Sign Builder Illustrated October 2018

The How-To Magazine

O c tober 201 8 | signs h o p.co m

Wrapped Up In

VEHICLE SIGN BUILDER

GRAPHICS

illustrated

How To:

SALES SKILLS, COPYRIGHTS

vinyl design:

TRANSFORMING INTERIORS

SIGN PLASTICS:

PICKING A SUBSTRATE

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Contents OCTOBER 2018

Vol. 32

8

No. 280

How-To Columns

18

LEARNING ACTIVE LISTENING SKILLS

By Jim Hingst What is your customer trying to tell you?

24

WHAT’S BEHIND YOUR GRAPHICS?

By Lori Shridhare You need to understand the basics of copyright protection.

departments

8

14 54 56

EDITOR’S COLUMN

As SGIA Expo begins its refocus next year, Editor Jeff Wooten custom forecasts what this means.

IN THE INDUSTRY

ANC launches a new digital media network, discover the wonder of 3M’s building wrap, and the complete branding of a work environment.

Sign Show

The newest products and services from sign manufacturers.

SBI Marketplace

Advertisements and announcements from the sign trade.

Shop Talk

Sal Sheikh looks at how five large format printing trends are shaping the future.

Features

28 34 40

40 2

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October 2018

46 50

ON THE SURFACE

By Jim Cirigliano Transforming interior environments with custom-printed fabric and vinyl graphics..

A DECADE OF EXCELLENCE

By Jeff Wooten A branding specialist reflects on ten years of wrap design.

HITTING THE WALL

By Mike Antoniak Workhorse showcases its skills with beachside recycling wall wrap.

PICKING A PLASTIC

By Ashley Bray Choosing between acrylic and polycarbonate substrates.

ADA FOR ALL

By Jeff Wooten Clearing up misperceptions on ADA standards. signshop.com

​Cover Photo: Avery MPI 1105 film (Keg Digital Garage).

6

WHERE DESIGN MEETS INNOVATION

Project: University of Michigan Lawyers Club Preferred Fabricator: Dixie Graphics

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October 2018, Vol. 32, No. 280 Sign Builder Illustrated (ISSN 0895-0555) print, (ISSN 2161-0709) digital is published by Simmons-Boardman Publishing Corporation

Subscriptions: 800-895-4389

executive offices President and Chairman Arthur J. McGinnis, Jr. Publisher Arthur J. Sutley 55 Broad Street, 26th floor New York, NY 10004 212-620-7247 ; Fax: 212-633-1863

editorial Editor Jeff Wooten 323 Clifton Street, Suite #7 Greenville, NC 27858 212-620-7244 jwooten@sbpub.com Managing Editor Ashley Bray 55 Broad Street, 26th Floor New York, NY 10004 212-620-7220 abray@sbpub.com Contributing Writers Mike Antoniak, Jim Cirigliano, John Hackley, Jim Hingst, Michelle Johnson, Sal Sheikh, Lori Shridhare

art Art Director Nicole Cassano Graphic Designer Aleza Leinwand

production Corporate Production Director Mary Conyers

circulation Circulation Director Maureen Cooney mcooney@sbpub.com

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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October 2018

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Editor’s Column

AGENDA

By Jeff Wooten

October 2018 OCTOBER 18:

The Arizona Sign Association Tabletop Trade Show will be conducted at TopGolf in Scottsdale, Arizona. (arizonasign.org)

OCTOBER 18-20:

SGIA Expo, the largest tradeshow in print technology, is being held at the Las Vegas Convention Center in Las Vegas, Nevada. (sgiaexpo.org)

OCTOBER 30NOVEMBER 2:

The automotive-focused SEMA Show rolls into the Las Vegas Convention Center in Las Vegas, Nevada. (semashow.com)

Customize This!

It’s the dawn of the age of instant demand.

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Our society is a world of instant gratification, and it feels we’re inching more toward a world of instant manufacture-ondemand. Today “customer is king.”

This reminds me of that great episode from the original Star Trek series where a twentieth century jet fighter pilot is beamed aboard the Enterprise that has time-traveled to the past. He’s amazed at how someone onboard the ship can tell the computer what they want and it immediately materializes (in this case, a bowl of soup). Have we reached this farpoint three hundred years earlier than expected? (Note: Now is probably a good time to remind you to check out our copyright law article on page 24.)

These technologies are opening up all sorts of new opportunties for today’s adopters and potential future users.

I’m equal parts excited-fearful what this one-stop sign/print provider experience will be like down the road. Will smaller shops be able to keep up with the volume of varied offerings? Will there be too many new customers overwhelming with too many personalized requests? Or maybe shops succeed by investing in the right resources to go after this custom work?

Regardless it feels like a real paradigm shift in terms of output is going to happen sooner rather than later.

Jeff Wooten Editor, jwooten@sbpub.com

November 2018 NOVEMBER 29-30:

Join the USSC Foundation at Harrah’s Resort and Casino in Atlantic City, New Jersey for The Sign Exchange, the first-ofits-kind convention where the tradeshow serves the industry. (usscfoundation.org)

February 2019 FEBRUARY 20-22:

The Midwest Sign Association Winter Meeting takes place at the Hilton Garden Inn Louisville Airport in Louisville, Kentucky. (msassn.org)

April 2019 APRIL 23-26:

Photo: Shutterstock/guteksk7.

S

ometimes, when traveling down life’s highway, one gets tempted to take the exit ramp to Memory Lane. That driving feeling has hit me as I realized that the last-ever SGIA Expo is taking place this month (October 17-20 in Las Vegas, Nevada).

I started thinking: Has it been sixteen years since the magazine and I trekked down to St. Louis for our first set-up at this long-time annual show? If I recall correctly, flatbed printers were rolling out, while “narrow format” was entering the vocabularies. And vehicle wrap demos were looking in from the outside.

How times change. Sixteen years later and everyone is familiar with wraps (and the expanding range of objects that can be wrapped), while printable substrates know no bounds. Today 3D printing and dye sub technologies are frequently touted as the new, big things.

Next year, PRINTING United, a new event hosted by SGIA in partnership with NAPCO Media, takes place in Dallas, Texas, with a rebranded emphasis on the “convergence of printing technologies and markets.” This event looks to be a bigger beast covering a wider breadth of print and finishing industries—garments, graphics, commercial, industrial, packaging, etc.—to focus on the integrated solutions to satisfy client needs.

