifting (especially along the top edges of the graphic). Graphics applied to roll-up rear or side doors take a pounding every time the doors are closed and require special signshop.com
care. Because wood doors can chip at the edges, applied films should always be edge sealed after they are trimmed. The Customer Isn’t Always Right Sometimes well-intentioned customers can unknowingly cause vinyl failures by the way they care for their graphics. Some of the mistakes made in cleaning graphics include washing graphics with a
SEALITPEN: This unique, convenient product was developed by pinstriping legend “East Coast Artie” Schilling. While it looks like a felt-tipped highlighting marker, the SEALITPEN is filled with an acrylic clear coat. If you don’t want to contend with the mess involved in using a brush, this little pen is a neat way to apply edge sealer. 3M™ 3950 Edge Sealer: The original 3950 Edge Sealer was actually nothing more than 3M’s 3900 series solventbased screen print clear coat. Back in my decal installing days, I would fill baby food jars with clear coat for edge sealing vinyl graphics. Instead of using the spherJune 2017
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ical fiber dabber that comes with the 3950 sealer, I prefer brushing clear coat with a #6 quill. With this brush, you can apply a thick 1/2-inch line of clear coat to seal the edges. Ideally, half of the clear coat will be on the vinyl graphic and the other half will be on the substrate. 3M™ Edge Sealing Tape 8914: For certain applications, edge sealing tape is a great alternative to using a liquid edge sealer. Sealing the edges of perforated window films is one of those applications. The edges of perforated window films are vulnerable because dirt can collect in the perforations at the edges. To secure the edges, you need to edge seal. Using the edge-sealing tape is usually faster and cleaner than painting the edge of a perforated film with drippy edge-sealing liquid. If wrapping a car, you should keep a roll of edge-sealing tape in your toolbox. The tape does more than sealing the edge of a vinyl film. It can also hold the edges of applied vinyl graphics securely in place. Edge-sealing tape, which is available as either a glossy film or matte film, is similar to a linered overlaminating film with a highly aggressive adhesive. The 22
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tape is so aggressive that if you touch adhesive to adhesive, the tape is trashed. So be careful in handling it. Other than that, the tape is easy to use. Just peel back the release liner exposing the adhesive and stick it. To prevent mishandling, only expose enough of the adhesive that you can comfortably handle. The common sense rules that apply to using other pressure-sensitive materials also apply to using edge-sealing tape. For example, even though the tape has a highly aggressive adhesive, it won’t stick to dirt. The application surface must be clean. This especially applies when you are using the tape to secure an edge under a wheel well. When you’re done using the edgesealing tape, secure the edge of the roll with masking tape and store the roll in a Ziploc® baggie to prevent the edges of the tape from being contaminated with dirt. Perforated Window Films Whether you’re applying perforated window films to store or vehicle windows, the graphic should be laminated and the edges should be sealed. There are other dos and don’ts when
installing these films. Never overlap panels of performed film. Normally when you’re installing window graphics, you can overlap the vinyl at least 1⁄4-inch where the panels form a seam. The reason is that these window films are comprised of thousands of little holes that represent 40 to 50 percent of the total area. Because the film has so many little holes, there’s approximately half as much adhesive on the overlapping sheet of vinyl film. The bottom graphics panel has roughly half as much surface area to stick to. This is a sure recipe for a vinyl failure in which edges are guaranteed to lift. Instead butt the panels together. Then apply edge-sealing tape over the seam. Edge-lifting problems can also occur where the vinyl touches the edge of the window. Always trim 1⁄4-inch of the film away from the edge. To minimize edge lifting, you can always edge seal the graphic with a commercial edge sealer (such as 3M 3950) or a clear coat (such as Frog Juice). If graphics start to peel at the edges, trim the peeled material and then edge seal the graphic. I am also a believer that you should protect perforated window graphics signshop.com
Photo: 3M 1080 Gloss Flip Deep Space.
Pay close attention to gas filler doors and underneath wheel wells.
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Allow at least a 1⁄4-inch (6mm) space between the graphics and the frame. Most window graphics shouldn’t be edge-sealed. (Note: Perforated windowmarking films are an exception.) Some manufacturers recommend protecting these graphics with an overlaminate. To complete the installation, seal the film’s edges by painting on the sealer with a fine-tip narrow brush (a #6 lettering quill). Using an overlaminate and an edge sealer prevents water from collecting in perforations, which can cause edge lifting.
Be sure to only edge seal the potential problem spots on a vehicle.
with an overlaminate. In fact, some vinyl companies require it. This precludes using application fluid, because fluid would be trapped inside each little hole. In my experience, you don’t need application fluid to install these films. In the real world, very few people will use an overlaminate. Failure to use
an overlaminate on perforated window graphics films, however, can result in problems. Without an overlaminate, edges can lift and dirt can collect in the holes. When installing window graphics, don’t apply vinyl over rubber gaskets or on the window frame. Film applied to these areas usually falls off.
Metallized Films There are a number of reasons that installers should edge seal metallized films and reflective sheeting. These films generally have a thicker profile. This thicker edge allows for an accumulation of dirt and waxes. That’s where a problem can start, as these contaminates can compromise the exposed adhesive on the edge of the graphic. The problem is compounded at the
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edges because the metallization layer is also exposed. It’s at this point that galvanic corrosion can occur, especially if the graphic is used to decorate a boat used in salt water. Many metallized films are rigid vinyls that are intended for flat applications only. Does that mean that there’s no way that you can apply these films to contours and other irregular shapes? Not at all. But you do have to know what you’re doing. If you do the application wrong and stretch the film into an indentation or around a compound curve, the vinyl will likely stretch back. If you must form the film to an irregular shape, use heat to thermoform the film. To ensure that the film stays down, apply Primer 94 adhesion promoter to the application surface prior to installing the graphics. After installing the graphics, edge seal the film. Fixing Edge Peeling with Edge Sealer I am frequently asked if you can reapply
Users can choose between edge-sealing tape or liquid edge sealer.
a pressure-sensitive vinyl graphic once it has started to peel. As my friends in New Jersey say, “Forget about it!” Once the edges have lifted, dirt has already contaminated the adhesive. No, Super Glue won’t work, so don’t even think about trying it. But don’t despair. All that’s needed is
the old scalpel and a steady hand. The scalpel that most professional decal installers use is an art knife, such as an X-ACTO® knife with a #11 blade, or you can use a stainless steel Olfa graphics knife with a 30-degree blade. The first step is to cut the applied vinyl at a place where it has not yet lifted.
