The How-To Magazine
D e c e m ber 2017 | signs h o p.co m
THRILLING SIGN BUILDER
illustrated
Signage CONJURING up AN IDENTITY
How To: PAINTING HDU blankS
THE RIGHT RIP: nine THINGS TO CONSIDER
CNC ROUTERS: OPEN ARCHITECTURE
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Contents December 2017
Vol. 31
No. 270
How-To Columns
12
40
decorating HDU
By Jim Hingst Priming and painting textured sign blanks for outdoor purposes.
departments
8 9 46 48
EDITOR’S COLUMN
It’s that time of the year where we celebrate the past and the future, and Editor Jeff Wooten explains what that means for sign shops.
IN THE INDUSTRY
LED display creates a “dream”-y world, and new OSHA rules on silica.
Sign Show
The newest products and services from sign manufacturers.
SBI Marketplace
Advertisements and announcements from the sign trade.
Shop Talk
David Hickey details how setting aside differences can help us come together to benefit the industry.
Features
14 19 31 34 37 40
31 2
Sign Builder Illustrated
December 2017
42
A HAUNTING SIGN PROJECT
By Ashley Bray A sign company scares up a thrilling identity sign.
SPECIAL SECTION: SBI TRENDSETTERS 2018
An advertorial section featuring insight and input from the innovators of the sign industry.
OPEN FOR BUSINESS
By Robert Marshall The case for open architecture vs. proprietary CNC technology.
GEEZERS IN CHARGE
By Jim Hingst Recapping the 2017 Letterhead Geezer Gathering.
paint It wrap
By Jeff Wooten A commercial campaign leads to a unique solution.
TAKE OUT WRAPS
By Lori Shridhare Serving up vinyl graphics.
THE RIGHT RIP
By Dean Derhak Nine things to consider when investing in RIP software packages. signshop.com
Cover Photo: Exhibit 3 Fabrications.
6
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Follow us on social media! December 2017, Vol. 31, No. 270 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
“Join our LinkedIn group (linkd.in/SBIMag) to be a part of trending industry discussions!”
editorial Editor Jeff Wooten 323 Clifton Street, Suite #7 Greenville, NC 27858 212-620-7244 jwooten@sbpub.com
“Like us on Facebook.com/SBIMag to interact with other sign makers, check out installs, and see previews of upcoming issues!”
Managing Editor Ashley Bray 55 Broad Street, 26th Floor New York, NY 10004 212-620-7220 abray@sbpub.com
“Follow us @SBIMag for links to breaking industry news!”
Contributing Writers Dean Derhak, David Hickey, Jim Hingst, Robert Marshall, Lori Shridhare
art Art Director Nicole Cassano Graphic Designer Aleza Leinwand
production Corporate Production Director Mary Conyers
circulation Circulation Director Maureen Cooney
advertising sales Associate Publisher/East Coast Sales Jeff Sutley 212-620-7233 jsutley@sbpub.com Mid-West & West Coast Sales Monica Boutros 212-620-7225 mboutros@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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Sign Builder Illustrated
December 2017
signshop.com
Editor’s Column
AGENDA
By Jeff Wooten
January 2018 JANUARY 18-20:
The Southern States Sign Association’s Trade Show and Conference takes place in Jensen Beach, Florida. (southernstatessigns.org)
February 2018 FEBRUARY 15-16:
The Midwest Sign Association will conduct its Winter Meeting at the Renaissance Hotel in Toledo, Ohio. (msassn.org)
FEBRUARY 21-23:
The Meaning of December
The Mid South Sign Association’s “New Ideas, New Possibilities” conference will take place at the Holiday Inn, Alexandria Downtown Convention Center in Alexandria, Louisiana. (midsouthsignassociation.org)
Celebrating yesterday and tomorrow.
6
Sign Builder Illustrated
also when people look ahead. Out with the old, in with the new, as some say. You’re seeing articles predicting next year’s trends now. And you’re probably putting the finishing touches on your shop’s budget/goals over the coming twelve months. You really can’t afford to stand still these days. In fact, that might be one of the themes of this month’s issue, as we take a look at new vinyl wrap markets sign shops are tackling and showcase the innovators of the sign industry. On page 42, you’ll find an article (“The Right RIP”) by Dean Derhak that addresses the continued importance of RIP in today’s print environment and posits the nine questions you should be asking when looking to invest in this technology. As for a tenth question, Derhak suggests asking if your RIP outputs to multiple devices. “Making the right choice will enable you to get the most from your hardware and from your business,” he says. “Remember, good enough today might not be good enough in six months’ time.” The moral: Always think ahead! So while you celebrate this past year’s successes at your shop, make sure you also envision what you can do better in 2018 and how you can achieve it.
Jeff Wooten Editor, jwooten@sbpub.com
December 2017
FEBRUARY 22-24:
Graphics of the Americas 2018 will commence at the Fort Lauderdale Convention Center in Fort Lauderdale, Florida. (goaexpo.com)
March 2018 MARCH 22-24:
ISA International Sign Expo 2017 will take place at the Orange County Convention Center in Orlando, Florida. (signexpo.org)
May 2018 MAY 7-11:
Photo: Shutterstock/melis.
T
he month of December is a really bipolar-esque time of the year, since it’s a mixture of both reflection and renewal. On one hand, the holiday season typically involves getting together with family and friends and reminiscing about days gone by. At the end of the month, newspapers, blogs, and magazines will rank their top so-and-so news stories of the year. And for those of a certain age, I’m sure you’ll recall the voice of DJ Casey Kasem counting down the biggest song hits of the year on the radio (“As the numbers get smaller, the hits get bigger”). Speaking of news stories, there were some notable sign-related ones this past year. SGIA Expo announced they will become Print United in 2019. A Q3 ISA economic report detailed that the digital signage market experienced wider spread adoption thanks to increased production of larger scale LED displays. And OSHA delayed its deadline for crane operators to be certified to November 10, 2018, to address two issues: (1.) whether operators need to be certified by type and capacity, or just by type, and (2.) whether certification is sufficient by itself to deem an operator qualified to operate a crane. At your shop, you’re probably reflecting upon last year’s big projects. You’re reviewing your books to see what went right and what went wrong profit-wise over the past twelve months and investigating any end-of-the-year deals on equipment and supplies. But again, remember that December is
LIGHTFAIR International, the world’s largest annual architectural and commercial lighting tradeshow and conference, is scheduled to be held at McCormick Place in Chicago, Illinois. (lightfair.com)
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In The Industry New OSHA Rules on Silica
W
is “Dream”Y
M
iami, Florida—Passengers on Carnival Cruise Line’s new Carnival Horizon cruise ship will soon enjoy a massive LED “Dreamscape” atrium sculpture. The LED display sculpture will feature colorful, custom-designed artwork created by the patients of St. Jude Children’s Research Hospital® when the new 133,500-ton ship takes its maiden voyage from Barcelona next April. Designed by Techno Media, Dreamscape is a uniquely designed, twenty-fourfoot-tall, funnel-shaped centerpiece that debuted on Carnival Vista and is comprised of more than 2,000 flexible LED tiles that have been customized for the shipboard environment. Each day, technicians on board program the rotating artwork based on the time of day, port, or occasion. The eye-catching, three-deck-high centerpiece in Carnival Horizon’s atrium will feature thirty-three different artistic creations from patients of St. Jude, one of Carnival’s largest charitable partners. The young artists from St. Jude were tasked with creating fun pieces with bright and bold colors showcasing their personalities. The original creations complement the more than 100 images that 8
Sign Builder Illustrated
continually rotate throughout the day and evening—bringing the ship to life and providing guests of all ages with a unique and memorable vacation backdrop. “Featuring the inspirational artwork of St. Jude patients in the Carnival Horizon atrium is an extraordinary example of how Carnival Cruise Line continues to find creative ways to raise awareness of our mission to find cures and save the lives of children,” said Richard Shadyac Jr., president and CEO of ALSAC, the fundraising and awareness organization for St. Jude Children’s Research Hospital. Carnival’s partnership with St. Jude began in 2010 and was expanded in 2013 with the cruise line being named the hospital’s official Celebration Partner. Over the past seven years, Carnival has raised more than $13 million for St. Jude through a variety of engaging activities—both on board and ashore. “As the hospital’s official Celebration Partner, we couldn’t be happier to showcase these amazing creations designed by the talented St. Jude patients on our newest ship,” said Christine Duffy, president of Carnival Cruise Line. “We are always looking to bring to life our partnerships in a way that also gives back.”
December 2017
Photo: Shutterstock/ Ermak Oksana.
Cruise Ship’s New LED Display
ashington, DC—Sign, graphics, and visual communications companies that cut, grind, or blast materials like concrete, stone, and brick are affected by new rules from OSHA related to respirable silica. But so too are companies that are working on a sign while construction work occurs nearby that may find contractors sanding drywall, cutting tile, or mixing dry cement. The rules took effect September 23. The new OSHA rules on respirable silica establish a stricter standard for how much silica dust workers inhale. To be in compliance, companies must develop a written silica exposure control plan; designate someone to implement the plan; adjust housekeeping practices to maximize control of silica dust; provide medical exams every three years to employees who are exposed to silica to the point of having to wear a respirator for thirty days or more each year; train workers on how to limit exposure to silica; and keep records of workers’ silica exposure and related medical treatment. Find resources at signs.org/silica for guidance through the compliance process.