This also ties into the increased talk these days about “extreme customization.” There are no limits to the graphics and products that can be tailor-made to satisfy the most niche, personalized needs.

The International Sign Expo 2019 is scheduled to be held at the Mandalay Bay Convention Center in Las Vegas, Nevada. (signexpo.org)

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In The Industry

ANC Launches New

Digital Media Network

P

urchase, New York—Technology service provider ANC has installed and is currently managing a new digital media network at The Howard Hughes Corporation’s new Pier 17 located at the Seaport District in Lower Manhattan.

Driven by ANC’s LiveSync operating system, the digital media network includes more than 2,000 square feet of 4mm outdoor LED that is integrated throughout the complex.

“The Howard Hughes Corporation has worked closely with ANC to leverage the Seaport District’s rich history as New York’s original port of innovation,” said Saul Scherl, president of the New York Tri-State Region, The Howard Hughes 8

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Corporation. “The use of cutting-edge technology is transforming Pier 17 into a state-of-the-art, dynamic environment, complete with engaging amenities and multi-media entertainment options for all our visitors.”

A four-story building designed by SHoP Architects, Pier 17 is poised to become an iconic New York City destination, with a 1.5-acre rooftop that will serve as a year-round community amenity (featuring a restaurant, outdoor bars, and a venue for concerts and cultural and public events). Home to ESPN’s recently launched new live broadcast studios, Pier 17 will also include waterfront restaurants from culinary powerhouses such as Andrew Carmellini, Da-

vid Chang of the Momofuku Group, and Jean-Georges Vongerichten.

The building’s two-story atrium space, which is one of the main arteries to the rooftop terrace, consists of an LED ceiling and three levels featuring ribbon displays. These displays are customized to fit the various heights and slants of each atrium level’s façade, creating a new type of experience as consumers are engaged with eye-catching visuals as they move from floor to floor.

The unique column displays feature four flat sides that come seamlessly together at the corners without a gap, enabling content to transition from one column face to another without interruption. By using four individual flat signshop.com

Dishing OUT a Makeover

Vinyl graphics were also applied to stair risers and interior walls.

C

the use of cutting-edge technology is transforming pier 17 into a state-of-theart, dynamic environment. faces, content creators can also clearly feature distinct pieces of content on each face before driving them as one canvas.

“Providing a customized product solution to Pier 17 has enabled ANC and The Howard Hughes Corporation to deploy the newest technologies into the building’s design,” said Jerry Cifarelli, vice chairman and founder, ANC. “[Our] immersive technology and ongoing services are designed to further the Seaport District’s transformation into a retail, dining, and entertainment destination unlike any other in New York City.”

The digital media network includes: • One (1) 4mm Ceiling Display—12.30 feet high-by-34.45 feet wide; signshop.com

• One (1) 4mm Lower Atrium Level Ribbon Display—4.10 feet highby-131.23 feet wide; • One (1) 4mm Middle Atrium Level Ribbon Display—4.10 feet highby-131.23 feet wide; • One (1) 4mm Upper Ribbon Display—4.10 feet high-by-86.94 feet wide; • One (1) 1.875mm Information Display—6.30 feet high-by-17.32 feet wide; and • Two (2) 4mm Column Displays—19.68 feet high-by-3.28 feet wide All of the displays will be able to feature individual content or synchronize together to act as one canvas across the different locations.

hicago, Illinois—Manolis and George Alpogianis, founders of America’s Dog & Burger in Chicago, wanted their plain white walls and glass windows transformed into a visual storyboard of the restaurant’s fun and unique history, which included inspiration from a great American road trip.

Full-service marketing firm Graphic Alliance designed, printed, and installed larger-than-life historic landmarks and family photos for the new-and-improved restaurant’s windows, doors, cooking counter, and subway tile wall.

For the front window and glass surface at the cooking counter, Graphic Alliance chose IMAGin ® B-free Frosted Window Films. For the subway tile wall, they opted for Mactac’s high-tack REBEL™ media with PERMACOLOR ® ColorGard™ LUV matte overlaminate.

To make smaller cut letters on the doors, the team went with the MACmark® 8300 Series. All cut letter graphics also utilized Mactac’s ST1054 and ST2048 Premask.

Finally, to create a unique brick finish that would replicate the walls of their other restaurants, the G ra p h i c A l l i a n c e te a m u se d ROODLE™ printable media with PERMACOLOR ® ColorGard™ LUV matte overlaminate.

October 2018

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In The Industry ISA-UK Launches

A

3M’s Building Wrap

S

t. Paul, Minnesota—Global innovation company 3M recently used their materials to turn their iconic main headquarter building into a work of art and demonstrate their commitment to curiosity, wonder, and creativity by bringing their internal culture to the outside world.

Reading “Curiosity is just the beginning,” the wrap covers nearly the entire East and West sides of twelve-story Building 220. The project included 487 sections per side that fit together like a mosaic to reveal a final image.

This building wrap is an extension of 3M’s Wonder Campaign, a global effort that demonstrates the variety of ways 3M impacts day-to-day life and encourages people to be actively curious.

“Specifically a building wrap is an opportunity to not only elevate design but drive brand experience,” says Matt Kading, senior sales representative at 3M. “By wrapping [our] Building 220, 3M seeks to encourage people to be curious and make a difference.”

3M’s application engineers chose state-of-the-art 3M films that were best suited to the building’s unique windows and would provide durable adhesion to the painted glass surface of the exterior— 3M™ Controltac™ Graphic Film (opaque for the windowless surfaces) and 3M™ Scotchcal™ Perforated Window Graphic (perforated to cover the windows).

“The perforated film allows for 60

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percent of light to transfer through the window into the space inside, while still reflecting color on the outside and providing viewability from the inside out,” says Kading.

3M partnered with The Vomela Companies, a St. Paul-based graphics manufacturer, to assist in bringing the 220 Building wrap from a design rendering to real-life wrap. It took them approximately 120 hours to print using an HP wide format printer with latex ink.

The towering wrap installation took place August 13-16. The Vomela Companies recruited a five-person team of installers well versed in large-scale applications on specialty surfaces—DPI Wraps out of Michigan and another installer outsourced from Las Vegas.

According to Kading, the biggest issue concerning any building wrap is access to the building. “The installers utilized the 3M window washing equipment, and 3M Personal Safety Division application engineers aided the project with Fall Protection safety equipment and training,” he says.