1200 Photo: Imprintables Warehouse.
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Be especially careful when cutting on a client’s vehicle. With a very light touch, cut away the failing material. If you have a brand new blade that’s razor sharp, all you should need to cut through a cast vinyl film is the weight of the knife. There is no reason to use any additional pressure. If your blade is old and dull, immediately replace it with a brand new one. To compensate for its dullness, the natural tendency is to apply some muscle. That’s when you end up cutting into the substrate. It’s bad enough leaving a slight cut on the surface of the paint; it’s really bad if you cut down to the metal, where rust can begin. After you remove the defective piece of vinyl, clean the surface and the edge of the applied graphics. First wash the substrate with a mild detergent and water. This removes any water-soluble contaminants. The second step is to clean the surface along the edge of the graphic with isopropyl alcohol (IPA). This removes any oily grime.
Conclusion Using edge sealer is just one step that you should take to ensure a successful application sans edge peeling. There are other steps that you can take to minimize problems: Graphics survey: Regardless of what type of job you’re bidding on, always conduct a site survey. Carefully inspect the condition of the substrate. If the surface is newly painted, make sure that you understand what type of paint was used and when it was painted. Outgassing paints can cause a variety of problems. Some paints contain additives that can inhibit adhesion. Printing requirements: After printing, always wait at least twenty-four hours for the ink to outgas before lamination. Substrate preparation: Clean the surface prior to application. Surface preparation will vary from one substrate to another. If you don’t know how to properly clean a surface, don’t be afraid to call your distributor for advice.
Temperature range: Vinyl films will fail if the application surface is too cold. Each film is a little different. Make sure that you know the minimum application temperature for the product that you are using. Good squeegee pressure: Vinyl films are pressure-sensitive, which means that you need to use adequate pressure to initiate adhesive flow out. Post heating: If you need to conform a pressure-sensitive film to an irregular surface, use heat to stretch the film. Once the film is applied, heat the film to secure it to the surface. Resqueegee: Remove the application tape by pulling it off at a 180-degree angle against itself. After you remove an application tape, resqueegee the entire graphic, especially the edges. My advice to you is to do the job right in the first place and minimize your problems and the time it takes to fix them. Let’s face it: no one makes money on rework!
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MURALS BY LORI SHRIDHARE
mural has a way of bringing the best of both art and signage together—a painting that’s displayed for public consumption and appreciation and larger than life with beauty usually at its core. This is the impression one gets in viewing the work of many traditional mural artists today. While digitally printed murals make for creative wall displays and can enhance a corporate or retail atmosphere as “wallpaper,” there’s an artistry component that traditional painting brings to surfaces. These days, most mural artists make a living by diversifying their clientele, receiving public art commissions and private work, and taking on projects for both non-profit and profit clients. This is precisely the balance that one Los Angeles-based artist has struck
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over the last fifteen years—and with Hollywood nearby, she’s fortunate to have Robert Downey Jr., P!nk, Train, Snoop Dogg, and other celebrities on her list of clients. Jeanine Hattas Wilson began her career in advertising and transitioned to painting murals in 2002 when she launched her business, Hattas Public Murals, Inc. (www.hattas.com), in Milwaukee, primarily for homeowners. After relocating to her home city of Chicago to work with interior designers and take on corporate clients, Wilson eventually moved to Los Angeles in 2009. “The warm weather was a nice change for the obvious reasons, but it also allowed for considerably more exterior work,” she says. Living in a metropolis has allowed her to not only work for prominent clients
in the entertainment, government, business, design, and building sectors, but it has also allowed her to connect with artists who have joined her business. Currently muralist Ian Burgess and graphic designer and illustrator Julie Kennedy are on her team. Taking her cues from the philosophy that public art helps define a city and its people, Wilson shapes her approach to creating murals—for all of her clients—by envisioning them as works of public art. “When working on a public mural, we understand that the work belongs to the public,” she says. “We consider what the city or organization represents, what gives its residents or members pride, and what messages are important to convey. “When you close your eyes and imagsignshop.com
All Photos: Hattas Public Murals, Inc.
on the A
Mural for St. Joseph Hospital in Orange, California.
Scene ine a city, for example, you are often presented with images of its architecture, statues, paintings, and landmarks. It’s so important to represent it beautifully and correctly. The same goes for all of our clients—including schools, hospitals, churches, businesses, and even homes.” A balance of artistic training and a background in business has served Wilson well as she works on commissions that are overseen by committees, which often means navigating the feedback from multiple stakeholders who provide input on her work. “I think being able to work collaboratively with a range of people who have different visions and personal tastes has been conducive to a successful and prolific career,” she says. With her company motto as a guide (“Collabor[art]”), she feeds off of the signshop.com
diversity inherent in her work, making it one of her favorite aspects of the job. As she meets a variety of clients and committees, she has the opportunity to experiment with many art styles and paint subjects ranging from Native American culture to war. “Every day feels different and inspiring,” says Wilson. “I learned early on in advertising that we do our best work when working with others—and that fresh eyes means fresh ideas. “And that even though feedback or changes can mean extra work, they can often lead to better work.” Wilson sees her job as fulfilling her clients’ visions, “whether they have a fully fleshed-out concept or simply have a blank wall that needs ‘something.’” The process of creating a mural from concept to completion starts with water-
Murals and the art of the story.
based paints (the team occasionally works with oil-based paints), which they apply either on site, directly on the surface, or in their studio on synthetic canvas. For this method, the mural is installed later, applied much like digitally printed wallpaper. “Painting on canvas allows the mural to be completed off site, which is sometimes preferred,” says Wilson. “It can also help with ceilings and areas that are difficult to access. “Doing so allows us to paint for longdistance clients. We can paint the mural in our studio, while providing photos and/or videos to a client in another state. Then we roll up the canvas and ship it to the client.” This approach also makes it possible for the mural to be removed and reinstalled somewhere else in the space. To protect exterior murals from the
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Painting historical pieces is a powerful way to share stories.