signshop.com
Sign Show ADA SIGNAGE/MATERIALS Confidently Produce ADA Signage with Rowmark’s New Reverse LaserMark Metallic Finishes For years, architects and designers have specified products with a metallic finish for ADA-compliant tactile signage. With this in mind, Rowmark LLC has released four new metallic finishes to their Reverse LaserMark® product line— Matte/Brushed Aluminum, Matte/Deep Bronze, Matte/Brushed Copper, and Matte/Brushed Antique Gold—perfect for reverse engravable projects or as a substrate for ADA-compliant signage. The new Reverse LaserMark plastic sheet materials feature a clear, non-glare matte finish over a layer of the company’s popular brushed metallic colors. The material is specially designed for a crisp, clean burn and ultra-fine laser of lettering, logos, and vector cutouts. rowmark.com
DIGITAL PRINTING EQUIPMENT/SUPPLIES CWT Worktools Introduces the New PLATINUM Series CWT Worktools, which offers professional solutions for laminating and trimming as well as a complete range of sign making and print finishing equipment, has announced the availability of the CWT PLATINUM flatbed laminator. The new PLATINUM features an extra-wide gap under roller of four inches for thick boards or even jigs, a new glide beam linear guide for perfect user control, a lengthwise tabletop trimming guide with measuring scale, height-adjustable electric columns for best user ergonomics, a selfhealing cutting mat, and more. cwtworktoolsusa.com
LED MODULES/TUBES/STRIPS SloanLED PrismBEAM Beams with Brilliance SloanLED PrismBEAM delivers maximum ROI as the lens-based LED lighting solution for direct replacement of T12 fluorescent lamps. SloanLED PrismBEAM can be used with single-sided or double-sided cabinets; provides bright, even illumination; and is designed for fast installation into existing sockets. The LED lighting technology extends the life of the lighting product and boosts the typical cabinet light efficiency to an average of 107 lm/W. SloanLED PrismBEAM is available in fourteen standard lengths and is fieldcuttable for custom sizing. SloanLED PrismBEAM single-sided and double-sided options work with SloanLED 12 VDC and 24 VDC power supplies, respectively. sloanLED.com
PAINTS/COATINGS Brighten Illuminated Channel Letters and Cabinets with New AkzoNobel Products Grip-Gard® 3.5 VOC White Washprimer Light Enhancing from AkzoNobel is a chrome-free, one-component, self-etching primer for metal surfaces. It is suitable for most substrates (especially aluminum, steel, and galvanized steel). It provides excellent long-term adhesion and corrosion-resistant properties. Additionally the VOC of this product is 3.5 pounds/gallon, allowing users in areas with more stringent regulations to take advantage of these benefits. Exclusive to AkzoNobel, Grip-Gard 3.5 VOC White Washprimer Light Enhancing is designed to be used with Grip-Gard 3.5 VOC White Washprimer Reducer, 554616. The light-enhancing capabilities of this primer make it ideal for use in the sign industry. signfinishes.com
ROUTERS/ENGRAVERS Laser Research Optics Features CO2 Optics for Metal Signage A line of OEM-compatible replacement laser optics that come in several different focal lengths to match the depth of cut requirements for sign makers is available from Laser Research Optics. Laser Research ZnSe Optics for Sign-Making Lasers feature a selection of focal lengths from 2.0 inches to 7.5 inches in 0.5-inch increments for cutting light metals and signage requiring clean, sharp detailed edges. Available in 1.0- and 1.5-inchdiameter sizes, these CO2 optics are optimized for 10.6 microns and meet ISO-10110 specifications for optical elements. They are OEM-compatible or can be used as field replacement optics. Designed for 100- to 200Watt CO2 lasers, they are well suited for Kern®, Trotec®, and Vytek® lasers. 888/239-5545; laserresearch.net
signshop.com
December 2017
Sign Builder Illustrated
9
Sign Show ROUTERS/ENGRAVERS Multicam’s Celero DFS is Engineered for Unparalleled Performance and Pristine Cut Quality Balancing speed and precision, Multicam’s new Celero Digital Finishing system utilizes linear motors to reach acceleration speeds of 1.2 Gs as well as 12,000 inches per minute maximum traverse speed. This digital finishing system offers cutting speeds of up to 3,500 inches per minute, which reduces sheet-to-sheet time and helps maximize production speeds and workflow. Its unique modular design allows for easy transportation through double-door entryways but offers a robust three-by-four meter (9.8-by-13.1 feet) cutting area for large projects. The Celero also features a conveyor system for easy loading or unloading of material and automatic tool changing capabilities for both the spindle and knife. multicam.com/cnc-celero
VINYL/VINYL FILMS Color Expansion of 3M Wrap Film Series 1080 Offers Powerful Combo of Shade and Finish An artist’s color palette is a secret weapon. The more colors, the more ways to create fresh and innovative works of art. Now 3M is expanding graphics installers’ arsenals by adding eight new colors to the 3M™ Wrap Film Series 1080 family—bringing the total to 106 options. With new shades and finishes, installers can create unique vehicle wraps that capture the wildest of imaginations. Showcasing gloss, satin, and color-flip finishes, the new class of 3M wrap colors includes: Gloss Blue Fire, Matrix Black, Satin Flip Ghost Pearl, Dead Matte Black, Shadow Black, Satin Key West, Gloss Galaxy Black and Gloss Glacier Gray. 3M is also happy to announce that Gloss Plum Explosion is again available for purchase. 3M.com/1080films
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Sign Builder Illustrated
December 2017
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Sign Show Global Availability of Drytac’s WipeErase Clear Overlaminate Film Drytac WipeErase™ Clear is a 3-mil, durable, clear PET film with a gloss, hard-coat finish and pressuresensitive acrylic adhesive. Compatible with solvent, UV, and latex printing technologies, WipeErase Clear enables print service providers to quickly and easily create (and cleanly remove) custom-printed, highquality, dry-erase graphics that stick to virtually any smooth surface (dry erase or planning boards, menu boards, signage, walls, retail displays, etc.). WipeErase Clear also possesses excellent anti-graffiti qualities, as well as resistance to scratches, abrasions, water, solvents, stains, and chemicals. This full chemical- and scratch-resistance prevents ghosting, and the premium dry erase laminate means even permanent marker can be quickly and easily removed with the use of rubbing alcohol. drytac.com
WIDE FORMAT Mimaki USA’s New LA Series Offers a Complete, Harmonized System for Printing and Finishing The LA Series of wide format, heat-assisted laminators and Vision Laminate film from Mimaki USA are the ideal companions to the UCJV Series UV-LED cut-and-print device. Because UCJV prints are instant-dry, they can be immediately finished on an LA Series laminator, which has a maximum temperature of 140˚F. Its heat assistance improves overlaminate film adhesion (particularly to surfaces printed with UV ink) and reduces the potential for silvering effect created by pressure-sensitive overlaminates. Laminating speeds of up to 295 linear inches per minute means that finishing can keep up with production. Mimaki Vision Laminate 310 (Gloss) film offers fine finishing with a glossy feel while maintaining color brightness of the print. mimakiusa.com
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signshop.com
303.798.7110, ext. 203 www.channelbender.com
December 2017
Sign Builder Illustrated
11
How To DIMENSIONAL
By JIM HINGST
Decorating HDU Priming and painting textured sign blanks for outdoor purposes.
F
or anyone who is carving an outdoor painted sign, your best raw material is usually high-density urethane (HDU) sign board. Unlike wood, you do not need to be mindful of the grain direction when carving. For that reason, HDU is much easier to fabricate than wood. What’s more, because this closed-cell synthetic material does not absorb water, it will not rot, decay, warp, or splinter. Working with HDU is relatively easy, however you still need to follow a few simple rules. I will explore three topics to help ensure your success—the selection of HDU sign board, shaping it, and painting and priming it. Selecting HDU Use the highest quality materials that your customer is willing to pay for. Remember: There are no shortcuts to quality and value. High-density urethane is available in a variety of densities. By varying the chemical formulation, the manufacturer can control the degree to which the mix12
Sign Builder Illustrated
ture foams and, consequently, the density of the sheet. Density is the weight of the HDU per cubic foot, and there are various densities. The most common density used in the sign industry is fifteen-pound. This
if you fabricate an hdu sign according to manufacturer instructions, it should last ten to thirty years. heavier material is harder and stronger, which allows you to carve more intricate detail. The eighteen-pound material is also smoother, so it takes
December 2017
fewer coats of primer to achieve a desirable finish. For larger sign projects subjected to significant wind loads, many sign makers select thirty-pound material. Just be aware that the denser HDU costs significantly more. What can I say? You get what you pay for. While signs made from HDU have a number of advantages over redwood and cedar, one disadvantage is that it has neither the density nor structural strength of wood. As a comparison, redwood density is about twenty-seven-pound per cubic foot, which is nearly twice that of fifteen-pound HDU. Whereas wood is comprised of long, sinewy fibers, HDU is made up of very tiny cells (bubbles) that are formed in the chemical foaming process. These little bubbles don’t provide a lot of structural strength. Whichever density you settle upon, thoroughly read the manufacturer’s instructions beforehand. Do not assume that the rules that apply to working with one product, such as an epoxy adhesive or primer from one manufacturer, are the same as those for a similar product. Shaping HDU In cutting and shaping HDU, you can use many of the same types of power tools and hand tools that you would use when working with wood: circular saws, band saws, table saws, jig saws, angle grinders, and routers. When using an angle grinder, be sure to wear your safety equipment—including a tight-fitting respirator with a particulate filter and either a face shield or safety glasses. You should also use earplugs, especially during prolonged use of any power equipment. Once you have the basic forms cut, you can use standard wood carving tools, such as chisels, gouges, knives, rasps, and files. Because the HDU has signshop.com
How To
DIMENSIONAL
neither grain nor knots, it will cut easier than real wood. After carving HDU with chisels, knives, or rasps, you can use a variety of sandpaper grits—ranging from coarse to finegrit—to smooth out any rough edges. I’ve even been using Precision Board TSF-45 Texture Surface Finish to create textured surfaces (such as wood and stucco) and strengthen the HDU. This water-based material comes premixed in a can, ready-to use. When the coating dries, it provides a tough yet flexible surface. (Note: Not only can you use TSF45 on HDU, but it also works on other surfaces—such as glass, concrete and even metal.) Before applying any coating to your carving, make sure that you clean off any surface debris with a chip brush or blow off any dust with your shop’s air hose. Application of the TSF-45 is a twostep process. First you need to coat the surface with the pre-mixed texturing paste so that it completely wets out on the surface. This step is critical to prevent any delamination of the coating from the HDU. To scrub the mixture into the surface, you can use different sizes of chip brushes that have been trimmed, leaving about 1/2-inch of the brush hairs. In a sense, this first application is a primer coat. Then apply a second, smooth coating, which you can do before the first coating dries. If you follow the manufacturer’s instructions, the TSF-45 coating will bond to the surface with no need for a primer. You can use a comb, notched trowel, stick, or even your fingers to create the desired textures. The applied coating is usually dried within twelve hours, but that drying time can vary, depending on your shop temperature, humidity, and the thickness of the coating. Be sure that the textured coating is completely dry before priming and painting. You can paint TSF-45 with a variety of water-based paints. “Lettering enamels are stiffer than the TSF-45 signshop.com
and will not expand and contract at the same rate,” explains Kellie Miller, marketing manager at Coastal Enterprises. “What usually results is that the enamel cracks.” Painting HDU If you fabricate and install an HDU sign according to manufacturer’s instructions, it should last between ten and thirty years. One of the keys to creating a durable sign is primers and paints that are compatible with the sign board. Because HDU is impervious to chemicals, you can use any type of paint to decorate it including enamels, urethanes, and lacquers. Before painting, however, the surface must be primed. Painting without priming produces a very dull finish, which for most signage projects is unacceptable. Many of the primers that sign makers use for HDU have very high solids content, which coats the board with a thick layer of primer, smoothing the rough texture of the HDU material. It is important to remember that not all primers are the same however. A standard primer only contains about 35 percent solids. I use FSC-88 WB, which is comprised of 80 percent solids. It fills in the rough HDU texture in one coat— though I always apply two coats— smoothing the surface and preparing it for the finish coatings. While you can brush FSC-88, you can also coat the surface with a roller, or you can thin it out and spray it. Before priming HDU, you should sand the surface to remove any machining marks. After sanding, clean any residual dust from the surface using a brush, compressed air, or a tack rag. Applying the primer with a chip brush usually works best, because it is stiff enough to scrub the coating into the texture of the HDU. When you apply the primer, don’t lay it on too thick. A thick coat will take longer to dry and can trap moisture that could lead to problems later. It is better to apply two thinner coats of primer,
By JIM HINGST
rather than one thick coat. Once the primer is applied, direct a high-volume fan over the coated surface to aid the drying. “Drying under a shop fan is essential,” recommends Miller. “The primer dries faster, and the flow of air prevents the coating from absorbing ambient moisture. “If the primer doesn’t dry properly, you run the risk that it will delaminate from the HDU.” After the first coat is thoroughly dry, apply a second coat. Do not sand between coats, so you can build up sufficient mil thickness. After the second coat is dry, then you can sand using 220-grit sandpaper. If the primer starts to ball up as you are sanding, allow additional time for drying. After sanding, place your sign under a shop fan again for an hour. This last step will prevent the primer from reabsorbing moisture from the air. The primed surface can be painted with either enamel or latex paint. Be sure to dry-sand between each coat, using 220-grit wet and dry sandpaper. Sanding will smooth the surface, removing any imperfections and promoting good inter-coat adhesion.