“Originally the installation was scheduled for approximately ten days,” says Kading, “but the installation crew worked day and night to complete the installation in roughly four days.”

Curiosity may be “just the beginning,” and with this wrap, Kading says, “We hope other designers and creators will derive inspiration from our initiatives.”

Photo Credit: Shutterstock

Discovering the Wonder of

LEXANDRIA, VIRGINIA—The International Sign Association announces its newest partnership, ISA-UK, powered by the British Sign & Graphics Association.

ISA-UK will allow ISA and BSGA to work together on issues common across the sign, graphics, and visual communications industry (including codes and regulations, research, workforce education, and events). ISA will immediately support BSGA’s annual British Sign Awards, being held November 8 in Leicester, U.K. “The new relationship provides a common voice for the sign industry on both sides of the Atlantic,” said I S A C h i ef O p e ra t i n g O f f i c e r Brandon Hensley (top row, right).

“While some of the nuances of the U.K. and U.S. may be different, as we have held conversations, we realize just how many of the same issues we face,” said BSGA Director David Catanach (front row, left).

The new joint venture will focus on increasing education to the planner community and leveraging existing research, as well as exploring other needs of the global sign industry.

“This is an exciting move for ISA and BSGA,” said ISA President and CEO Lori Anderson (front row, right).

“The business world is no longer contained by borders, and this partnership offers tremendous opportunities for the growth of our industry.

Together, we are stronger.”

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In The Industry Joint Seminar Held

P Branded Environment

C

arrolton, Texas—ViVi Holding, Inc., an international commerce company, opened its first U.S. headquarters in Boca Raton, Florida. After finding a standard empty shell office space for their new headquarters at 951 W. Yamato Road, the company only had four weeks until its launch party to create a branded work environment for its subdivisions: ViVi Pay, ViVi Mobile, and ViVi Tech. That’s when FASTSIGNS® of Boca Raton stepped in to help visually transform the space fast track-style.

“Despite being on a very tight deadline and with existing architectural designs to contend with, our team worked diligently to design, build, and install the signs and graphics needed to create a vibrant, impressive workspace,” said Chris Kirby, owner of FASTSIGNS of Boca Raton.

“From the moment you walk in to the reception area, through the glass wall hallways to meeting rooms and employee break rooms, the entire space has been strategically branded to communicate ViVi Holdings’ brands and offerings.”

Guests and employees alike are welcomed with backlit dimensional logos and a digital display in the front lobby.

The reception desk is branded with vinyl lettering and an illuminated cabinet sign, conveying the company’s global reach.

Interior glass partitions and doors create offices and meeting rooms; bold colors and frosted vinyl graphics were ap-

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plied to create privacy, promote safety, and complement the brand décor.

Branded floor-to-ceiling wall graphics and column wraps were used to identify the company’s departmental areas.

“One of the biggest challenges our team faced was to hide the existing brick walls to match the customer’s branding,” explained Kirby. “To do this, we used aluminum composite panels with 3M vinyl carbon fiber applied to them. We installed the panels and painted any remaining visible brick areas black to create a seamless, branded look.”

FASTSIGNS of Boca Raton completed the entire fit out on time and within budget. The team wrapped and installed two digital kiosks that display product information in an engaging way.

Custom-framed prints of world maps were displayed in conference rooms and offices to reflect the company’s worldwide presence. ViVi’s brand colors, red and black, were incorporated in the map designs.

In the employee kitchen and break rooms, the doors and counters were wrapped to identify the areas, and logoed wallpaper was used to accent the décor.

Custom name badges, lanyards, business cards, packaging, and other printed materials were also provided.

“In today’s work environments, having a professionally designed and branded space is crucial for businesses to make a grand impression,” said Kirby.

Photo Credit: Shutterstock

From Blank Space to

lymouth, Michigan—Trotec co-hosted its third two-day joint seminar this past July with IKONICS Imaging and JDS Industries to provide hands-on training for three business-building technologies—lasers, sand carving, and sublimation. Each technology is used in an array of industries and markets using a number of different materials and techniques.

The workshop drew forty attendees from twenty-eight different companies who gathered to learn the basics of each technology as well as some of the more advanced user topics. “ We a re t h r i l l e d w i t h t h e response we are getting from our educational workshops,” says Warren Knipple, president of Trotec Laser, Inc. “Helping our customers become more profitable is our main mission at Trotec. One of the key ways we achieve this is by offering training and knowledge that will help them broaden product offerings, increase quality, and ultimately grow business.”

The $50 registration fee included training and a networking dinner.

These proceeds were donated to Therapeutic Riding, Inc., a nonprofit organization that provides children and adults with disabilities with the opportunity to experience the joy of horseback riding.

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Sign Show LED MODULES The Spotlight is on ColorMix Lighting Solutions by Allanson Allanson ColorMix color changing and animating lighting solutions is your solution for creating dynamic brand impact and transforming environments. The ColorMix Solution creates new opportunities, opens new markets, increases revenues and margins, and offers new and exciting options to your existing customer base. From sales training to technical and installation support, Allanson’s complete solution package will allow for a smooth transition from concept to successful completion. (800) 661-7251; allansonled.com

VINYL/VINYL FILMS/SUPPLIES Grimco Adds G-FLEX Heat Transfer Vinyl to the Briteline Product Offering Grimco Inc., a wholesale sign company, is excited to announce the expansion of their Briteline product offering with the new Briteline G-FLEX Heat Transfer Vinyl. With the addition of Briteline Heat Transfer Vinyl, Grimco is able to offer new and existing customers a high-quality heat transfer vinyl with a competitive price and quick delivery time.