elements, including UV rays and moisture, they typically add a sealant. An option for the client is to add an antigraffiti sealant, which allows unwanted “tagging” to be washed off the wall while preserving the mural underneath. In considering all the tools that muralists (and sign professionals) depend on, including brushes, buckets, scaffolding, levels, and ladders, Wilson says the most important tool is a resourceful mind. “Since each location has unique challenges, we often need to come up with crafty and surprising solutions on the spot,” she says. Wilson notes a few examples of innovative rigs devised by her team, including creating an impromptu pulley system to carefully hang a canvas above priceless artifacts and transforming discarded wood palettes into extra scaffolding. They’ve even gone as far as taking their socks off to use them to pounce charcoal transfers, using baking trays as “instant” paint palettes, and turning to plumbing pipes and disks to use as a spooling system for oversized canvas. “Muralists are not only creative with just a brush!” says Wilson. While advertising allows the creative 30
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team the opportunity to understand the brand and the messaging the client wants to convey, there’s something about painting the details of a subject that brings forth greater intimacy. In working on several projects for cultural centers in California and Nevada that tell the stories of Native Americans, Wilson feels honored to have had the opportunity to become deeply engaged in learning about their culture and values. “For me, painting historical pieces is a powerful way to share stories, ideas, and cultures in the language we all speak universally: visual art,” she says. In the same vein, honoring those who served in the armed forces has also been a privilege for Wilson and her team. They recently completed a forty-footlong mural for the Veterans of Foreign Wars, basing the design on the events of D-Day and incorporating each of the four armed services into one scene. This project offered her team a unique opportunity to consult with veterans at that post to ensure all the content details were accurate, from the plane and ship models to accurately portraying the uniforms and artillery
used in World War II. “The final piece brought tears to the members’ eyes,” she says. “Paintings like these are powerful because they are thoughtful, beautiful, and life size. “The elaborate scene is full of emotion, color, and information.” Another unique project showcased the history of the founders of St. Joseph Hospital in Orange, California. The focus of this 1,800-square foot mural is the founding nuns who hail from Le Puy, France. One side of the mural features Le Puy, designed by graphic designer Patricia Sueme of Prescott Studio, and on the opposite side is a scene of the nuns depicted through windows as they sew lace by candlelight. The landscape was painted directly on the existing stucco of the facade. There are actual windows behind the painted window scenes, but Wilson chose to overlay them with an exteriorrated wood that they painted directly on, installing them over the unused and unsightly windows. The murals are flanked by faux marble plaques documenting the sisters’ stories. “Together with Patricia and a team of painters, we created a powerful and historically accurate mural that is beloved by the sisters and the hospital employees,” says Wilson. One of the fascinating aspects of mural work is the timeless quality of this art. It’s surprising to learn that even with its time-tested relevance and popularity, it does rely on advances like other art media and benefits from improvements in technology. “We still paint with the same brushes, palettes, and malsticks as generations before us, but research, sales, and marketing have all come a long way,” says Wilson, noting that one of the best gifts she received was the launch of Google Images, making her art search more efficient. “Before that, I would find myself thumbing through books at libraries and bookstores for references that were never quite right,” she says. “I actually remember the day I stumble across Google Images. I couldn’t believe it! It made my job easier in ways that I couldn’t have imagined.” signshop.com
Integrating Murals into Signage Projects In a multimedia environment, say for an interior wallscape or a complete identity program, your client might toss around the idea of a mural. Then what? A search online brings up several options, but it might make sense to begin by talking to an experienced muralist. “I’m sure sign professionals know first-hand that you get what you pay for,” says Jeanine Hattas Wilson, owner of Los Angeles-based Hattas Public Murals, Inc. “Similarly, not all muralists are alike. It’s definitely not comparing apples to apples.” Hattas recommends searching for muralists who demonstrate solid
professional skills by examining their portfolio, keeping an eye on evidence that they have the specific skill sets to meet the needs of your project, and verifying the level of their craftsmanship. “Once you meet, take note of their punctuality, temperament, and willingness to work with your team and take feedback. And demand a preliminary design before letting any paint touch the wall,” she says. “Of course, they should be licensed, insured, and bonded.” She adds that muralists should be willing to take direction. “Some artists work too hard trying to figure out what to paint for a client when all
they have to do is listen.” On painting, there are a few key points to keep in mind. “Your top coat is only as good as your base coat,” says Wilson. “So make sure the surface is prepped correctly. And make sure to seal it correctly, as well. “Use only quality products, and pay attention to their specific instructions.” It’s also helpful to keep in mind that just because muralists are artists, they shouldn’t be excluded from working with standard business contracts, which Wilson underlines should be detailed and clear with an outline of payment terms, including a required down payment.
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Feature Name ada By ASHLEY AuthorBRAY
MIXED MED T
hanks to advances in both substrates and fabricating processes, ADA signage has come a long way from its roots as utilitarian signage. “Designers and sign makers alike now incorporate ADA-compliant signage as part of their larger signage vision,” says Emily Cordes, product manager at Rowmark (rowmark.com). “Customers can decorate ADA-compliant materials through digital printing, custom painting, and full-color sublimation. “There are now many different colors 32
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and substrates that can be used to create ADA-compliant signage, which has opened up a lot of creative possibilities.” Some of the most common materials used to created ADA signage today are plastics—including acrylic, ABS, and PETG—because of their ease of use and design versatility. “You see plastic used because really it’s a lot more economical than metal, and it’s relatively easy to use,” says Gary Harder, director of Sign Distribution Products at Gemini (duetsbygemini.com). Metals such as aluminum, steel, zinc,
etc., are still frequently used in ADA signs as well. “Metals are going to be better in higher-end applications or really demanding environments with lots of weather exposure or in a hospital or something like that where they’re cleaning it all the time,” explains Harder. Metal and plastics may be the most common materials you’ll encounter in ADA signs, but that doesn’t mean that other substrates like glass and wood aren’t being used to make ADA signs as well. It all comes down to making sure signshop.com
Photos: (top) Nova Polymers; (right) Rowmark.
What to consider when choosing materials for ADA signs.