December 2017
Sign Builder Illustrated
13
IDENTITY By ASHLEY BRAY
A sign company scares up a thrilling identity sign.
A HAUNTING Sign Project
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Sign Builder Illustrated
December 2017
signshop.com
D
arkness falls across the land, and the midnight hour is close at hand—at least it was for Exhibit 3 Fabrications (e3fab.com) as they faced down a hair-raising three-week deadline to turn around a thrilling identity sign for the entrance to Cedar Fair’s Kings Island amusement park in Ohio. The sign was a temporary installation to welcome guests to Haunt, a special month-long attraction during the Halloween season featuring scare zones, haunted attractions, and live shows. This wasn’t E3 Fabrications’ first interaction with Kings Island. The Erlanger, Kentucky-based sign company has worked with the amusement park in the past on ride signs (“A Legendary Sign,” August 2014).
All Photos: Exhibit 3 Fabrications.
Devilish Design It was that past relationship that led Kings Island and Cedar Fair to call on E3 Fabrications again for the Haunt sign, which required a quick turnaround. The amusement park sent over a PDF of what they wanted the sign to look like, but it didn’t include any details like size or materials. “The design came over as a PDF, so first off, we used Illustrator to pull everything apart and start to size it up,” explains David “Dude” Johnson, president of E3 Fabrications. “We went back and forth with the client and Kings Island about overall size, because really, it was just a picture we had to work from. “Once we decided what size we wanted to build everything and how we wanted to do each piece, we started breaking it down and creating DXF files so we could route pieces, waterjet cut the steel, and start routing the molds.”
which completed the work on the 6.5-by-10-foot table of its FLOW waterjet machine.) E3 Fabrications installed a steel mesh directly behind the letter cut-outs, which served the dual purpose of giving them a place to mount all of the small details and shapes to the letters and also kept guests from putting their hands inside the cabinet. “When they had sent us the schematic, it didn’t have that mesh on it,” says Johnson. “We came up with that idea to help hold everything and to keep the public from being able to put their hand inside it.” To up the spooky factor, the shop made the cabinet appear aged and rusted by applying Sculpt Nouveau’s Tiffany Green Patina. “It’s designed really to patina copper and bronze, but you apply it to steel, and it does a natural rusting effect,” explains Austin Deal, painter/artist at E3 Fabrications. “We laid the sign flat with the face toward the sky, and I let it pool there and do its natural thing. Then I sealed it to lock in which stage of the rust I liked.” The shop also added hooks to the top of the cabinet so it could easily be picked up by a Lull for installation. Fire is a main design component of the sign, and E3 Fabrications wanted the cabinet to have a burning glow.
To achieve the look during the day when the sign isn’t lit, they inserted Dibond® into the back of the cabinet, which was painted with a gradation of yellow and orange acrylic polyurethane paints from Matthews Paint. “We did the background so that, in the daytime, it still looked orange and fiery inside,” says Johnson. “Otherwise it would just be white, and it wouldn’t look right.” At night, lighting effects achieve the desired fiery glow thanks to Ribbon Star 50/50 Waterproof LED Strip Lights RGB Lux from Ecolocity LED. Three lighting strips, each 118 inches long and producing 2100 lumens, were used in the cabinet. The three lighting strips were used in combination with a U9 DMX Lighting Controller and software to run a specific program that mimicked flames. “We were looking for something that we could control and give it that impression that it’s hot inside the box,” said David Proctor, CAD/machinist at E3 Fabrications. “The top of the cabinet had a different light pattern than the bottom. There were two strips in the bottom that were running the same program. And then the top strip had another program. It’s two different ten-second loops that alternate back and forth to create a flickering flame effect inside the cabinet.
Creepy Cabinet The main portion of the sign is a fourteen-foot-long illuminated cabinet spelling out “Kings Island Haunt.” The cabinet was constructed from welded steel tubing. The face is made from two sheets of steel that were welded together. The letters and small details were waterjet cut out of the steel. (Note: E3 Fabrications outsourced the waterjet cutting to PEDTECH, LLC, signshop.com
A Lull was used during the installation to lift and place the pieces of the sign.
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Normally when we’re building anything, we have to think about how we’re going to install it, so hopefully we always are able to foresee any types of incidents. “We used a computer to run it that would run standalone. So once you program from your PC, you can upload it to the computer and then when they turn the cabinet on, it will simply run the program.” Columns from the Crypt Also making up the sign are two columns abutting either side of the cabinet. Made from welded steel tubing, the columns feature a hinged door for access to the interior components and mechanics. The steel tubing was sheeted with 1/4-inch Hardie concrete board. Over the board, fabricators applied Butterfield Color, a decorative concrete product. “It’s a great little product because it’s got all of these little polymers and small aggregates of sand. What makes it so strong is that it’s got GFRC [glass fiber reinforced concrete],” says Deal. “We sprayed it through a hopper gun to give it a good stick.” Fabricators then made a custom scratch tool and created a scratch coat so that the final coat of Butterfield Color had something to grab onto. “The only difference between the gray 16
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scratch coat and the final coat is I put a pigment color in there that actually dyed the concrete,” says Deal. “We had to look at color swatches to get something close to what they gave us in the concept art, and we came up with the smoke color.” Deal mixed in Butterfield Color’s Unimix powder pigment with the concrete using the recommended ratio and then sprayed it on and troweled it out. To add the textural finishing touches, Deal used a textural roller as a base and moved on from there. “I had fun experimenting with what things I could impress in concrete. I actually used fake hollies from a Christmas decoration to get nice pittings—kind of like a limestone look,” he says. “I used different sized brushes to get that veiny, kind of grainy texture. And then I took my trowels and drew in lines. “I let it sit for a day to let the water naturally dry out and help strengthen it.” After it dried, Deal mixed up a greyish-brown Unimix color called Soapstone and washed it over the columns. “I took a gigantic shop broom and just brushed it on like paint,” says Deal. “But
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I let it run, and it fell in the cracks. This gave it that antique look.” Deal went back in with a small brush and added more of the mixture into the cracks to make it appear “sooty.” He also added some drip edges along the top. Forging Fire On top of each column is a fire bowl, which holds real flame. At first, E3 Fabrications planned to buy actual fire bowls, but they ended up being too expensive for just the two they needed. So they decided to make them using large stainless steel mixing bowls as hump molds. “I just took a regular bag of concrete mix, a standard 4000psi Quikrete mix, and I slapped it up against the bowl. I still put a scrim in there just to give it some strength, like rebar,” says Deal. “When the concrete was still, I put my overlay on it so the bonding was really spot on. I textured it the same [as the columns], and the next day, I flipped it upside down and pulled the steel bowl out of it. “I faced it with the same overlay inside of it so that on the rare occasion somesignshop.com
one ever looked inside the bowl, it would still fit the look.” Each fire bowl has a burner inside of it for real flame. “Kings Island has a 10,000-pound, huge propane tank they use to light up a lot of things,” says Johnson. “We provided the propane burners and the hook-ups inside the columns so they could just attach their propane to our columns.” Grizzly Ghouls One of the first macabre beings to greet visitors to Haunt are two bats—one affixed to the front of each column. To craft these winged creatures, Deal knew he wanted to use a mold. So he started by hand drawing the bat on a tablet in Illustrator. With the design in hand, he used the shop’s Precix 5-by-10-foot router to carve the general outline of the bat out of fifteen-pound Precision Board HDU from Coastal Enterprises. “It was two-inch HDU, so I just re-
moved a lot of material with the CNC as opposed to going back and doing it all by hand, since we were pretty tight on time,” says Deal. “I let the machine hog out the pockets for me, but all the detail was all hand done.” When the routing and hand carving were finished, Deal gave the bat a good coating of Matthews Gray Epoxy Primer so that it could hold up to any mold. “I let the bat sit for a while to figure out a cost-effective way to make a mold. I did a really old-school way of making a mold, and it was a clay press mold,” says Deal. “If we were making 1,000 bats, that would make it more appropriate to use silicone molds. But we only needed two, so we went with clay.” To start, he coated the bat with a mixture of 25 percent water/75 percent Dawn® dish soap as a mold release. “I anchored the bat to a board and then started going to town pressing little bits of clay all over this bat,” says Deal. “I built it up, and when I flipped the clay
block over, I could extract the bat without the clay morphing so it could hold up against it’s own weight. “Basically I just made a negative imprint of a bat, like a footprint in the mud.” He coated the clay in the same 25/75 release and then applied a base coat of the Butterfield Color concrete mix he used on the columns. He added a scrim in the base coat to give it more strength. He also included 5/16 bolts in the concrete mixture, which they later used to through-bolt the bat into the column. “After everything was said and done and it dried overnight, I flipped it upside down and peeled the clay away. I could reuse that clay so that was the cost-effective thing,” explains Deal. “Then I ran the bat under some water to get rid of the rest of the clay and got a really strong concrete bat.” After he washed the bat off, he applied more treatments to make it darker. He repeated the process to make the second bat.