There are several different series to choose from depending on what textiles or substrates you are pressing. The printable HTV products are suitable for all ink platforms. The most versatile, G-FLEX Turbo, can be applied to nearly all textiles, including nylon, with a press time of only five seconds. grimco.com

ARCHITECTURAL SIGNAGE GKD Metal Fabrics Applies Artistic Elements to Their Product Portfolio GKD Metal Fabrics is bringing increased style and hue to their offerings with custom etching and color designs. These capabilities, paired with GKD’s vast number of high-quality metal mesh solutions, give architects the freedom to create visually astounding, custom structures. During etching, graphical elements are added to any one of GKD’s metal fabric products. To begin the process, AutoCAD files are used to create masking for the requested design. Once the graphics are created in AutoCAD, they’re transferred onto grids to cut the shape and size of the design mask. The design is then etched into the metal fabric using the mask. Since the graphics are etched directly onto the metal surface, there is no danger of the designs fading over time. In addition, maintaining etched metal fabrics is as simple as other interior or exterior fabrics from GKD. The maximum width for etched metal fabrics is twentysix feet. There is no limit to length, meaning even the grandest of facades can make their mark. GKD uses a variety of processes to achieve color-coating for large and small panels of both flat and round wires. Color and heat are applied to create a powerful and even bond. Color comes in many sizes and metal fabric patterns. gkdmetalfabrics.com

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Sign Show ROUTERS/ENGRAVERS AXYZ International Unveils Its Redesigned Web Site AXYZ International has announced the improvement of its ecommerce Web site, cncroutershop.com, the company’s one-stop shop providing twenty-four-hour access to and information about thousands of AXYZ’s premium CNC router tooling, parts, software, and consumables. The goal of the redesign is to provide Web site visitors with more functionality on an easier-to-use platform. Additional videos and content were added to CNCRoutershop.com to give a breadth of information about the supplies customers are interested in purchasing. Two additional changes are coming to the Web site.

The first is a live chat function, which will be available in the next few months. Also AXYZ is introducing a points-based loyalty program where customers receive a certain number of points based on their purchases. After they have accumulated a specified number, they will receive a credit for use on a future purchase.

Additionally CNCRoutershop.com provides information on AXYZ’s annual service, training, and support packages to meet every budget. cncroutershop.com

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Sign Show ROUTERS/ENGRAVERS Introducing the Biesse Akron 1440 Biesse’s Akron 1440 with AirForce System and new integrated PUR application system is designed for mid-sized shops demanding high quality at an affordable price. Available with a variety of working units (including a quick-change glue applicator, user-friendly controls, highpowered HSD precision motors, and corner rounding, to name a few), the Akron 1400 has the edgebanding solution to meet your needs. It is the perfect solution for processing thin tape, PVC, HPL, and solid wood strips. Innovative technology, durable operating units, and heavy-duty construction guarantee the Akron 1440 will deliver highquality results that will exceed your expectations. The Akron 1440, combined with the award-winning AirForce System (which emits hightemperature compressed air through a slot nozzle directly into the reactive layer of commonly available laser banding that activates that layer and bonds the banding to the panel fibers), now allows companies of all sizes access to the green benefits of the top invisible glue line quality given by laser edges without the need of a complex and expensive laser system! (704) 357-3131; biesseamerica.com

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October 2018

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How To SALES

By JIM HINGST

Learning Active Listening Skills

D

eveloping good listening skills is essential to any business or personal interaction. If you are committed as a vendor to empathizing and understanding the needs of your customers, they will reward you with their business and their loyalty. If you can help enough people get what they want, you will get what you want. I recommend active listening.

Before I describe what active listening is, let me explain what it is not.

When your spouse or partner has had a particularly frustrating day, they often want to vent or explain their problems.

As they are relating their story, they do not want you to break in as their hero and tell them what you would do. This is called an interruption, which is rude whether you do it to your spouse, partner, or a prospect.

Let them fully explain themselves.

What they want and need is an empathetic ear.

In your role as a sales consultant, you will have plenty of time to offer a solution, but it is important that you thor18

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oughly diagnose the problem first.

Listening is difficult, because it requires that you concentrate on what the speaker is trying to communicate.

if you are interested in developing real relationships with clients, sincerely care about their needs and what they are telling you.

It takes real effort to look beyond the words so that you can see and understand the other person’s point of view.

Real active listening is nearly impossible when you are thinking more about what you want to say than what the prospect is saying.

However the fact is that maintaining silence drives most salespeople nuts.

The natural desire that many sales people have is to wait for an opening to interject their opinion or say something cute or launch into a long-winded presentation. Don’t do it!

Resist the urge to talk about yourself and your company and all the great things you can do for the prospect. Taking that approach can often kill a conversation and any chance that you will make a sale. When you are thinking more about how you will respond, you are not really listening.

Instead when a customer is explaining their problems, do not interrupt. If you are truly interested in developing real relationships with prospects, sincerely care about their needs and what they are telling you.

By doing that, it is more likely that the other person will listen to you when it is your time to speak. In turn, it makes it more likely that the two of you will come to an agreement.

In listening, if you do not fully understand something that a prospect is saying, ask them a clarifying question.

You could begin a clarifying question by restating what you believe the prospect said. This is a common technique that many veteran salesmen use.

It shows that you are, at the very least, attempting to understand what the prospect is saying.

You could then ask if that is what they meant: “Is that correct?” If you did not quite understand the point that the prospect was making, there is no shame in simply admitting it. Just ask the prospect to expound upon the point that they are making.

The more that the prospect talks, signshop.com

Photo: Shutterstock/ALPA PROD.

What is your customer trying to tell you?

How To SALES

By JIM HINGST

Tips and Tricks Here are five tips that can help you become a better listener: 1. Take Notes. Taking notes tells the prospect that you are listening. It is also a great way to refresh your memory when you are developing a design or preparing a proposal.

2. Avoid Distractions. If you are on the phone with a client or prospect, shut your door, clear your desk, and turn off your computer and cell phone. Pay attention to what the other person is saying.

3. Paraphrase. Throughout the conversation, occasionally paraphrase what the prospect is saying. Paraphrasing as well as repeating a word or phrase that the client has used not only tells the other that you are paying attention, but it affirms the prospect’s statements, which helps build rapport.

the more he or she feels comfortable in dealing with you. It also gives you an opportunity to better understand his or her business and their company’s goals, competition, and challenges.

If you want to master the fine art of

conversation, direct the spotlight on your prospect not on yourself.

It is the small talk that we need to engage in during any first meeting to build that bridge to the big talk. Talking about the other person’s interests helps break

Convert Your Sign B

P

How long has it been since you updated your Marketing Materials?

Who Helps Train Your Employees?

Who Helps Manage Your Profit?

4. Clarify. Ask questions to clarify the points that the client is making. To encourage the prospect to continue speaking, ask open-ended questions.

Remember that the primary purpose of an initial sales call is discovery. You want to fully understand the prospect’s point of view and challenges so that you can later construct a graphics solution that satisfies their needs.

5. Summarize. Conclude your initial meeting by summarizing how you are going to follow up the sales call.

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How To Sales

the ice in an initial encounter.