DIA
the signs are ADA-compliant—no matter the material you use. “In order for your sign materials to pass ADA regulations, they must have a matte, non-glare finish,” says Cordes. “Surfaces that are high gloss and reflective will not pass sign inspections. It’s also imperative that the sign substrate, pictogram, and characters have proper color contrasts.” (Note: Consult the 2010 ADA Standards for Accessible Design for full details on making ADA signs compliant.) Aside from adhering to ADA guidelines, environment is a big factor that will determine what materials a shop should use. signshop.com
“There are exterior and interior situations, and you have to use the right material to match up to those locations,” says Bob Greenberger, director of Sales at Nova Polymers (novapolymers.com). Take acrylic versus ABS, for example. “ABS is more economical, but it’s not rated for exterior, and it doesn’t [possess] a lot of UV resistance,” says Harder. “Say it’s in an entryway where you’re getting a lot of sun shining through the windows; you may still want to go with acrylic, even though it’s an interior application.” When considering the environment, shops should also keep durability in mind, especially in applications where theft or vandalism may be a problem. Fabrication also plays a role in durability, as some processes of sign making result in a product that is harder to pick apart or tamper with. The method of fabrication also narrows down the material that can be used. “The sign fabricator has to consider what techniques do they have for fabricating a sign and what materials are they familiar with?” explains Harder. “It makes sense for them to want to use material that they’re familiar working with. It’s just going to make it easier.” Generally speaking, if you can laserengrave a material, then you can almost always route it. However the reverse isn’t true. For example, PVC is better fabricated with a rotary engraver versus a laser engraver because of the resulting fumes. In fact, fabrication is another factor that makes acrylic such a popular choice amongst ADA sign makers—it’s one of the few types of plastics that can be used with a laser engraver without any problems. “If you have a laser and want to use plastic, you’re going to almost always default to acrylic,” says Harder. Creating signs from photopolymer is also a popular choice. “For photopolymer, we have six basic materials that can be used, and there are thousands of varieties of those materials,” says Greenberger. “We have PETG; 3form; photoluminescence, which is becoming very important in major cities; aluminum exterior; brushed aluminum;
and laminates.” The photopolymer process is also faster than many other fabrication methods. “We’ve determined that you can produce 400 eight-by-eight-inch signs in an eight-hour shift,” says Greenberger. Photopolymer can also be finished using CNC routers or laser engravers, depending on the thickness. “For photopolymer, we can laser-cut up to 1/8-inch, and then above that, you have to go to a CNC machine,” explains Greenberger. Even outside of photopolymer, a shop should be aware of any design and aesthetic requirements from the client, as well as any ADA requirements. “The raised text has to be 1/32-inch [minimum] above the substrate—so thickness is a consideration,” says Harder. Budget also determines the materials. However mixing media in a project may enable a client to include high-end ADA signs with more economical ones. Greenberger says he’s observed shops using more expensive 3form signs in the more visible front offices and then transitioning to more economical PETG signs at the back of the house, in order to stay within budget. Mixing materials on individual signs is even possible. “There are times where you might take 3form and laminate it to a piece of wood or metal to give it a different look,” says Greenberger. As always, when mixing substrates, it’s important to be sure the sign remains in compliance with ADA standards. “It’s definitely acceptable to mix
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media for ADA signage. That being said, as long as spacing, finishes, and contrasts are compliant, your sign will be as well,” says Cordes. “ADA signage doesn’t have to be stark, and with the help of frames, standoffs, and other signage components, it can be visually stunning.” Whether a sign shop chooses standoffs, frames, or another method of mounting, all depends on the material of the sign. One of the most common installation methods is to flush-mount the sign to the wall using a tape such as 3M™ High Performance Adhesive Transfer Tape 467MP or ORAFILM® 1375 Transfer Tape. If vandalism is a concern, sign shops can screw signs directly into the wall. “The other thing you can do, if the substrate is thick enough, is use a stud mount,” says Harder. “A stud mount is just screwing a stud partway into the back of the sign so that it’s not all the
way through the face. If you have a thick enough sign, you can do that. “Then you drill a hole in the wall, put silicone in the hole, and flush-mount the sign against the wall.” One of the biggest factors affecting installation is weight. “For the heavier signs, like zinc, it has to be a hard mount,” says Greenberger. “You just can’t put tape and glue and stick it against that wall and hope it’s going to stay up.” As expected, sign shops need to be aware of the ADA guidelines when installing signs. “One of the biggest reasons for not complying to ADA standards is it’s not mounted in the right place,” says Harder. “The ADA has regulations on the placement of the sign relative to the door or the floor. “[Sign shops will] find that the “where” is going to be more important than the “how.” signshop.com
Photo: Nova Polymers.
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Progressive Restroom Access Policys Scottsdale, Arizona-based Kroy Sign Systems (kroysignsy stems.com) is responding to unprecedented demand for restroom signage, as Assembly Bill 1732 became effective on March 1, requiring all businesses, g ove r n m e n t b u i l d i n g s, a n d places of public accommodation in the state of California to make single-user restrooms available to all genders. Ed Hunter, president of Kroy S i g n Syste m s , c o m m e n te d , “Compliance with the bill is a matter of changing a sign on a restroom door! It’s exciting to our industry, as signs are our world. People outside the supply chain aren’t conscious of signs that identify, direct, and inform. Now, restroom signage is symbolic of major reform, expanded access, and a progressive society. That’s potentially game-changing for our sector. “We’ve seen other states— notably Texas—adopt the policy. We expect more to follow.” For clarit y, a “single-user restroom” means a toilet facility with no more than one water closet and one urinal with a locking mechanism controlled by the user. “When this legislation was announced, we saw an immediate response from a major automotive par ts reseller, several large restaurant chains, and industrial catalogers looking for signage solutions,” says Hunter. However, while Kroy Sign Systems is responding to the clamber for conformity, Hunter anticipates that prospective business owners and facility managers across the USA will see AB 1732 as an opportunity to revisit their restroom policies to maximize capacity, improve restroom environments, and respond to widespread support for the initiative.
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LIGHTING
BY sean callahan
Evoking Lunar Light All Photos: iLight.
I
LED fixtures provide glow inside new Blue Moon Brewing Company restaurant.
n 1995, Denver-based Blue Moon Brewing Company got its start in the basement of Coors Field. More than twenty years later, the brand is a subsidiary of MillerCoors, but in a nod to its local, craft brewer roots, Blue Moon recently opened its own brewery and restaurant in Denver’s River North neighborhood. From a functional standpoint, the 30,000-square-foot standalone struc-
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ture now provides what the space in the ballpark could not—dining and event space that also serves as a laboratory for research and development. Aesthetically speaking, the design team literally looked to the moon for inspiration—conceiving large-scale circular elements to help fill the wide-open interior space. The result: Two sixteen-foot circles and twelve six-foot diameter rings made
out of iLight Plexineon LED fixtures. The circles are created from multiple sections of Plexineon fixtures that fit perfectly end to end. Suspended from the high ceilings, these oval-shaped LED fixtures create warm haloes of light. They also suggest the celestial, which is a nod to Blue Moon’s brand. Roth Sheppard Architects, LLP was responsible for the project’s design June 2017
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from conception through construction, including choosing all interior finishes and lighting. Adam Harding, partner at Roth Sheppard Architects, selected Plexine-
on after seeing a product sample. Harding says one challenge in realizing this interior lighting project was getting an understanding on how the spheres would be constructed.