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Petrifying Problem There was one final, petrifying problem to solve: Because the sign is temporary, E3 Fabrications also had to consider the footings and bases for this sign. “The sign is basically up for one month, and the client didn’t want to have to pour their own footers or anything because they knew the sign was to be dismantled,” explains Johnson. “That was probably one of our biggest challenges—well how are we going to make this huge sign that’s not going to fall over?” The solution was to create bases for the columns that serve as footers for the sign. So two bases were poured from concrete with bolts inside of them that the columns would attach to. The bases weigh about 500 pounds each, so a steel structure with a hook in the middle was also included in the base so that the Lull could pick them up for installation. From start to finish, the fabrication took the full three weeks. “We were
down to the last minute to get that thing out the door,” says Johnson. Insidious Installation The sign was installed the day before Haunt opened. Since it was a weekday and the park isn’t open normal hours in the fall, the crew was able to drive right into the park and set up the sign without any interruptions. The sign was built to bolt together, and it was transported to the job site in pieces on a flatbed trailer. The installation started with the bases. “We leveled out two areas of ground, tamped it down, put some gravel underneath it and a sheet of plywood so we could set the bases on it,” says Johnson. “[The park] put mulch back over the plywood so that it would look like it’s just sitting in the mulch.” Using a Lull, they lifted and placed first the columns and then the cabinet. “We shimmied everything up and bolted
it together,” says Johnson. “From there, we were able to reassemble the back of the sign, [wire] the LEDs, and hook up the propane. “We also put safety hooks that chain back to the pole behind the sign onsite just so it would never be blown over.” The installation of the 19-foot-longby-7.5-foot-tall sign was a treat that went off without any tricks. “Normally when we’re building anything, we have to think about how we’re going to install it, so hopefully we always are able to foresee any types of incidents,” says Johnson. After Haunt was over, E3 Fabrications returned to the site to dismantle the sign so that Kings Island could store it until next year. The story of this chilling sign has a happy ending as Kings Island was so impressed with the finished sign that they contracted E3 Fabrications to do a similar backlit identity sign for their Winter Fest.
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2018
TREND SETTERS INNOVATORS OF THE SIGN INDUSTRY
A SPECIAL SECTION OF SIGN BUILDER ILLUSTRATED
TRENDSETTERS 2018: FRANCHISE
F
ASTSIGNS International, Inc., is part of the $29 billion signage and visual graphics industry—a sector that is thriving as the ongoing worldwide need and demand for branding, visual communications, and digital signage technology continues to grow. In fact, the International Sign As20
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sociation predicts a strong, positive outlook for our industry through 2021. But the marketplace is more competitive than ever, and organizations are looking for new and innovative ways to compete for attention in our brandcentric and visually oriented world. Companies operating in our space must adapt and stay ahead of trends or risk losing market share to someone else. Catherine Monson joined FASTSIGNS International as CEO in January
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2009 and quickly assessed that the brand needed to add expanded products and services, offer comprehensive solutions, and spend time at customers’ places of business to understand their challenges in order to provide the best solutions. She also implemented an outside sales initiative beginning in 2010; today there are over 530 outside sales professionals working in franchisees’ centers. After providing the franchise network with the training and tools to provide these signshop.com
Catherine Monson, CEO, FASTSIGNS. services, the company repositioned itself with the brand promise of being “More Than” and added the tagline “More than Fast. More than Signs.” The coming year will bring new and exciting opportunities to craft creative, results-driven products and services for businesses. Moreover, the leaders in our industry will continue to expand beyond simply printing and signage. Clients are seeking true partners in their broader marketing efforts and expect us to deliver all-encompassing solutions for their business goals. The best in the sign, graphics, and visual communications industry are evolving into full-service marketing agencies, providing project management, content development, branding, graphic design, surveying and permitting, shipping and storage, installation, and more. In order to stand out, companies can no longer afford to be simply a print and sign shop. Since we first opened our doors back in 1985, we knew what we needed to continue to grow and innovate in order to differentiate ourselves from the competition. As we have expanded our presence to 660 locations in nine countries, FASTSIGNS has leveraged our status as a global company to bring more value to our franchisees. This strength allows us to provide unparalleled leadership, services, support, and training to our franchisees, giving them the tools and resources to provide visual marketing solutions that meet the ever-evolving needs of their clients. Based on this world-class leadership combined with the quality of our fransignshop.com
chisees, 2017 was another record year by every metric. FASTSIGNS has the most number of locations, highest average unit sales volume, highest percentage of franchisee profit, and the highest franchisee satisfaction of all signage franchise companies. Once again, we outperformed GDP by close to three times. We expect 2018 to be another record year for the FASTSIGNS network. We expect to open more than fifty new locations based on the pipeline of signed but yet unopened franchise agreements. Our $10 Million Ad Fund generates ever-increasing brand awareness for our franchisees; we are the only signage franchisor with a sizeable Ad Fund. Our 2018 media plan includes our two TV commercials playing a full twenty-six weeks on CBS This Morning, Fox News, CNN, MSNBC, CNBC, and HGTV, along with online video ads and display ads. Every FASTSIGNS location has its own robust fastsigns.com website; our TV ads, SEO, pay per click and social media programs drive traffic to our franchisees’ Web sites. Our Ad Fund also provides our franchisees brochures, sales call collateral, display ads, direct mail, and in-center signage and displays. Our Sales Development Team educates franchisees in how to be effective and competent Sales Managers and trains franchisees’ Outside Sales Professionals in how to execute our detailed and effective FASTSIGNS Solution Selling System and how to solve customer’s business
challenges by providing creative, comprehensive solutions. One-on-one and group coaching is available for the Outside Sales Professionals. FASTSIGNS’ annual Sales Conference offers three days of intensive training in 4 tracks: Rookie, Intermediate, and Advanced Sales Training and Sales Management Training. Outside Sales Professionals are recognized in front of the group for their achievements. Our R&D Tech Team continually test new equipment, processes, products, and technologies, giving our franchisees advantages in their local market. Because of our size and reputation, vendors seek us out for exclusive opportunities.We assist, train, and support our franchisees on expanded products and services, providing them with new revenue opportunities and allowing them to bring greater value to their customers and develop a larger “share of wallet.” These expanded products and services include digital signage, digital signage content, integrating virtual reality into static signage, interior décor, experiential décor, and more. When it comes time to sell their business, franchisees receive a higher multiple of earnings for the selling price; buyers understand the value of the FASTSIGNS brand, the extensive training, and benefit from the outstanding service and support that lead to the highest franchisee satisfaction ratings in the industry. For more about the FASTSIGNS franchise opportunity, visit www.fastsigns.com.
FASTSIGNS has always remained on the cutting-edge of our industry. December 2017
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TRENDSETTERS 2018: LED
Y
ou never know what you’re going to get, and this is what makes our industry great. In an age of growth in the industry, innovations and advancements in LED sign technology are fueling the ability for sign companies to bring 22
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more creative and durable solutions to the market. From week to week and month to month, we see major shifts in demand: one week, everyone is building thinner and thinner signs; the next week, teninch-deep letters and forty-eight-inchdeep pylons are on the menu. HanleyLED takes tremendous pride in staying ahead of the curve with technological advancements, whichever way that curve may go.
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Our partnerships with sign fabricators—stretching from northern Canada to the Great Plains to Latin America— give us the opportunity to learn and understand the demand and challenges sign fabricators face every day. Because of this, HanleyLED dedicates a tremendous amount of resources to innovating new ideas, incorporating leading technology into our products, and delivering them affordably to the market. signshop.com
goes through intense quality control before shipping. This is how we ensure that what we deliver works every time. And this is why we offer one of the industry’s best warranties: Five-year and seven-year Product with five-year Labor. We’ve even developed some of the industry’s first seven-year warranty modules and power supplies.
Michael Kerber, director of Product Development, Hanley LED. What Challenges Does the Industry Face Today? As technology and communications evolve all across the globe, retailers naturally hope to see the same out of signage. However illuminated signs are still framed out of the same aluminum, steel, and plastics that they’ve been made from for years. For this reason, it can seem like technology has not hit the channel letter and cabinet world…but in reality, it has! You’ll find this technology mostly on the inside of the sign—in other words, the lighting itself. And there begins the problem. While many retail companies want to make environmentally savvy choices and embrace the technology that is out there, if they can’t see what’s doing all the work, they aren’t always willing to pay the price. As technology in LED modules and fluorescent lamp replacements improve, retailers are often not willing to pay more for it. At HanleyLED, we keep it simple by striving to meet three simple criteria: 1. Functionality and Versatility: We strive to make sure that our products perform the way that we say they will and that they help you design with the utmost creativity.
3. Affordability: As we innovate and bring new labor-saving solutions to the market, our commitment is to bring them to you at affordable costs. Where is the Industry Headed...? The sign industry is expanding in more ways than you can imagine. Just look at the big sign shows for examples of this. Each year, we see digital printers that can print out a four-by-eight-foot sign in seconds, ink that is virtually odorless, printing media that can stick to anything, channel benders that make trimless channel letters, and of course, more and more LED brands than you can count. We are headed into an era where sign company owners are bombarded with more information and technology than they have time to study. But if you aren’t keeping up, you’ll get behind.
LED technology has developed so fast, that you are being asked to trust what you are being sold and learn about it later. A good LED company should want to educate and empower you. With so many choices for LED channel letter and cabinet products to choose from, and with more brands popping up every year, how do you know if you are partnering with the right one? How do you know that the company you are buying from will be around ten years from now to continue supporting you? ...And How Can Hanley LED Help You Get There? At HanleyLED, we always stay in touch with the needs of our customers, and we make innovation a core part of our company fabric. We also take great pride in pushing and challenging our distributors to grow stronger and advance the industry forward. These are the characteristics of a company and network who is in it, both with you and for you, for years to come. —Michael Kerber, Director of Product Development at HanleyLED To learn more about HanleyLED, visit www. hanleyledsolutions.com.
We take tremendous pride in staying ahead of the curve.