When I was starting out in sales, I learned that, when I walked into a prospect’s office, I should look around at pictures on the walls and objects on their desk for clues that revealed something

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about that person. It might be a trophy, an autographed baseball, or a picture of a golf gathering. Asking about these personal items allows you to listen to their stories. Discovering common ground allows you to break through any commu-

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By JIM HINGST

nication barriers.

Once you build rapport and begin a dialogue, keep the prospect talking by asking questions. The best types of questions to ask are open-ended questions.

These questions are ones that a prospect cannot simply answer with either a “yes” or a “no” (which are called “close-ended” questions).

Here are some examples of openended questions: • What changes would you like to see in your visual merchandising program?

• How would you like to change the way your customers view your business?

• Who are the biggest challenges that you face in terms of competitors?

• When do you need the job completed?

When a customer or prospect asks you a question, do not respond immediately.

Instead take a few seconds to think about the question and what you are going to say before you answer. This signals to the customer that you have been listening to what they have been saying.

If you do not know the answer to the question, there is nothing wrong with saying, “I don’t know, but I will find out and get back to you.” Then be sure to follow up promptly. At the very least, this gives you another opportunity to interact with the customer.

Dealing with the Ridiculous In some cases, prospects can intentionally say something confrontational or challenge what we have said.

When some people behave this way, it disguises dissatisfaction, annoyance, or a hidden agenda. Some people do this just to show their dominance. Many of these people want to see how far they can push you or intimidate you, which they may intend to use in future dealings with you.

There is a right way and a wrong way to deal with this situation.

First, you should never argue. Arguing is always a no-win situation whether the other party is your partner/spouse or your customer. A customer is always right, even when he or she is not.

Openly contradicting a client breeds conflict and resentment. When pushed,

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How To SALES

By JIM HINGST

you, if their past experiences with you engender negative feelings. People generally only buy from people they like.

Relationship selling is still important in today’s marketplace.

another person’s natural inclination is to push back. Don’t do it.

Make sure that you understand the other party’s position by restating it. Ask questions to further clarify their position then state your position calmly and clearly as best you can. If any conversation becomes heated, the best course of action is to back away gracefully.

Prospects will not do business with

Learn to Listen to Needs Not everyone is looking to confront you. Sometimes a prospect is just expressing a concern or looking for additional information.

What they may be telling you is that, in their purchasing role, they are afraid of making a bad buying decision that could reflect badly on them. They need the security that the sign or graphics program that you are proposing will produce the results that you claim.

The key to understanding what the other person is saying is not always the words that they are using. When you are listening, look behind the words that

they use and try to understand their feelings and their needs.

For example, when a spouse tells their significant other, “I don’t want to talk about it,” what they may mean is, “I do want to talk about it but not now,” or, “I do want to talk about it but only when I am ready, so please just sit there and listen.” The point is that whenever a prospect says something, you need to play detective to discover the hidden meaning.

When a prospect states something that is absolutely ridiculous—“I hear that vinyl graphics don’t last long outdoors”—they may be asking a question about the durability of your products.

Perhaps they had a problem in the past.

What they might be looking for is the assurance that your sign solutions will do what you say they will do.

In a roundabout way, they may be inquiring whether your work is covered

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How To Sales

by a warranty. In other cases, people are just looking for more information so they can buy with confidence.

There is only one way to know for sure: Ask them for clarification.

On the other hand, you may have heard the prospect correctly. Kids aren’t the only ones who say the darnedest things. Prospects can also have prejudices and hold strange beliefs. Of course, telling the other person that that is the dopiest thing that you have ever heard will not get you the sale.

A better way to address a false statement is by saying, “Many people have felt the same way as you. These companies had problems with other suppliers.

One example is Company X-Y-Z.” Explain how that company had problems with graphics produced by competitors and detail what you did to solve those problems.

Resolving Conflicts From time to time, we all deal with conflicts—either with your significant other, a fellow employee, or even a dissatisfied customer. Whatever the conflict happens to be, it can trigger an emotional response.

Whether our natural emotional response is anger, high anxiety, or some other emotion, we usually stop listening. Neither retreating from conflict nor lashing out resolves the conflict for either party.

If you have to deal with a customer’s product failure, my recommendation is to carefully examine the problem and do your best to determine the cause.

If the complaint is legitimate, simply ask the client how they would like the problem resolved.

You may be surprised here, but what they may be expecting from you or your

By JIM HINGST

company may be much less than you were expecting to deliver.

If the complaint is not warranted, you might explain the process that you went through in investigating the claim and arriving at your conclusion.

In most cases, people will accept the results, if you have done a thorough job.

If you treat people fairly, they will generally respond in kind.

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October 2018

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23

How To LEGAL

By LORI SHRIDHARE

What’s Behind your Graphics?

You need to understand the basics of copyright protections.

G

raphics provide the foundation for signage. Whether you are working with photographs or designed images, it is important to ensure beforehand that you verify their source and (equally vital) that you understand the copyright involved, if any.

To explore this topic further, Sign Builder Illustrated spoke with Lee Wilson, copyright attorney and author of The Copyright Guide: How You Can Protect and Profit from Copyrights (Fourth Edition) and the forthcoming book, The Trademark Guide.

SBI: Let’s start with some basics. Let’s say that I want to create a sign that will be publicly displayed. I download an image from Google, use Photoshop, and then add it to my sign artwork. Is this acceptable? If not, what are the consequences?

LW: The question of whether this practice is acceptable depends entirely on the image.

If the work in question is a photo24

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graph or drawing still protected by copyright, it cannot be used without the permission of the copyright owner.

if [it] is a photograph or drawing still protected by copyright, it cannot be used without the permission of the copyright owner.

Any transgression of the rights of a copyright owner may subject the unauthorized user of the image to a lawsuit for copyright infringement. This

Please explain what constitutes “public domain.” What would be an example of an image that is considered public domain?

“Public domain” is the term used to describe a situation when a work of art or literature [and so forth] has no copyright protection. This most often results when its copyright protection has expired.

Generally speaking, in the U.S., copyright has expired for any work published before 1923. If a work is in the public domain, anyone can use it at any time for any purpose without restriction, as the owner of the copyright in the work no longer has any rights in it.

The best way to determine the copyright status of a work is to consult a copyright duration chart. You can find several such charts online; any copyright duration chart connected to a university Web site is a good one.