“It would be in sections, but we wanted it to appear as one solid ring,” he says. “I was concerned it would look distorted at the connection points.” But once the product was received in the field, any concerns he had were quickly erased; the spheres ended up being perfectly smooth and round. In fact, installation proved just as smooth, and the dramatic glowing rings of light have been a big hit ever since the brewery/restaurant opened. “At night, the circular LED fixtures definitely remind me of a neon light,” says Harding. “When people see it, they’re pretty taken aback. They ask what it is.” The even better news, according to Harding, is the the client “loves the space” that his company enhanced with these custom-shaped, illuminated haloes installed via cable wire. For this project, Harding found that the greatest advantage was his company’s ability to create different shapes. “You’re not hindered by just fourfoot or eight-foot sections,” he says. “You’re able to create something entirely new.”
Versailles Apartment Walls Enhanced with a Stylish Photo Mural
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Media’s CanvasTac #343 removable and repositionable adhesivebacked smooth canvas that is printable with UV, Latex, solvent, and eco-solvent inks. “Its surface quality emulates an art canvas,” says Tognini. Printing was accomplished via a HP 360 Latex wide format printer. The graphics were also liquidlaminated with a Marabu Matte liquid laminate to prevent scuffing and offer enhanced UV resistance. The wall is a standard drywall with primer and finished with a semigloss latex enamel. Printing and installation was performed by Puca’s Painting & Wallcoverings of Ewing, New Jersey. “Always leave additional material
around the perimeter of your graphic,” advises Owner Salvatore Puca. “This way, you have some play if the wall is not exactly square. And squeegee over your graphic twice, to ensure that you have excellent adhesion.”
Photo: Presto Print Media.
Eileen Tognini and her assistant Meg Adams were tasked by Alterra Property Group to update the lobby and amenities spaces of the renovated, luxury Versailles Apartment building in the Rittenhouse Square section of Philadelphia to appeal to potential tenants. As interior curator for the building, Tognini was also asked to come up with a prominent 9-by-20-foot wall mural. Since the building features architectural elements reminiscent of the Palace of Versailles in France, Tognini used a photo taken by Jenny Lynn of the Palace and its gardens that are filled with “amazing” statuary and topiaries. The mural media is Presto Print
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WORLD’S
MIGHTIEST
SIGNAGE MAGAZINE! Sign Builder Illustrated is the “how-to magazine” of the sign industry. Each issue includes SBI’s signature “how-to” columns and features with detailed, step-by-step instructions covering a wide range of signage. SBI’s website (signshop.com), newsletters, Buyer’s Guide, and digital edition keep you updated with timely news, recent projects, and upcoming industry events.
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SIGN BUILDER
ILLUSTRATED
Feature SOFT SIGNAGE Name By Jamie Author herand
Get a handle on SEG and pillowcase fabrics.
Care About
F
or soft signage and promotional applications, there are a number of types of displays and coordinating fabric applications. For example, Silicone Edge Graphics (SEG) are printed fabric graphics coupled with extrusion-based display hardware. The extrusion-based frames or perimeter channel bars that hold SEG graphics provide a seamless appearance 40
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for impressive messaging. These graphics feature silicone edge beading attached to the edges of the printed graphic, enabling it to push easily into an extrusion channel for a seamless appearance to the graphic. SEG graphics are also perfect for use with backlit LED illuminated and nonilluminated dye-sublimated fabric graphics. These types of displays are used in
retail environments as wall/standing displays and in tradeshow displays. Another application for soft signage graphics is pillowcase fabric graphics. Pillowcase fabric graphics are dyesublimated printed fabric graphics that slide over aluminum tube frames and zip closed for a seamless, taut appearance. They can be found in applications such as fabric banners, backwalls, arsignshop.com
Photo: Fisher Textiles GF6088.
fabrics
Photo: Orbus.
chitectural and hanging structures, and reconfigurable exhibit kits. Pillowcase fabric graphics are also used on custom fabric projects. A benefit of pillowcase fabric graphics is that large-scale, impactful fabric structures of the utmost quality and durability are able to be created using this method. The hardware/tube frames used with pillowcase fabric graphics are also very lightweight and easy to assemble. The versatility and ease of application make pillowcase fabric graphics great for exhibits and displays, small to large in size, as well as for semi-permanent or permanent retail or branded environment installations or for use at events and tradeshows.
By analyzing and balancing these factors to find the right formula, it is possible to provide a graphic solution that fits snugly within the application channel for SEG frames but is easily removed in the event of a desired graphic change. Depending on the intended use for the SEG frame system, material thickness may vary. Non-illuminated displays may require a thicker material than illuminated displays for the best results, and channel depth may also vary based on the application. Keeping those needs in mind will assist printers in determining the best fabric to choose to create a display—and graphic—that will maintain its rigidity and shape over time as it is stretched across the frame.
Fabric Materials: Equipment/Resources There are a number of printers, specialty equipment, and resources used to produce graphics for fabric materials. Fabric graphics are predominately printed using dye sublimation and UV printers and print processes, and certain fabrics that are available with different coatings to work across UV and dye sublimation (direct-to-fabric and transfer dye sublimation) processes have become more prevalent. In addition, the heightened flexibility of UV inks cured with LED lamps has increased capabilities for printing graphics on certain fabrics using a UV printing process. Once fabric graphics are printed, the finishing process varies per product type. My company uses digital laser cutters to trim, and expert seamstresses and industrial sewing machines to finish pillowcase and SEG fabric graphics.
Recommended Finishing Techniques For interior applications, we recommend finishing graphics with the appropriate application technique to the frame, to ensure a taut, clean appearance. These techniques can include zippered closures for easily removable graphics and the inclusion of an opaque liner where necessary to ensure the graphic and messaging can be clearly and easily read. For an exterior application, you should first choose the appropriate fabric for printing and durability, such as outdoor canvas for fabric popup tents or a mesh scrim fabric for promotional flags and banners. Graphics should be finished with durable threads and methods to ensure that they stand up to the elements when displayed outdoors.