2. Quality Backed by the Industry’s Best Warranty: Every module, light bar, and power supply that we produce signshop.com
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TRENDSETTERS 2018: UV DIGITAL PRINTING
U
V digital printing in the wide format visual communications market has become quite popular among the various inkjet printing technologies. Making its way onto the stage in the 1990s, UV inks for digital printing were first used for object marking then gained popular-
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ity for creating signage. The early systems often used mercury-vapor or metal halide curing systems and were limited to select rigid materials. Fast-forward to now, and you’ll find myriad applications using UV digital printing technology, a testament to its flexibility—both figuratively and literally—in the visual communications industry as well as for industrial applications. UV digital printing is ideal for a visual communications market that demands
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just-in-time turnarounds. UV cure ink formulations have matured to a point where the characteristics that were attractive in both solvent (glossiness) and latex (instant cure) have caught up with those two respective technologies while offering new capabilities. LED curing systems have enabled a wider application range, as LED lamps use less energy than other UV types and can print onto media that could be damaged by older, higher-heat systems. UV-LED printing technology is making signshop.com
units only require a small workspace area and can be placed in an office environment with no special electrical requirements. The operational learning curve is short, and they fit well into existing workflows. Depending on the product mix, the supplies inventory—such as rigid media and even inks—may overlap, so there may be no additional investment required.
its mark in visual communications applications. The lower cost of operation and maintenance—along with a longer bulb life with no warm-up or shut-down times required—are very compelling. Combine that with the lower heat that minimizes media deformation, and it just makes sense to move to UV-LED technology. UV inksets have also evolved to target specific materials or applications. Some inks are highly scratch- and chemical-resistant for surface areas that experience a lot of wear, while others offer high flexibility for outdoor applications such as vinyl banners or vehicle wraps. Further, there are inks that offer up to 350 percent elongation for thermoforming applications. With this array of inks and printing platforms, there are many opportunities for sign shops to adopt UV digital printing. Flatbed Printing UV printing continues to be an expanding market in the signage and graphic segment. The overwhelming value of UV printing—particularly in a flatbed format—is tremendous when compared to the overhead and material cost of cutting vinyl and weeding away the waste or transferring an aqueous print to an overlaminate, then applying the item to a board [and] trimming it out. Additionally, the space required to operate a UV printer is a fraction versus the space requirement for the manual prep and finishing of boards. Also consider the tabletop UV printer, often used to create promotional products or personalized items. For the savvy print shop, tabletop flatbed printers offer another avenue for additional revenue generation for a modest investment. These signshop.com
Flexible Signage UV digital printing is not just for rigid materials anymore. For years now, UV printing has gone flexible and some ink formulations do quite well printing onto flexible media such as vinyl and films used in backlit applications. Large indoor backlit signs are commonly used at airports, transit stations, and commercial facilities. This method of visual communications is gaining favor due to the use of long-lifetime and energy-efficient LEDs and a shift toward environmentally conscious advertisements. Since UV-cure inks do not contain volatile organic compounds (VOCs), they’re ideal for creating signs with a low environmental impact. Beyond simple day/night backlit applications, the new Mimaki UCJV300-160 model offers four-layer printing (for example, color, black, white, color) for enhanced print capability that allows designers to build layered, transformative graphics for backlit applications. This gives print
shops the opportunity to offer something unique: a dynamic graphic that “changes” its image or color scheme depending on the light source. This distinctive capability enables designers and print shops to produce high-impact, premium margin output while maintaining low operational costs and reducing production time. Dimensional Applications We are seeing strong adoption of UV-LED thermoforming applications for both prototyping and production. Digital UV ink has influenced thermoforming by giving users the flexibility to produce short-run and one-off custom designs while maintaining profitability. This opens up a whole new niche for advertising that can be versioned and personalized to any market or region. It also enables low-cost prototyping that can show both design and form. UV LED Digital Printing Opportunities The lower cost of UV-LED technology gives customers access to a very affordable and profitable printing platform. The versatility of UV-LED flatbed printers is fantastic for end-users who want to address multiple markets in a very effective way. —Josh Hope, Sr., Manager, 3D Printing & Engineering Products, Mimaki USA To learn more about Mimaki USA, visit www.mimakiusa.com.
UV printing continues to be an expanding market in the signage and graphic segment.
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Tactile Wayfinding Map for Medical Park Hospital Group produced by Doganer Sign Systems in Turkey.
TRENDSETTERS 2018: ADA
T
he project had gone pretty much on schedule. The building was gleaming, new, and the signs had all been installed. Tenants were ready to turn on the lights and start work. Then came the word that the ADA signs were not compliant, so the entire
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building could not be opened. Just really made your day, didn’t it? Sadly this is one of those things that sometimes happens in new and refurbished building projects, immediately followed by a lot of arguing and finger pointing. The building owner gets the letter (and maybe a fine) and immediately calls the architect, who then calls the designer and the sign maker. The subsequent problems and bickering could be avoided if all the job
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specifications had been clearly defined at the outset and if some checks and balances were implemented to ensure each requirement of a project is correctly addressed. These steps are really a matter of having clear, consistent communications and well-defined written specifications. Think of it as the art of getting specified. “It begins with the architect,” says Bob Greenberger, director of Sales and Education at Nova Polymers. signshop.com
nearly finished sign, with all letters, numbers, and Braille extruded from the photopolymer substrate. Because the entire sign is a single piece of material, it is unlikely any characters will become loose or fall off.
Bob Greenberger, director of Sales and Education, Nova Polymers. “They are the ones who most often define signage placement and specifications but who may not realize some of the practical aspects of sign fabrication that can make a significant difference in performance. “Helping them understand the advantages of photopolymer can help them raise the bar on sign specifications.” Key Advantages Two advantages of photopolymer are durability and accuracy. For instance, photopolymer wayfinding signs in buildings are significantly more durable than older processes such as raster bead. Durability may not matter for some signage, but using photopolymer to ensure signs with Braille characters are ADA-compliant can make the difference between wayfinding signs being approved or being the ones that generate a notice of non-compliance. Accuracy ties in too. Signs including any necessary Braille characters are designed in a software program with layout rules in helping ensure precise horizontal and vertical spacing that are part of ADA specifications. Raster bead and other technologies rely on pressure or adhesives for attaching characters to a substrate. These processes are dependent on skilled labor and can be subject to human errors that can result in failure of signs. By comparison, the output of photopolymer material is a finished or signshop.com
Fast ROI On the business or operational side, the process is simpler, faster and less exacting than raster bead and other adhesivebased options, reducing labor costs, tooling, and training requirements. Moreover, most sign makers can see an ROI from a photopolymer investment by the time they have produced about 1200 signs, a quantity that can be reached in just a few moderatesize jobs. That investment, incidentally, qualifies under Section 179 of the U.S. Tax Code, so the entire cost of the equipment and materials can be deducted from your 2017 taxes. Be sure to talk with your accountant or tax professional for the details. GSA Approved Finally photopolymer materials from Nova Polymers are certified by the United States General Services Administration (GSA). This means nearly automatic approval of materials used, streamlining the selection and approval process for sign fabricators, designers,
architects, and building owners. Moreover GSA certification helps ensure any ADA-compliant signs produced will meet or exceed most federal, state, and local standards, opening the way to new business opportunities for sign designers and fabricators. The art of being specified is primarily a matter of communications that ensures everyone involved with signage is educated about which materials to use and how to select those that meet any applicable standards—and eliminate the chance of anyone receiving a notice about non-compliance. To help make sure everyone on your next project knows all the best options, reach out to Nova Polymers and find out how we can help. To learn more about Nova Polymers and its offerings, visit www.novapolymers.com. Nova Polymers is the largest manufacturer and distributor of photopolymer sign products in the United States, Canada, Europe, The Middle East and Australia. Nova Polymers is a GSA Certified Company. NOVA POLYMERS, INC. P.O. Box 1305 West Caldwell, NJ 07007 888-484-NOVA (6682) info@novapolymers.com
Helping architects understand the advantages of photopolymer can help them raise the bar on sign specifications.
Photopolymer Room Identification from Access Sign Systems by AGS.
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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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TRENDSETTERS 2018: CONTENT DELIVERY SIGN BUILDER
ILLUSTRATED
S
ign Builder Illustrated quietly celebrated its thirtieth anniversary this year. Now it’s true that “thirty” doesn’t quite have the recognizable panache or serious heat attached to it that, say, “twenty-five,” “fifty,” or, if we’re really getting ambitious here, “one hundred” generates in terms of milestone achievements. But we’re still extremely proud of this accomplishment, and we’re equally proud that you still consider Sign Builder Illustrated the “how-to magazine of the sign industry” after all this time. With a rich tradition of journalistic excellence, our publication is dedicated to informing, educating, and inspiring sign makers. The staff of our magazine always prides itself on targeting sign professionals where it matters the most to them: in the sign shop itself. From sales and design to fabrication and install, Sign Builder Illustrated has always strived to present vital information and content about all aspects of the sign-making process to sign shops of all sizes. We’re proud to cover all aspects of the sign industry—from lighting and dimensional to digital printing and beyond—as we aim to provide the tools and resources that are needed to help you grow your businesses. So you might be asking yourself, “Just how does a thirty-year-old magazine consider itself to be a ‘trendsetter’ today?’” And I believe the answer to your question originates from the fact that, over our thirty-year publication history, we’ve recognized how to adapt and change with the times. The very first issue of Sign Builder Illustrated was a simple black-and-white presentation. Today we have evolved into the multi-faceted publication you’re reading right now—whether that is in your hand, on your phone, or on your tablet. We’ve recognized that not everyone consumes information the same signshop.com
way in today’s media-savvy world, and we’ve strived to make sure that our content presentation options stay relevant in whichever delivery format you prefer. Last year at this time, we premiered a brand-new redesign that finally gaveSign Builder Illustrated a brand that can be recognized in the industry. When you see our “S” shield on the front cover or on a digital banner, you know you’re getting ready to unlock essential sign-making content. We revitalized the look of the magazine into an experience that is not only less rigid, but also more streamlined, organized, and inviting. Over the past year, we have taken the time to make some more enhancements to the other platforms we offer. For example, we have revamped our popular e-newsletter. It now features a sleeker, easier-to-read design with more photos. Plus, now that the newsletter is sent out weekly, it’s easier than ever to keep up-to-date on the latest sign news and trends sent directly to your inbox. And probably the crème de le crème of our work over the past twelve months is the rebooting of our Web site. We redesigned signshop.com as a more immersive, more mobile-friendly experience, and it went live this past November. We are excited about how this mas-
sive revamp turned out. It is definitely more user friendly. Posts about the latest news, products, and projects are easier to find, searches are easier to perform, and content layout is easier to read. And everything is formatted to fit your display, whether on a computer monitor, a tablet, or a smartphone. It’s such an honor to be a part of Sign Builder Illustrated’s brand elevation—from newly designed print products to all our digital media—while continuing to supply the best how-to content for your shop! —Arthur Sutley., Publisher To enhance your Sign Builder Illustrated experience, visit signshop.com.
our newly redesigned web site lets you fully embrace the online experience.
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CNC ROUTER
By ROBERT MARSHALL
Open for
Business The case for open architecture vs. proprietary CNC technology.
All Photos: AXYZ International.