You can also consult the Copyright Office publication Duration of Copyright at https://bit.ly/2xtI86k. My book offers a full discussion of copyright duration and of how to determine the copyright status of a work.

In another scenario, let’s say that I subscribe to a stock image service. Is it acceptable to use those images? Is there a time restriction on how long they can be used?

If you acquire the right to use an imsignshop.com

Photo: Shutterstock/ Olivier Le Moal

is true regardless of whether the unauthorized user altered the image by using Photoshop—unless the original image is so changed as to be unrecognizable and the resulting sign artwork is no longer “substantially similar” to the original image.

If the original image is public domain, then anyone can use it for any purpose, including in sign artwork.

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How To LEGAL

By LORI SHRIDHARE

the owner of the copyright in it. It is perfectly acceptable to use such images if your use is agreed to by the stock image service.

Whether there is a limit to the period you can use a stock image is determined by the terms of the license from the stock image service—make sure you buy what you need in terms of the scope of use of the image and the length of time you are permitted to use it.

age from a stock image service, you are buying the right to use the image from

Can you provide examples of images or characters that wouldn’t be considered copyrighted—for example, Clip Art? Clip Art may consist of public domain images or of images that the owner of copyright allows to be used freely in return for the sale price of the Clip Art. It is never safe to assume that any image is not protected by copyright. If it is

in the public domain, you can use it for any purpose. Otherwise assume that it is a lawsuit waiting to happen until you investigate its copyright status.

In the previously mentioned scenarios, what are the potential penalties/consequences if I violate the copyright? Can I alter an image that is copyrighted, creating something brand new from it?

The potential for any unauthorized use of an image is a lawsuit. Such lawsuits start with “cease and desist” letters and may end with the accused infringer paying money damages for his or her transgression as well as being ordered by a court to cease using the image said to be infringed. The lawyer’s fees in defending a case of this sort can be enormous and are always paid by the accused infringer.

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LEGAL By LORI SHRIDHARE

Altering an image is infringement, as it is creating a “derivative work” from the copyrighted image, which is one of the rights reserved by the law to copyright owners.

Whether your “brand new” version of the image constitutes copyright infringement is a determination that a court may make in a lawsuit—at great expense to you.

What is the responsibility for graphic designers who are incorporating themes featuring copyrighted characters and icons?

Whether they are creating artwork for an employer or a client, a graphic designer should act as a first line of defense against a lawsuit claiming that the rights of the owners of the copyright in the characters have been violated.

However, with regard to characters,

the more serious problem may be the trademark rights of the owner of the character. Trademarks can be very valuable, and if infringements of trademarks are not challenged by the owners of those trademarks, the trademarks may be lost.

It is important to stay away from any character other than a fairy tale or folk hero—and even then make sure that someone has not used that character as a current trademark for consumer goods or in a movie or story book marketed after 1900.

Make certain that you see a lawyer if you are confused about whether the character you (or your client) want to use is protected. (And be sure to read my other book, The Trademark Guide, to find out about trademarks, which present just as many pitfalls to sign professionals as copyrights do.)

What do sign professionals need to know about their legal responsibilities in incorporating copyrighted material into their signage?

Since they may be sued, sign makers and print providers should be very cautious in agreeing to produce any sign that may lead to a lawsuit. T-shirt manufacturers will not print designs that infringe on anyone’s copyright or trademark; they should be equally cautious.

Reading my book is a good way to become acquainted with copyright issues. It is written in accessible language and offers reliable information. And it is much cheaper than a lawsuit.

The Copyright Guide: How You Can Protect and Profit from Copyrights (Fourth Edition), published by Allworth Press, is available now as a hardcover and an e-book.

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Sign Builder Illustrated

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Feature Name GRAPHICS ENVIRONMENTAL

By JIM Author CIRIGLIANO

Surface On the

A

recent trend among customers is the desire not just to create utilitarian or promotional signage but to use custom-printed graphics to utterly transform interior environments.

And clients today are hungry for in-

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novative, creative ideas for designs, and surfaces that can be customized with printed vinyl and fabric graphics.

Ideas for personalized décor are almost limitless, so it’s helpful to categorize them into the types of environments in which they’re used.

For residential spaces, advances in printing technology have made it possible to personalize almost anything affordably.

“In residential spaces, imagination is the only limitation,” says Dean Lambert, vice president of LexJet. “Printable fabrics have come a long way, particularly in signshop.com

Custom graphics can also include motivational messages or inspiring artwork throughout a facility. Companies can also incorporate custom-printed graphics into office improvements that are designed to help employees’ comfort and productivity.

“Using a window film on glass partitions can add privacy,” explains Lambert. “They can implement designs with different characteristics and even reduce noise by printing on an acoustic fabric.”

In commercial spaces, printed graphics can set the tone for all kinds of interior environments ranging from retail storefronts to tradeshow exhibits.

“Many clients are choosing Silicone Edge Graphics (SEG) using specialized fabric,” explains Korby Guthrie, vice president of Sales & Marketing at XCEL Products. “Innovative frame designs with custom lighting options create stunning images with a sleek, modern, upscale appearance.”

Photo: XCEL Products.

Transforming interior environments with custom-printed fabric and vinyl graphics. the latex market.

“Designers can work with printers to create customized curtains, pillows, murals, accent walls, or other surface printing. They can match color schemes or original art and reproduce it using print on a wide variety of surfaces.” signshop.com

In corporate settings, custom-printed graphics can transform ordinary workplaces into exciting and inspiring environments. Companies can use printed décor to create consistency among multiple locations and enhance branding in their workplaces.

Pitfalls to Avoid Transforming indoor environments isn’t as simple as printing on every surface the customer has available.

Beyond the creativity it takes to transform these environments with printed images, it’s also critically important to avoid the common pitfalls that can cost printers valuable time, resources, and money.

“One major issue we’ve seen is that printers are not doing enough quality control checks before sending printed wallcovering panels to an installer,” says Lambert. “Before they roll up and ship the panels, they really need to lay them out and check them, panel by panel, to ensure the color and print sizes are consistent and that the overlap in the seams will be correct once they’re installed.

“Double-checking the panels is an easy extra step that will set everyone up for success.”

According to Lambert, printers really need to treat the installers as if they were the end customer. “If the panels are not properly QC’ed, it could cause a lot of extra rework and push back the timing of the installation,” he says.