Pillowcase Vs. SEG: Printing Differences Pillowcase fabric graphics are printed on several different fabrics, depending on the opacity, weight, and stretch. For extrusion-based SEG frames, several factors need to be considered, which include channel width, material thickness, and stretch. The thickness of the silicone beading that is applied to the edges, as well as the sewing equipment required to attach the beading to the fabric graphics, are also factors. signshop.com
Fabrics: Care and Maintenance Care should be taken with fabric graphics to ensure their longevity. By following handling guidelines and stain treatment processes recommended by manufactuers, fabric graphics should be long-lasting and remain vibrant displays. To preserve fabric graphics, handle them in a clean, dry area with clean or gloved hands. Graphics should be clean and dry prior to packing, to avoid settling of stains or the graphics being damaged
Fitting SEG fabric graphics into the application channel found on an extrusion-based vector frame light box.
by moisture. In the event of a stained or dirtied graphic, there are several steps that can be followed to remediate without damaging the graphic. For dry stains, it is recommended to try lifting with masking tape or a dry Magic Eraser sponge to lift surface dirt. Water or a liquid cleaner can be introduced to stubborn stains—a clean dry cloth should be placed behind the graphic to absorb the stain, while the area is blotted gently with a moistened cloth from the front. If necessary, machine washing can be used as a cleaning method, though care should be taken to ensure that the fabric is compatible with the process prior to doing so. For pillowcase fabric graphics and non-illuminated fabric graphics, the best practice is to wash them using cold water on delicate and air dry on the frame. By following these steps, fabric graphics can be preserved and used time and time again. Jamie Herand is vice president of Graphics at wholesale provider Orbus Exhibit & Display Group (orbus.com).
To watch additional advice about care for backlit fabric graphics, visit http://bit.ly/2qEQdRG. For additional advice about fabric graphics maintenance, visit http://bit.ly/2pF6VRN.
June 2017
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Feature Name OUTDOOR SIGN By JEFF Author WOOTEN
Project management passes the grade for a school’s monument sign.
in Planning P
rairie Seeds Academy is a charter school located in Brooklyn Park, Minnesota that’s home to more than 800 students and a rigorous educational program. School officials were looking to better enhance and showcase their identity,
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and to do so, they decided an illuminated monument sign situated in a large open area of the school property near a busy intersection would be ideal. The end-result, installed last October, is a 10-by-12-foot monument sign that features a combination of unique arches,
a Foamcraft base and columns, an aluminum cabinet with internal LED illumination, and vinyl graphics. This project is a lesson in how collaboration between sign companies and manufacturers can result in a successful monument fabrication and installation. signshop.com
All Photos: Precision Signs and Imaging, Inc.
A Lesson
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The process began when the director of Building Operations at Prairie Seeds Academy contacted Precision Signs and Imaging, Inc. (precisionsignsandi.com), after coming across their Web site. Precision Signs and Imaging is a fullservice sign and graphics business based in Burnsville, Minnesota, and is owned by Managing Director John Swaney. The
Veteran-owned company specializes in a wide variety of interior and exterior commercial signage. “The director knew he wanted an illuminated monument but was unsure if it should be internally lit or ground lit,” says Designer and Project Manager Kathy Armstrong. “Because the sign was going to be installed in an open area
that would accumulate snow during the winter, I immediately steered him away from ground lighting.” Armstrong began by photographing the job site from multiple angles. “The school wanted the monument to be easily visible from as many angles as possible at the intersection,” she says. She researched city ordinances and regulations before getting too heavily involved in the design process to discover the maximum size allowed. Armstrong also showed a preliminary design of the monument she was proposing to the city planning department. “This way, I had time to address any possible issues and alter the design if necessary,” she says. Armstrong took careful measurements at the site to make sure the setbacks of the monument sign were far enough away from the street. “Thirty days before install, we scheduled Gopher State One Call to come out and check to make sure there were no underground utility lines that the sign installation would interfere
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with,” she says. “This is mandatory when digging in the Twin Cities.” Because of the weather conditions associated with Minnesota, one thing the school was worried about was durability; they wanted a sign that would last as long as possible. The school official told Armstrong that they didn’t want a metal sign because they thought that would clash with the two-tone brick school building that would be behind it. “They wanted it to feature ‘natural’ elements,” she says. “They also had a budget.” To achieve the durability and natural look that would complement their brick façade, Precision Signs and Imaging went with a faux-stone appearance for the columns and a stucco finish topper and base using Peachtree Foamcraft material. “A brick monument would probably get lost in front of the school building,” says Armstrong. “Natural stone would contrast with the brick while, at the same time, complement its two colors.