S
imply stated, when it comes to CNC control technology, open architecture refers to a system that is not closed—one that can operate utilizing CAD-CAM programming that comes from a variety of sources. It also means assorted pieces of hardware (like a variety of tooling) can be used, depending on what type of materials need to be cut with a knife or router. In a CNC system, open architecture provides for future modifications and upgrades to meet the needs of endusers as their businesses and customer bases evolve. signshop.com
Proprietary technology, on the other hand, is often limited to one specific programming language. As a result, the option of switching to newer and possibly more productive programming systems may not be available, which makes the CNC system more costly in the long run, especially if additional equipment must be brought in to handle expanding needs. In terms of CNC router control systems, the functionality most companies seek is, for lack of a better term, “future proof.” That is, it is a system that can be upgraded by the manufacturer of the equipment to take advantage of continu-
ous advances in technology and to satisfy growing customer needs. Not surprisingly, industry trends indicate that open architecture is becoming more popular as CNC customers look for increased flexibility and versatility in their systems. As a result, there are fewer closed proprietary CNC systems in use now than there were just a decade ago, as more endusers make the move to open architecture. Open Architecture Essentials Open architecture features accept machine programs from a wide variety of software packages, which can come from
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a number of sources. As the newest and best “mousetrap” in terms of CNC programming technology becomes available, open architecture systems ensure that adaptability remains a viable and cost-effective option for sign shops. How well the control system can be integrated with other pieces of equipment or tooling when performing a routing/cutting operation is key. Control systems (software and hardware) can make a CNC router obsolete if it can’t be upgraded and/or customized to suit an end user’s needs on a timely basis with minimal changeover downtime involved. When considering an open architecture system, here are key features and benefits to evaluate: 1. Accepts a variety of data from different programming systems. Open architecture has the ability to be easily modified and updated in order to work with the latest software and tooling packages. 2. Ease of integration with other components. System components that communicate with each other make life easier on the shop floor. For example, a CNC router table working with an automated loading/
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unloading system or different types of tooling to be used on that machine (such as to cut various types of signage stock) is important. 3. Ability to connect to internal customer networks. Open architecture systems take full advantage of a digi-
the programming language known as ‘G code’ is a fairly open system in itself and one that can be adapted to new routines. tally connected business environment. For example, a control system that can connect to the Internet enables suppliers to perform remote diagnostics and system updating. That feature also allows for ongoing Web-based
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training as needed and employee tutorials with a hands-on focus. 4. Greater efficiency and lower costs. Typically there comes a point where the operator of CNC routers will not be able to perform a function due to a programming limitation in a closed system. This happens when a customer’s request is not foreseen or as newer industry trends, design requirements, or state-of-the-art materials evolve over time. Even when a closed system can be adapted for a particular operation, it may take so long to work around proprietary technology that profit margins are narrowed or even go by the wayside. The shops that can overcome these challenges through open architecture are the shops that can sharpen their pencils when quoting new jobs due to increased operational efficiencies, including reduced downtime. Proprietary System Obstacles Proprietary CNC router systems restrict the ability to upgrade and to interface with other pieces of equipment in the workplace and on the Internet, which is critical for remote access and diagnostic routines. Proprietary CNC router system technology often leads to limitations in the field, since it restricts customer options and can lead to periods of extended downtime when a connection to the Internet is hampered. The programming language known as “G Code,” which is used by CNC router systems, is a fairly open system in itself and one that can be adapted to new routines. Case in point was a company that recently wanted to add a stud welding routine to a CNC router, which was to be performed after the piece was actually cut. This would also reduce the need for a manual operation and would ensure more accuracy. Adding the stud welder to a CNC router operation meant interfacing the two control systems—something that can be done with open architecture. Coded instructions would allow for the welding tool to be activated and used in the exact location needed. signshop.com
CNC router systems purchased from a dealer or other third party may not provide the same type of open architecture capability as opposed to acquiring it directly from a manufacturer. If a third-party supplier was able to work with the CNC manufacturer to perform the changes (as the middleman), it would most likely drive up the cost as well. Open Architecture Questions to Ask When considering the addition of CNC router technology, think about the answers to these key questions:
1. What future development policies are there for the machine controller, or are there any? 2. Is the controller capable of handling future technology upgrades easily? Or is it, “what you see is what you get?” 3. Can the system be modified to work with different types of tooling now and in the future? 4. Can it be interfaced with a range of CNC-programming systems? These are just a few of the basic questions that should be asked. The best bet is to seek advice from one or more CNC router manufacturers and make sure to communicate your specific needs. The direct approach can make all the difference. A direct line to a CNC manufacturer that can help assess current and future needs is critical and more cost-effective in the long run. It can mean the difference between having to purchase another CNC router or spending much less to
upgrade an open system. CNC router manufacturers can more easily make the adaptations requested and can customize equipment on a regular basis, starting from the day it is purchased directly from them by the end user. Similar to other marketplace demands, as technology continues to move forward at a steady pace in the CNC router world, it is critically important for revisions and upgrades to be made on a reliable, consistent basis. Those upgrades may be where in most cases, if not all, open architecture is the long range, forward-thinking best bet and wisest investment in CNC router technology for today’s sign shops. Robert Marshall is vice president of Market Development for AXYZ International, a leading global manufacturer of CNC Router and CNC Knife Systems. For more information, visit axyz.com.
Take Your Signs to Another Dimension with ShopBot CNC Neathawk Designs is a sign-making studio in The Berkshires of Massachusetts. Since 2011, they’ve been using their full-size ShopBot PRSstandard to make signs and work on special projects. Most recently, they created a full-sized reproduction (1.5’ deep x 12.5’ wide x 6.5’ tall) of a spoils panel from the Arch of Titus for an exhibit at the Yeshiva University Museum. Talk about a big undertaking! Not only was shop owner Lindsay Neathawk up to the task, but so was their ShopBot— and both continue to produce quality work. To read more about Neathawk Designs, as well as see photos of their work, visit the ShopBot blog.
For our full tool line-up and pricing, visit ShopBotTools.com Then give us a call at 888-680-4466 We’ll help you choose the right tool for the job.
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888-680-4466 • ShopBotTools.com
December 2017
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Feature Name LETTERHEADS By JIM Author HINGST
GEEZERS
in CHARGE
B
utch “Superfrog” Anton and his wife Sandy hosted their second Letterhead Geezer Gathering at their three-acre homestead in Lake Park, Minnesota this past August 1820. Their picturesque property is bounded on two sides by two lakes and dotted with several cabins for their frequent guests. 34
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As the event name implies, most of the attendees were seasoned veterans, although it was encouraging that several younger sign makers also participated. During Butch’s event, several sign makers conducted seminars. Jeff Douglas from Douglas Signs in Moorhead, Minnesota explained his
December 2017
unique technique for painting fauxaged lettering. Douglas is very knowledgeable in the chemistry of paint and an expert in estimating and engineering. In demonstrating his painting technique and entertaining the other painters, he cooked up his recipe, which includes calcium carbonate signshop.com
Jeff Douglas demonstrates how to paint fauxaged lettering.
Recapping the 2017 Letterhead Geezer Gathering. (whiting) as a flattening agent, tinting clear, thinner, 1-Shot lettering enamel, and a finely ground rust powder dusted onto the lettering after the paint is almost dry. Mark Ripley, owner of Ripley’s Ol Skool Pinstriping in Olathe, Kansas, conducted a class in pinstriping using Dusignshop.com
Pont Hot Hues urethane paint. “Painting with urethane paints is a lot different than painting with enamels,” say Ripley, a California sign shop transplant whose primary business today is pinstriping motorcycles and hot rods. Although Ripley still stripes with some 1-Shot lettering enamels, most of his work is painted with DuPont Hot Hues urethanes. “In the pinstriping community, urethanes are getting more and more popular,” says Ripley. What he likes about urethanes is that they flow out nicely, cover better, and are durable. “When it comes to durability, urethanes are bulletproof,” says Ripley. “I can take a screwdriver and try to scratch over my pinstriping, and the paint doesn’t chip off. You can’t do that with the softer enamels.” In his seminar, Ripley explained the chemistry of urethanes. The DuPont paints are similar to the urethanes of a factory paint job. Unlike enamels, urethanes always require a hardener. He points out that when he stripes with enamels, Ripley often adds hardener. “Hardener is a must if you clear coat your job,” he says. Ripley says that painters all have their favorite tools that they depend on. For striping, Ripley prefers to use Mack’s Von Dago brushes and Kafka scrolling brushes. What he likes about these brushes is their ability to pull fine lines. Of course, professional results also depend on the ability of the striper. Many of this year’s “geezers” gilded glass panels as part of “Bazooka” Joe Balabuszko’s seminar on water gilding. His hands-on class covered substrate cleaning, preparation of water size, and gilding techniques. Balabuszko from Saint Louis Park, Minnesota also showed sign makers how to blend two colors of gold leaf. In his demonstration, he first applied 23-karat gold leaf. After it had dried, he then used 0000 steel wool to feather the lower edge of the gilding. Then Balabuszko applied 12-karat gold leaf. During this event, Balabuszko answered many of the sign painters’ questions. He also shared many of his gilding secrets, which he learned as a union sign painter in Chicago. (Note: In addition
to being one of the original members of the Chicago Brushmasters, Balabuszko is presently a member of the Colleagues of Calligraphy based in Minneapolis and previously was a member of the Society of Gilders.) Host Butch Anton also conducted a hands-on class in carving. Butch taught his guests how to carve both incised and raised lettering in high-density urethane panels. His class covered material selection, project layout, job safety, and adhesives used in gluing panels, as well as priming and painting carved HDU. Vendors that helped sponsor the Geezer Gathering included Ronan Paint, Precision Board, Earl Mich, RTape, Iwata, Rapid Tac, and W & B Gold Leaf, LLC. These generous companies provided samples of their products for the attendees to use in decorating glass and metal panels and carving raised and incised lettering in highdensity urethane. As usual, Butch and Sandy were the perfect hosts, and there was time to eat, play, and relax in-between sessions. To top the festivities off, the Minnesota weather this year was absolutely beautiful, leaving the attendees wishing that they could extend their stays as well as looking forward to next year.
The pleasant Minnesota weather left attendees wishing they could extend their stays.
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WE’RE HERE TO ANSWER THE CALL! 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, stepby-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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ILLUSTRATED
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wraps
Paint It
By JEFF WOOTEN
wrap
A commercial campaign leads to a unique vinyland-paint solution.
All Photos: Icon Image Graphics.