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ity or choosing the wrong fabric and lighting option for the application are among the most common mistakes we see,” says Guthrie.

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October 2018

terials for the job will come down to weighing several considerations—such as the expected foot traffic in the space, how long the graphics are expected to last, as well as the nature of the environment.

For areas facing significant foot traffic or wear-and-tear, durability and the ability to clean the graphics become significant factors.

“In a commercial environment, you want a long-term commercial-grade PVC Type II wallcovering, like Vescom,” suggests Lambert. “They may also want to add a post-finishing to protect the product, like Marabu Wall Armor Top Coat.”

“SEGs are very versatile,” says Guthrie. “Fabric graphics with SEG frames provide impressive imagery, are reusable, washable, and cost effective to ship and install.”

Another key question to ask include how long the graphics will be used and whether they will need to be removed without damaging the walls, as is often the case in office or residential spaces.

“If it needs to be easily installed and removed, good choices are one-step products like LexJet Print-N-Stick Fabric for wall murals or HP PVC-free Durable Wall Paper, which goes up easily with water since it’s pre-pasted,” recommends Lambert.

Finally, consider the nature of the environment. Graphics in sensitive settings (such as a hospital) will, by necessity, strike a different “tone” than those in a signshop.com

Photos: LexJet.

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Stunning Signage Day to Night When the sun sets, customers expect their backlit sign face to deliver the same quality as the reflected image they see in the daytime. Additional image density may be required to achieve a consistent look from day to night.

with creativity, practical materials, quality control, and excellent graphics, the possibilities for transforming interior environments are limitless.

1. Only a single film layer is needed when using colored translucent film on a sign face.

Two layers may be used if more color density is desired.

2. Inconsistent light distribution within the light box may be more noticeable when an image has variations in both light and dark colors. Distribute the light evenly within the light box using 3M™ Light Enhancement Film or add film diffusers.

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3M_ThirdVertical_Ad_1018.indd 1

retail environment.

“Choose SEG frame depth (profile) and light options to match the desired ‘feel’ of the image and message in the environment in which it is placed,” suggests Guthrie. “Soft lighting, bright imagery, or variable lighting all create very different messages for the audience; all are possible with SEG.” Safety should also be a consideration. “If it’s a sensitive environment, look for GREENGUARD certifications that ensure the wallcovering is safe for children and the elderly,” recommends Lambert. “Look for antimicrobial products like HP PVC-free Durable Wall Paper.

The key is asking these critical questions up front and seeking as much input as possible from the customer about their wants and needs.

“The final product choice will include decisions like texture and finishes— matte, metallic, sand, mylar, linen, etc.— there are all types of aesthetic choices,” explains Lambert. “Ask the client all

October 2018 9/19/18 3:24 PM

the pertinent questions—environment, duration, traffic, removal, and desired aesthetic—before choosing the products and the installation methods.”

Conclusion With the right combination of creativity, practical materials, quality control, and excellent graphics, the possibilities for transforming interior environments are limited only by a sign shop’s imagination.

Asking your customers to articulate their vision and choosing the best materials for the environment they desire will help to save time and money and prevent costly rework and headaches in the long run.

The payoff, though, can be astonishing; successfully transforming a mundane space into a unique environment is sure to thrill customers.

“Work with a knowledgeable materials provider to get the best substrate for the job and provide technical support throughout the project, if needed,” recommends Lambert. signshop.com

Photo: WrapNation.

Consider the following tips and balance them until you achieve the desired results:

Coach’s Corner 3.0: Choose Your Customers Wisely When reviewing your financials at the end of the month, do you see red? Do you know why? Is it a trend or an anomaly? Anomalies are an unfortunate part of business, but trends are serious warning signs.

There are many reasons for why your bank account looks the way it does, but one in particular is the silent killer: Pricing your work too low just to win a deal!

We all want to hit our quotas, keep cash flowing, and maintain enough work on the shop floor. But the bottom line is, if you sell cheap, your chances of not making a healthy profit is great and, if you miss a beat in production or installation, you have no margin for recovery and you’re history!

How many dollars’ worth of production must be sold to recover a loss of $100 in rework/ bad debt if your net profit after tax is 2%? You must produce $5,000 worth of billings to return your P&L to its original position.

So you need $100 of net profit to make up for the loss. But our net profit is only 2%: that is, each dollar of billing only produces two cents of net profit, so the equation we are asking is: “How many $0.02 does it take to equal $100?” The answer is 100 divided by 2 percent which equals $5,000.

Are you or the customer setting the price? If it’s you, rethink your proposal. If it’s the customer, educate them on the merits of your value and negotiate a fair deal or cut your losses and run.

Customer relationships founded on price lead to frustrations like rework, collections difficulties, and nonpayment resulting in bad debt write off at the end of the year.

–John Hackley, Chief Efficiency Officer for Oculus Business Coaching (oculuscoaching.net)

signshop.com

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Feature GRAPHICS VEHICLE Name

By JEFF Author WOOTEN

A Decade

F

or ten years now, South Shore Sign & Graphics (southshoregraphics.org), has been successfully designing, printing, and installing custom decals, signs, banners, and vehicle graphics. And it is this latter branding option that has proven a really popular offering for them.

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“Vehicle graphics are truly a timeless form of visual communication. They just work,” says South Shore Signs & Graphics Designer/Owner Cladio Juliano. “They’re also something the customer gets really excited about—in a way solidifying the journey they’re about to take.”

Starting out as a residential-based business in Long Island, New York, South Shore Signs with Juliano and his best friend/business partner Steve Tague has expanded over the past decade to another commercial studio in the area with plans for a third location in the works.

They are proudly design-first, proclaimsignshop.com

Photos: South Shore Signs.

of Excellence

A branding specialist reflects on ten years of wrap design. ing this as the “most important aspect” of a branding project.

They do work for commercial clients, and you might’ve even caught some of their wrapped and lettered vehicles in some of the latest (and upcoming) blockbuster movies (see “Reel Vinyl,” March 2015, for past examples). signshop.com

Ever since opening his doors, Juliano has learned a lot about the production and management side of running a successful sign business. “When we opened back in 2008, this was during the heart of the recession,” he says.

“However we learned that this is a business that sustains itself through all economic times. In bad times, people need to drum up work; in good times, people want to keep pulling in work and new customers.”

Juliano looks at each vehicle that comes through his doors as the foundation of the design. “It’s almost like the underlying skeleton/grid,” he says.