“Doing the base in stucco and only using stone on the columns helped keep the price within the school’s budget.” To come up with the ideal stone and stucco colors, Armstrong took multiple photos of the school building to a Sherwin-Williams paint store and obtained color samples in the ranges she wanted. She then took those swatches back up
to the school building for review and picked out the colors that matched best. “I sent the color formulas to Peachtree, and they used them to color-match the monument base and columns,” she says. “It’s interesting to note that the fabricated stone is actually hand-painted by artists to achieve a realistic appearance.” In turn, Peachtree created a one-and-
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Sign Builder Illustrated
45
It was important to make sure no one missed any details. Having everyone work as a team helped us to identify issues someone might not be seeing. a-half-foot square sample of the painted Foamcraft stone piece and sent it to Armstrong as a proof. She took this sample piece to Prairie Seeds Academy so she and the school officials could review it against
the brick of the building. “The sample piece really helped the customer see what it was going to look like,” she says. Armstrong also sent the monument design and dimensions to Quality Manufac-
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turing, a wholesale designer and manufacturer in nearby St. Paul that Precision often uses for fabrication of larger pieces. She requested an estimate for fabrication of the main seven-by-eight-foot arched aluminum LED-illuminated cabinet and installation of translucent vinyl graphics on the polycarbonate face. “Because our cabinet top was going to have an arched top, I knew it would be a bit tricky to get the cabinet arch and the Foamcraft arch to fit together perfectly—especially when they were going to be manufactured in two different places,” says Armstrong. To ensure a proper fit, Armstrong had Peachtree do their fabrication portion first and instructed them to ship the finished Foamcraft pieces directly to Quality Manufacturing so they could fabricate a cabinet that would fit perfectly to the arched topper. “We typically have pieces sent directly back to us,” says Armstrong, “but this was a special case that required precise fitting.” Quality Manufacturing wired and installed grid-like white LED lighting strips into the cabinet and placed power supplies off to the side inside it. The monument sign features rear access, so the school’s electrician can open the back and perform any necessary maintenance down the road. The cabinet front holds a translucent flat polycarbonate panel, which features the Prairie Seeds Academy name and emblem atop a bright red background. This was printed out onto ORACAL 751 vinyl and cut to shape. It was applied to the cabinet face via the dry method. Since the goal of the monument sign was to be highly visible from as many angles as possible, Armstrong perused the photos she’d taken and determined that displaying the cabinet at a forty-degree angle from the building would work best. However the back of the monument sign was still a blank canvas. Since the school’s students and alumni are referred to as Lycans—the school uses the H.O.W.L. acronym (Honorable Openminded Willing Leaders)—Armstrong thought including a large graphic of the school mascot (a head shot of a red-eyed werewolf at side profile howling in front of a full moon) on the backside would signshop.com
send officials over the moon. “We determined that, since there was going to be a large, flat area on the back of the cabinet that faces the school classroom windows, it would be cool if students could see their school logo when they looked out,” says Armstrong. The Lycan graphic was also printed out onto ORACAL 751 vinyl, cut to shape, and applied to the rear back wall of the aluminum cabinet using the dry method. Both the Prairie Seeds Academy logo and the Lycan mascot logo involved extra graphic design work on the part of Precision Signs and Imaging. “The only images the school had available for the two needed logos were low-resolution JPEGs that wouldn’t reproduce at the needed size, so I had to redraw both of their logos in Illustrator,” says Armstrong. “These vector graphics will be very useful to the school for any future branding projects.” It took eight to nine weeks for Peachtree and Quality Manufacturing to put their pieces of the monument together and have the final product ready for installation. “The process took a bit longer than usual, since the fabrication of the base and the cabinet were not done simultaneously,” says Armstrong. Installation went seamlessly, thanks to TC Sign Installations, a company located in Ham Lake, Minnesota. “I was onsite to confirm the positioning and watch the installers dig holes for the two steel posts and pour in the cement,” says Armstrong. “When the cement was partially set, they lifted the entire piece over the top of the two posts with a bucket truck and lowered it into position on the ground.” (Note: The monument will also feature a two-and-a-half-foot-tall stucco base soon to accommodate the landscaping that is planned around it this spring.) After the installation, Bethel Electric, Inc., handled the electrical hookup. Armstrong put her project management skills to good use by keeping her fabricators, Quality Manufacturing and Peachtree Foamcraft, and the school’s electrician in the loop by including them in all email communications. “It was important to make sure no one missed any details,” she says. “Having everyone work as a team helped us to identify issues someone else might not be seeing.” signshop.com
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FeatureSIGNS DIGITAL Name By John Author Fulena
You Want to Become
a One-Stop Shop?
T
Then you should partner with a one-stop shop.
he only thing better than doing a good job on part of a customer’s campaign is doing a good job on all of a customer’s campaign. These days, a lot of campaigns leverage both digital signage and digitally printed signage. That rising trend has encouraged an evolution in the consolidation sweeping through the print industry: signage shops who do both. However customers don’t just want any old partner who can do both. They want one who can do both and do it better than if they’d gone to two separate vendors. Vendors see these changes and are in48
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creasingly looking to deliver both digital and printed signage offerings to benefit from both sides of the signage boom. If you’re a sign shop who wants to offer electronic and printed signage, you know you want to bring in more business by making that move and you also know serving as a one-stop shop for your customers makes their buying experience simpler and less stressful. Whether a potential customer is checking out your shop or you’re looking into vendor partners, it all starts with the portfolio. You can’t be a successful digital-and-
print sign shop if you don’t have top-notch solutions on both sides of the house. When selecting your vendor partner, don’t settle for lower quality—of either type—just for the benefits of having a single partner. The usual factors such as image resolution, turn times, and substrate versatility still apply on the print side, just as image quality, power consumption, ease of use, and implementation factor into your digital signage decision. If a potential partner’s portfolio can’t meet your digital and print signage needs, they’re already out of the running. When it comes to signage, we all know signshop.com
Photos: (left) Daktronics; (right) Dave Forrest.
the solution set is far from the whole story. A good one-stop partner has both the portfolio and the expertise to apply it in ways to help your sign shop grow. When vetting potential partners, once you’ve narrowed the field down to the ones who’ve got the equipment you need to succeed, look for proof points. Does your potential partner have a strong history servicing your industry? Do they have proven, relevant results that demonstrate a clear record of helping businesses like yours grow? Drill down beyond the company level. If a potential partner has a strong track record but has been on the losing end of a “brain drain” of talent leaving the company, you won’t benefit as much as you might have hoped. Ask to talk with your potential partner’s relevant experts and gauge the level of guidance you can expect from the partnership. We’ve talked a lot about what a good single-source partner for digital signage and digitally printed signage should have. But beyond giving your accounts payable department fewer names to worry about, why should you rely on just one partner for your digital print and digital signage needs? Well for a lot of the same reasons you give your customers for turning to you as a single-source partner. Whether you’re talking about digital print, digital signage, or commercial print, it’s all about a brand or entity trying to get a message across. The message, and its branding, have to be consistent across all channels. That includes image and color consistency. If your printed sign nails Coca-Cola® red, but the digital sign is a little more McDonald’s®, it harms the brand and can jeopardize the business relationship. You may want to seek out a partner with G7 certification, because it indicates expertise in that kind of consistency from screen to print, job to job, across campaigns. It’s much easier to rely on a partner known for multichannel consistency than for you to act as a go-between for two different vendors who need to achieve consistency. Not having to do that work yourself ties into the other major benefit of working signshop.com
with one partner: streamlined workflows. While third-party workflow consultants can help bridge gaps between the digital signage and print sides of your business, it’s much simpler—and, often, much more efficient—to streamline from the start. A sole-source partner who knows the industry and knows the ways successful shops operate multichannel campaigns can implement workflows that drive consistency and efficiencies—the savings from partnering with the right provider can go far beyond equipment bundles. Remember it all boils down to finding a partner with both the capabilities and the consistency to succeed in printed and digital signage. Capabilities come from a partner’s portfolio and expertise. Consistency comes from getting those capabilities from one partner who knows how to serve you, who provides guidance and added value. You can buy a printer or digital
Image resolution is important for both print and digital.
signage equipment just about anywhere. A valuable partner takes more searching, but your customers—and your bottom line—will thank you. John Fulena is vice president, Production Printing Business Group, at Ricoh.