W
ith vehicle wraps, sometimes it’s about what you don’t notice rather than what you do. This past September, Audi Automotive served as the official automotive sponsor of the Sixty-Ninth Emmy® Awards (an annual Hollywood event that honors the year’s best in television), and they wanted to do something extraspecial that would simultaneously honor the television industry and promote their line of cars. Enter the innovative “Audi Orchestra” campaign telecast during this year’s awards. This series of three thirty-second commercial spots featured select Audi cars with renditions of theme songs from signshop.com
three past memorable Emmy nominees: Cheers, Star Trek, and The Mary Tyler Moore Show. The twist: The theme song tunes were performed by an orchestra accompanying the engine sounds of the Audi cars. Even Even more impressive than the engine sounds made by the Audi R8 V10 Plus, Audi TT RS, and Audi SQ in these commercials is that these cars were actually wrapped with color-change vinyl that had been painted. The company responsible for these painted wraps was Icon Image Graphics, a Santa Fe Springs, California-based company that specializes in custom wrap and graphics installations. The company has a healthy relationship with the enter-
tainment industry, previously working on high-end, custom projects ranging from the Academy Awards® to the Heisman Trophy. Last year, the company even transformed a Nissan Rogue into a Star Wars X-wing fighter pilot via a wrap for television spots (“Going Rogue,” September 2017). “Audi’s other objective was that they also wanted to feature their new, exclusive Glacier White Metallic car color in these commercial spots,” says Sino Tour, owner and director of operations for Icon Image. The concept for this series of commercials was to have all three vehicles share the custom-built stage together, positioned like a musical trio just several feet
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Branding: Roland DGA at Adobe MAX Irvine, California— Roland DGA recently partnered with design software manufacturer Adobe® at Adobe MAX (max.adobe.com) in Las Vegas. This event attracted thousands of designers, photographers, web developers, video makers, illustrators, educators, and other creative professionals for seminars, workshops, networking, and more. A joint project with Coca-Cola®, Adobe, and Roland in the Adobe exhibition booth enabled visitors to design and print graphics using Illustrator® and the Roland TrueVis™ VG-640 printer/cutter for their very own personalized Coke® bottles. Roland also equipped the “Max
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Madness & The Circus of Light” theme at the popular Russell Brown workshop with fluorescent graphics on decorative pillows, printed with a Roland Texart™ RT-640 dye sublimation printer. Under black lights, the work of accomplished art directors, designers, and photographers was on full display in eye-catching neon colors.
December 2017
from each other. “It was imperative that they all had to be identical to each other in terms of color, to avoid any lighting and post-production issues as well as for any long-shots and close-ups,” says Tour. Of course, the cars selected for the commercials were not painted the Glacier White Metallic color that Audi wanted to spotlight. With only a week until the commercial shoot dates were scheduled to commence at an elaborate L.A. soundstage, the race was on to find a transforming solution that would work. “With the Audi R8 V10 plus being the only unit that was peel-coated, we were awarded the important task of [quickly] wrapping the TTRS and SQ5,” says Tour. However finding a vinyl color the exact same match as Audi’s exclusive Glacier White Metallic was going to prove quite the task. So Icon Image had to channel their inner Columbo and investigate solutions to this quandary. Tour and his business partner Susanne (who also happens to be his sister) researched the stock color films that were available on the market and decided to 3M Wrap Film Series 1080 here. “We find that the 3M adhesive is a lot more aggressive and stronger, especially on the installation side,” says Tour. Although a couple of 3M’s white color films in this line were very close matches, Icon Image employed 3M Wrap Film Series 1080 Matte White to arrive at the exact vehicle colors that would appease the Audi marketing team. “We were instructed that all three cars had to be identical in terms of the color,” says Tour. “We couldn’t do one with a 3M Gloss White and the rest in Matte White. We felt the matte finish would hold a lot better across the entire line.” After the conclusion of several tests conducted by Icon Image, they eventually opted to paint the original 3M Matte White film to arrive at the appropriate Audi color for these short-term vinyl wraps. The company had already successfully accomplished this unorthodox idea back in April when they worked on a Volkswagen Jetta shoot where the prototype had to be wrapped with an exact color match, yet the digital print had not materialized on time. “3M’s Matte White film is very durasignshop.com
Photo: SNA Displays.
ble in holding a thick layer of paint on flat vinyl panels,” says Tour. “Testing the painted film on corners and deeply recessed areas of the units, for example, was an absolute necessity, so we could gauge and avoid any potential problems such as lifting, bubbling, or cracking of the paint or film. “In a way, the film acted like the ‘perfect’ canvas to accommodate a complicated process.” Aside from performing his own camera tests with indoor and outdoor lighting to arrive at the right color of vinyl, Tour also applied a sample of the film on one of his company cars for about a week. “The data from that test was then submitted to everyone involved in the project,” he says. “The production, specifically the cinematographer, did his own camera tests prior to shooting the ads. “Any calculations with the color or its mixture was the painters’ responsibility.” Painters parlayed the standard procedure of spray-painting a vehicle in applying water-based paint onto three rolls of the 3M 1080 film to get the appropriate Audi Glacier White color. The Icon Image team initially thought about wrapping the entire vehicle first and then painting it. “But that was going to be time consuming, since we were not allowed to remove all the hardware,” says Tour. “And it would prove to be extremely difficult for the painters.” Because of the magnitude of the project, there was definitely a hint of hesitation going with the painted panels approach, admits Tour. “It was a risky move on our part, and yes, it made us nervous at times—even when I was on the film set doing a final walk-through on our wraps! “But the installation phase of the “Audi Orchestra” campaign really required much more patience, thought, and skill from my team in order for us to achieve the pristine, custom wraps that are seen on screen.” Fortunately Icon Image is not turned off by high-pressure or “unorthodox” projects; in fact, they embrace them. “We’re always aiming to elevate our vinyl work as a whole to another level, whether it be through design, installation—or both,” says Tour. signshop.com
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Feature Name Branding By LORI Author SHRIDHARE
TAKE OUT WRAPS
F
ounded in 2011 by Ryan Rickert, in partnership with the anti-graffiti company Clean Slate Group, The Wrap Agency in Bozeman, Montana dedicates 50 to 60 percent of its business to vehicle wraps and decals, with the balance focused on wall graphics and traditional sign media. They’ve successfully created effective vinyl wrap designs ranging from traditional company vehicles to unique requests, such as sunset-inspired images on bearproof garbage bins for the town of West Yellowstone, Montana (pictured, above). The Wrap Agency has also been working with restaurants and other food 40
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businesses to highlight their strong suits, strengthen their branding, and allow them to stand apart from their competition when it comes to wraps—and at times, even gone a little more than the extra mile. They recently worked on a project for a local brewery where the client knew the type of vehicle they wanted to buy and wrap and had outlined their strict budget for it. But that was it. “The questions they had when they came to us were, ‘What color of vehicle should we buy? What direction should we go with the design? What kind of coverage and exposure can we expect?’” says Ryan
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Kramer, production manager for the firm. “We steered the client to a black vehicle, since we felt that color worked best with their logo colors, and we designed a full wrap without bumpers and a roof to keep the overall price down.” The Wrap Agency printed the wrap out onto 3M IJ180mC-10 vinyl with an 8915 overlaminate using an eco-solvent printer. “We also avoided the lower rocker panels and wheel wells, leaving these areas gloss black, with a printed ultra matte wrap and gloss decals,” says Kramer. For this project, Kramer says direct communication with the client early on was paramount. This allowed them to signshop.com
Photo: The Wrap Agency.
Serving up vinyl graphics.
come up with an appropriate wrap that would work with the client’s message and budget. Along with walls, bus shelters, and vehicle fleets, wrapping has now expanded to include food trucks, which has become a thriving $1.2 trillion industry, according to The Economist. You can find this niche of the food industry growing strong in places that are regulationfriendly for the trucks. The Wrap Agency is also on board this trend, recently wrapping a food truck for S-Bar-S BBQ of Sioux Falls. For this project, the client had a solid concept for the design, which focused on images of flames and a grill. The design gives the appearance of the truck being on fire and submerged inside of a flaming barbecue. The swooping transition to the front of the truck achieves the appearance of a full wrap without the extra cost of wrapping the front end of the truck. (Note: They also wrapped many of the features inside the truck as well, to keep with the theme.) On a food truck, vehicle graphics are essentially the central platform for communicating with the world and with customers—as it features the storefront, the main advertisement, the branding, and often, the menu itself. The choices made by the proprietor for this wrap can mean the difference between a winning identity and a weak presence on the road or in the parking lot. For food trucks, discernment is key in deciding whether a wrap or alternatives such as paint might be the best option. Opting for a new paint job though doesn’t mean that the opportunity to sell vinyl is out of the question. “One client had their ice cream truck repainted and came back to have us create a large decal package to add to it,” says Kramer Adding subtlety to the vehicle through a range of finish options is another design approach for food truck wraps. “These give us the opportunity to provide a graphics package that complements the vehicle, rather than acts as a billboard on wheels,” says Kramer, noting that they also use 3M knifeless tape on all of their wraps. “We design and install many wraps that look simple at first glance, but may have texture or patterns signshop.com
subtly hidden in the print. Or perhaps the base of the wrap is a matte finish and the logos and information are gloss. “This all creates a subtle contrast that causes people to look twice and maybe notice a company that they would not have noticed before.” The key for any client with a wrap is understanding their brand or intended
message. “Every client is different, and therefore every wrap has a different need,” says Kramer. “Professional services require a wrap that is clean and simple. An extreme sports company though might require a bold, loud, bright wrap. These clients might require the ‘bold’ envelope to be pushed for their target audience to pay attention.”
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SOFTWARE BY DEAN DERHAK
THE
RIGHT RIP
Nine things to consider when investing in RIP software packages.
1.
Do bundled RIPs offer good value? Value is in the eye of the beholder. There are many excellent RIP software packages from leading suppliers bun42
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dled with printers. A bundled RIP/printer purchase is a good way of ensuring compatibility, but users should look beyond the headlines and the price tag. One important thing to remember is that this is a business decision as well as a technical one. What is your business’s USP? Fast and cheap? Top quality in everything? Or somewhere in between? Do you need to consider the ability to add more printers or a cutter in the foreseeable future? These factors should influence your buying decision.
2.
Do you know who made the software bundled with the printer? Is it branded and supported or vanilla and anonymous? What’s the track record of the supplier? Knowing the origin of your software will inform your decision. If it’s proprietary to the large format printer supplier, find out as much as you can about support, upgradeability, scalability, and flexibility. If you can’t learn anything about the supplier of your RIP, should you trust
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your business with it? How will you handle a color management problem? Where will you go for support? If the manufacturer is 10,000 miles away, where do you think the software supplier is? If you really love the printer, find out if it will run RIP software from a supplier you are familiar with.
3.
Does the RIP software package offer the features, versatility, and flexibility your business needs to grow? To play golf well, you need more than just a nine iron. Look for the tools you need to do the job well. Look also for things that you may need in the future. For example, how easy is it to add new devices to the RIP? Are you going to need a comprehensive suite of tools to give you maximum versatility? Are there applications missing that you may need? Alternatively you may not need a lot of bells and whistles, and a more basic, but robust, RIP will be more costeffective. Just be sure to double-check its upgradability and support! signshop.com
Photo: Shutterstock/ KOKTARO.
T
oday, everywhere you go, dozens (if not hundreds) of messages are vying for your audience’s attention. And it’s not just other signage. Every person you’re trying to reach is carrying a distraction factory in their pocket—assuming it’s not already out in their hands and keeping them from seeing the stunning signs you’ve worked so hard on. At the beginning of the digital age, the Raster Imaging Processor (RIP) was the premier tool of printers and repro houses. Today output devices take center stage, along with file sharing, remote access, and Cloud storage applications. However RIPs still matter—a lot! Indeed, print quality depends upon it. So what should large format print providers and sign makers look for when choosing a RIP? I have identified nine questions that should be asked.
4.
How well will it integrate into your business? You don’t want little islands of different software in your production shop. So look for RIP software that will support the majority of your equipment. For example, if you do a lot of banners and have more than one printer and perhaps a cutter, you may need a RIP software that can combine these functions and drive all your devices. It will simplify operation, streamline workflow, and minimize training.
5.
What support is available? Who is it from? How well supported/ trained are they by the supplier? For busy large format print providers and sign makers, these are crucial questions. Support teams don’t exist just to fix unexpected problems, though how fast and how well they do it is extremely important. They can provide expert knowledge in configuration, workflow efficiency, information on industry trends, application and product advice, as well as business development consultancy. A good software reseller will want to build a relationship, not just send you some CDs and move on to the next sale. Learning about the support offered before investing should be high on your checklist.
and the cost can even prevent companies from upgrading to the RIP software package that is best for their business. A monthly subscription is a much more cost-effective option and can be a small revenue expense rather than a large capital cost. Moreover, subscribers have all of the latest features, so they are using the best and latest available.
8.
How easy is it to upgrade? How often should I upgrade? As all sign makers know, nothing is static. New features, new demands, new materials, and new colors all mean that an ability to upgrade is essential. How expensive this is and how easy it is to do are important factors and may be closely related. An inexpensive software upgrade that requires a lot of downtime provides less of a good value than a more expensive one that can be installed quickly. This problem does not exist with subscription software that is always up to date. To stay competitive, you should al-
ways keep your RIP software up-to-date. If you don’t, then you are giving your competitors down the street some serious advantages because they will have the latest features that make their production more efficient.
9.
Does it have Cloud connectivity? More and more work is done away from the office, and it is important for managers to be able to view work in progress and collaborate in multiple locations. A cloud-enabled RIP software enables safe job storage and collaboration of sign design. Also, mirroring the trend to be away from the office, mobile apps give business owners access to job status, information, and production trends from virtually anywhere to keep them in control of their business. Dean Derhak is product director at SAi (thinksai.com), which produces Flexi, SAi +EnRoute for Flexi, and SAi’s Flexi Cloud mobile app.
6.
Does it integrate into CNC machining software to enable 3D sign production? Large format sign and display production is increasingly about differentiating your customers from their competition. Requests for the new and novel will only increase. Demands for new materials, colors, and formats will keep the pressure on your production team. High on the list of growing trends is sign production using CNC machining. Some RIP software packages for sign makers now offer this capability. Making CNC sign production (2D, 2.5D, or 3D) part of your offering and promoting it to your customers is an opportunity well worth exploring before deciding on a RIP package.
7.
Does it require a major capital investment, or are subscriptions and other purchase options available? Buying a RIP can be a major investment,
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COMPANY PAGE
1
ADA Central Signs. . . . . . . . . . . . . . . . 46
27
Ornamental Post Panel & Traffic. . . . 46
2
AdamsTech. . . . . . . . . . . . . . . . . . . . . . 11
28
ShopBot Tools. . . . . . . . . . . . . . . . . . . . 33 Sign America Inc. . . . . . . . . . . . . . . . . . 46
3
Alpina Manufacturing . . . . . . . . . . . . . 47
29
4
A.R.K. Ramos Mfg. Company . . . . . . 44
30
Sign Bracket Store. . . . . . . . . . . . . . . . 10
5
Brooklyn Hardware . . . . . . . . . . . . . . . 46
31
Signs365.com . . . . . . . . . . . . . . . . . . . C4
6
Chemical Concepts. . . . . . . . . . . . . . . 41
32
Sinalite. . . . . . . . . . . . . . . . . . . . . . . . . . . 1
7
Duxbury Systems Inc. . . . . . . . . . . . . . 46
33
Small Balls. . . . . . . . . . . . . . . . . . . . . . . 47
8
Echod Graphics . . . . . . . . . . . . . . . . . . 47
34
Southern Stud Weld . . . . . . . . . . . . . . 43
9
FASTSIGNS. . . . . . . . . . . . . . . . . . . . . . . 20
35
Stamm Manufacturing . . . . . . . . . . . . 17
10
FASTSIGNS. . . . . . . . . . . . . . . . . . . . . . . 21
36
Techno CNC Systems. . . . . . . . . . . . . . 18
11
Gemini Duets . . . . . . . . . . . . . . . . . . . . . 3
37
YJ Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
12
Grimco. . . . . . . . . . . . . . . . . . . . . . . . . . 22
3 EASY
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13
Grimco. . . . . . . . . . . . . . . . . . . . . . . . . . 23
14
Hendrick Manufacturing. . . . . . . . . . . 38
38
3M. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
15
International Sign Association. . . . . . 36
39
AkzoNobel. . . . . . . . . . . . . . . . . . . . . . . . 9
16
J. Freeman Inc.. . . . . . . . . . . . . . . . . . . 39
40
CWT Worktools. . . . . . . . . . . . . . . . . . . . 9
17
JDS Industries . . . . . . . . . . . . . . . . . . C2
41
Drytac . . . . . . . . . . . . . . . . . . . . . . . . . . 11
18
Keystone Technologies . . . . . . . . . . . . . 7
42
Kern Laser . . . . . . . . . . . . . . . . . . . . . . . . 9
19
Manhattan Signs . . . . . . . . . . . . . . . . . 47
43
Laser Research Optics. . . . . . . . . . . . . . 9
20
Mimaki USA Inc. . . . . . . . . . . . . . . . . . . 24
44
Mimaki USA Inc. . . . . . . . . . . . . . . . . . . 11
21
Mimaki USA Inc. . . . . . . . . . . . . . . . . . . 25
45
Multicam Inc. . . . . . . . . . . . . . . . . . . . . 10
22
Multicam Inc. . . . . . . . . . . . . . . . . . . . . 39
46
Rowmark LLC. . . . . . . . . . . . . . . . . . . . . . 9
23
Nova Polymers . . . . . . . . . . . . . . . . . . . 26
47
SloanLED. . . . . . . . . . . . . . . . . . . . . . . . . 9
24
Nova Polymers . . . . . . . . . . . . . . . . . . . 27
48
Trotec. . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
25
Orbus. . . . . . . . . . . . . . . . . . . . . . . . . . . 46
49
Vytek . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
26
Orbus. . . . . . . . . . . . . . . . . . . . . . . . . . . 46
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Sign Builder Illustrated
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Shop Talk
By DAVID HICKEY, VICE PRESIDENT, GOV’T. AFFAIRS, ISA
Come Together
Setting aside differences to benefit the industry.
W
hen Chumita Hurd first started working for her father’s sign company at age nineteen, he gave her one piece of advice: “Work is work, and home is home. We don’t discuss work at home, and we don’t discuss home at work.” Understanding those boundaries has helped her not only succeed in the industry for the past thirty-seven years, but it’s also been a strategy she uses when working with competitors to improve sign codes throughout her area. “When you can get owners to set aside their competition and work together as a team to accomplish something, you get better sign codes,” said Hurd, who now works at N. Glantz & Son as branch manager. “You just have to get in a room and build trust. You don’t talk about your individual businesses, but you come with one goal in mind.” There have been plenty of opportuni-
ties to prove that point lately, especially in Arizona where Hurd is based. It’s the state in which the landmark U.S. Supreme Court case, Reed v.Town of Gilbert, was set. Earlier this year, the Goldwater Institute filed suit against two communities it felt had not responded to Reed quickly enough in adapting their sign codes. The Reed lawsuit requires communities to remove any regulations that are messagebased. All temporary signs, for instance, must be treated the same, whether promoting a local event or a local business. Those lawsuits, says Arizona Sign Association Executive Director Patti King, set off a round of code examination in various cities—and created a prime opportunity for ASA, ISA, and sign, graphics, and visual communications companies to work in their communities to build better sign codes. Not every state is under quite the same pressure with lawsuits that Ari-
Sign Builder Illustrated (Print ISSN 895-0555, Digital ISSN 2161-4709) (USPS#0015805) (Canada Post Cust. #7204564; Agreement #40612608; IMEX Po Box 25542, London, ON N6C 6B2, Canada) is published monthly by Simmons-Boardman Publ. Corp, 55 Broad St. 26th Floor, New York, NY 10004. Printed in the U.S.A. Periodicals postage paid at New York, NY and Additional mailing offices.
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December 2017
zona has encountered—at least not yet. But if communities fail to comply with Reed, you can bet that lawsuits won’t be very far behind. And for good reason— the First Amendment’s free speech protections are among the most revered in this country. Arizona provides a bit of a road map for Reed, when it comes to the need for communities across the country to comply. What has worked well in that state is the collaborative nature. The ISA brings research and expertise. The ASA has connections at the local level to get supporters involved. Sign, graphics, and visual communications companies and suppliers/distributors can influence their local leaders and participate in the process. Ultimately nobody wins when these sorts of issues get tied up in the courts. That’s why we’ve taken such a proactive response to helping planners and local officials understand more about the impacts of Reed on their sign codes. The ISA, working alongside our Affiliated Associations like the ASA, has trained thousands of planners in the twoand-a-half years since Reed. Research from the Sign Research Foundation has been invaluable in providing guidance to planners as well. As a result, we’ve seen sign codes improve in communities around the country. And as we provide this service, it creates relationships with planners, who then begin to see ISA and our industry as resources to help with additional sign code changes. We’re not at the point where we can declare that every community around the country has great sign codes—and we probably never will. But by coming together to work on sign codes, we’re starting to see a groundswell of improvement. I hope you’ll follow Hurd’s lead and get involved to work to help move our industry forward.
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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