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InfoDirect Your Direct Source for Sign Information Receive vital product and service information from manufacturers and distributors by completing the adjacent card or visiting www.signshop.com/infodirect
InfoDirect #
COMPANY PAGE InfoDirect #
COMPANY PAGE
1
3M . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
27
Sign America. . . . . . . . . . . . . . . . . . . . . 51
2
4over . . . . . . . . . . . . . . . . . . . . . . . . . . C3
28
YJ Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Sign Bracket Store. . . . . . . . . . . . . . . . 41
3
AdamsTech. . . . . . . . . . . . . . . . . . . . . . 26
29
4
Alpina Manufacturing . . . . . . . . . . . . . 51
30
Signs365.com . . . . . . . . . . . . . . . . . . . C4
5
A.R.K. Ramos Mfg. Company . . . . . . . 51
6
Brooklyn Hardware . . . . . . . . . . . . . . . 51
31
Sinalite. . . . . . . . . . . . . . . . . . . . . . . . . . . 1
7
Clarke Systems .. . . . . . . . . . . . . . . . . . 34
32
Small Balls. . . . . . . . . . . . . . . . . . . . . . . 51
8
Duxbury Systems Inc. . . . . . . . . . . . . . 51
9
Fastenation Inc. . . . . . . . . . . . . . . . . . . 49
10
Gallery Digital Signage Solutions. . . 13
33
Southern Stud Weld . . . . . . . . . . . . . . 47
34
Stamm Manufacturing.. . . . . . . . . . . . 17
35
TRC Electronics. . . . . . . . . . . . . . . . . . . . 7
11
Gemini Duets . . . . . . . . . . . . . . . . . . . . . 9
36
Techno CNC. . . . . . . . . . . . . . . . . . . . . . 47
12
Hendrick Manufacturing. . . . . . . . . . . 36
37
USSC. . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
13
J Freeman Inc. . . . . . . . . . . . . . . . . . . . 36
38
Wilkie Mfg . . . . . . . . . . . . . . . . . . . . . . . . . 15
14
Johnson Plastics. . . . . . . . . . . . . . . . . . 35
39
YJ Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
15
LMT Onsrud. . . . . . . . . . . . . . . . . . . . . 44
16
Magnum Magnetics Corp. . . . . . . . . . 13
17
Multicam Inc. . . . . . . . . . . . . . . . . . . . . 46
18
Nova Polymers . . . . . . . . . . . . . . . . . . . 25
19
Orafol. . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
20
COMPANIES IN SIGN SHOW 40
3A Composites. . . . . . . . . . . . . . . . . . . 12
41
3M. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
42
3M. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Orbus. . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
43
Colex . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
21
Orbus. . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
44
Epson. . . . . . . . . . . . . . . . . . . . . . . . . . . 10
22
Orbus. . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
45
Fisher Textiles. . . . . . . . . . . . . . . . . . . . 10
23
Ornamental Post Panel & Traffic.. . . . . 51
46
HP, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . 10
24
Outwater Plastics. . . . . . . . . . . . . . . . . 24
47
Mutoh America. . . . . . . . . . . . . . . . . . . 10
25
SGIA. . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
48
SA International. . . . . . . . . . . . . . . . . . 13
26
ShopBot Tools. . . . . . . . . . . . . . . . . . . . 45
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2. Select up to 28 suppliers and record InfoDirect # on card.
3. Mail card to start getting info!
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51
Shop Talk
By DAVID HICKEY, vice president, gov’t. affairs
Training for Mandates
The search is on for the next generation of workers.
F
inding the next generation of workers is a challenge. So Kieffer Sign Co., has taken a multi-pronged approach. Kieffer participated in Sign Manufacturing Day, an ISA program that brings students in to sign manufacturers to learn more about careers in the sign, graphics, and visual communications industry. Kieffer also has joined a local program called Inspire Wisconsin. That program is designed to connect employers with students for job shadowing. State law prevents anyone under eighteen from actually working in a manufacturing role, but they can observe. “[The state program] gives students an opportunity to learn everything from administrative to engineering and CAD to manufacturing,” said Jeff Fuhrmann, president of Kieffer. Guidance counselors help prepare the students with interviewing skills and suggest places where the students’
interests might align with what the company needs. Kieffer has hired two students from the state program, but they’ve since moved on to other jobs. “That’s part of the game,” said Fuhrmann. “Eighteenyear-olds are hard to lock down.” That can create an ongoing challenge of recruiting younger workers—a key to long-term success. In Kieffer’s Wisconsin base, that is especially challenging given the current unemployment rate of 3.3 percent. It’s a familiar issue, especially as the unemployment rate continues to drop. A number of state programs, like the one in Wisconsin, are being developed to combat the problem. ISA also is creating resources to help sign, graphics, and visual communications companies recruit and train workers. (Note: Visit signs.org/ careers to learn more.) While recruiting workers is important,
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Sign Builder Illustrated
June 2017
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retaining them is equally vital when it comes to a company’s long-term health. Studies show that today’s workers want their companies to invest in training them. Doing so is a way of ensuring the company stays in compliance with government regulations. Later this year, a mandate from the Occupational Health and Safety Administration (OSHA) takes effect. It requires that any worker operating a crane be certified. The rigger and signal person also must be “qualified” but not certified. Qualification includes knowledge of the unit’s operating controls, the location of safety manuals, and the proper process to prevent contact with power lines. OSHA believes that this certification will improve job safety and prevent injury and death. That is a notable goal for sure, but the impact on the company is deep. The company must pay for the certification of each employee who needs it. That can mean a few hundred dollars for both the written and practical exams. Pre-testing training improves the likelihood that the operator will pass the test the first time, but that also can cost several hundred dollars—and take three or four days to complete. Granted this is far less expensive than being fined by OSHA, which can run into five and six figures. If a jobsite is shut down, the impact on the project would be significant. It is not a mandate to be ignored. All companies with crane operators must be in compliance by November 10, 2017. ISA has pulled together resources and a timeline, all housed at signs.org/crane. Government mandates, especially costly ones, aren’t always met favorably. Keeping employees safe can say a lot about how valuable they are. And training—especially in job safety—can be a great way to retain and attract employees.
POSTMASTER: Send address changes to Sign Builder Illustrated, PO Box 3135, Northbrook , IL 60062-3135. 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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Photo: Kieffer Sign Company.
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