Design-wise his shop recognizes that each vehicle is different, and his shop approaches them with those things in mind. “Our approach is always with the end goal for the design/physical product to function properly through the principles,” says Juliano. “A large trailer spans out much longer than say a van or even a box truck.”

While he has found that a pretty good amount of his customers have a better idea of what they want in a general way (thanks to being tech savvy), educating them remains really important to Juliano. “I break down to them what makes an effective design,” he says. “I show them the difference and show them what will make it function in the real world.”

Juliano breaks down an effective vehicle wrap design into three categories— originality, legibility, and contrast.

“If the logo can’t be seen or read and is lost within the layout of everything else, its purpose and function will become defeated,” he says. “And if the company isn’t standing out amongst the hundreds of others out there that do the same thing, the purpose and functionality of the logo or design in general becomes lost.”

For Juliano, understanding color and contrast is very important to the design process, as well as kerning of letters and employing negative space.

He hails from a musical background (more on this later), so he often relates the design process to music. “The goal in the end is to create harmony,” he says. “When harmony is lost in music,

our ears can instantly hear the sharp contrast it creates.

“In design, when harmony is lost, visually it creates the same effect.”

The biggest challenge for him is finding a balance between knowing what will be most effective in a wrap design and still giving the customer what they want.

“Sometimes I have to compromise what I would do to make a customer happy,” says Juliano, “however, when it comes down to it, that’s what is most important to me.”

Juliano uses Adobe® Illustrator® for branding/logo design, vehicle graphics, and print set-up, while Photoshop® is his go-to for template making and image editing. “Illustrator allows me to work at the real-world scale with precision mathematics and measurement,” he says.

Identifying himself as an “OCD nut,” Juliano always seeks to achieve the best print results possible, so most of their projects are pure vector. “Being infinitely scalable, we can produce a crisp print at any scale from this format,” he says.

However if very detailed illustration is required somewhere in the project, Juliano will create this via raster software and stylus and mix it into the vector process. “I use Paintstorm Studio and Clip Studio Paint for this kind of illustration work,” he says.

A big base of their customers is small businesses. “I’ve learned a majority of them get a big chunk of their new customers from the graphics they use on their vehicles,” says Juliano.

And while small businesses may have tight budgets, Juliano enjoys working within limitations and constraints to still do something that will stand out and

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make a visual impact.

Juliano brings up one such small business on a tight budget that came to him for some new vans he wanted to hit the road (pictured, p. 34). “The owner brought me an old logo that was just some tossed together Clip Art,” he says.

“We never want to compromise in design. We always want it to make an impact and stand out. Since this was going to be his first van out in the open, I was able to sell him on a full rebrand.”

South Shore Signs came up with an effective emblem logo that combined

U.S. iconography with cleaning products. The sign company also used bold red and blue colors on a full-white background to promote the name of the company, what they do, and their telephone number.

Another small local business that came to Juliano for a vehicle redo on a tight budget was Junior’s Climate Control (pictured, left). “His old design was really poorly done; it was random, and didn’t adhere to any principles. On top of that, the installation work was also poorly done with graphics placed randomly/crooked,” he says.

South Shore Signs was able to spruce up this overall wrap design by enlarging the copy of the company name, adding color surrounding the copy detailing what they offer, modernizing the look of their phone number, and adding a crisp, clean logo to the doors.

“I think seeing the original versus the new is a great example of how powerful the marriage of design, print, and

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Sign Builder Illustrated

October 2018

signshop.com

installation is when it’s implemented through principles, and real world function,” says Juliano One big graphics question to ask customers is if they want a full wrap or a partial wrap. Because of their cost, Juliano typically goes the full wrap route for customers that have either grown substantially or have four or more vehicles in their fleet.

“What’s most popular amongst our customers is a mix of partial wrap and pure vinyl,” says Juliano, noting this as having big drawing power for his shop.

“With the right design implementation, you can achieve the same effect and impact. Design is really the key here.

“This mix allows us to save new or small business owners money, while also giving them something that is effective and works.”

When South Shore Signs first opened, customers would sit down with Juliano in his office to discuss their projects, but nowadays, he finds that’s be-

coming increasingly more rare. “Much of the introductory phase, making the deal, and doing the design work is done remotely through a combination of the Web site, e-mail, text, and phone calls,” he says.

Juliano says that smart phones, the Internet, and social media have dramatically altered how they do business—in a good way, for the most part. “Now that we’re all instantly connected, we are able to get projects started faster than ever,” he says. “Customers have instant contact access and can see the work and processes in a detail like never before.

They can go to our site and really take advantage of it.”

And this works vice versa, as well. “We are also much more mobile than we ever were before,” says Juliano. “The tools of the trade today allow me to float from our studio, to our other shop’s location, or to an in-person meeting if we need to go over a project’s details before print and installation.”

Get Salty with Boat Graphics Get Salty (p. 35) was a recent fun project for South Shore Signs, and distance legibility was key to the design. “They were starting their new business which takes people on adventure trips in the boat, and we wanted it to have a lot of visual impact when it was in the water.”

South Shore Signs uses the same materials for boats as landroving vehicles. “Luckily we were able to do the installation before the boat was in the water! We’ve had to do some boat installs in the water, on floating docks, and it’s not fun!” says Juliano. “We always stay above the water line, so the entire graphic is always visible.”

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Sign Builder Illustrated

October 2018

Although this “communications revolution” has really changed the overall process, Juliano says they still meet with customers in person—be it a meeting for a larger account or when it’s time to measure and template a customers fleet/ vehicles, deal with walk-ins, and review when the physical work is done.

While the past ten years have been great, South Shore Signs is geared up even more for the future.

The foundation of his business is built on the Cloud. “I started to move all of our customers’ projects and files to the Cloud five years ago,” says Juliano.

“With this, I am able to access all their files remotely. I can even template on site if needed or upload all the design imagery and photos from the device that is in my pocket.”

Over the past couple of years, Juliano has also been building up his YouTube channel (youtube.com/cladiojulianoart), where he reviews tools of the trade, conducts lessons on software/graphic arts, and talks shop and other educational topics. The channel now boasts over 300,000 views, and some of the videos have even risen to the very top of YouTube.

Juliano started his channel focusing on his music years ago. “It’s a funny thing—I was actually the first bass player to put a home-recorded solo on YouTube when the platform first launched, which is kind of ironic, considering how the platform is playing a part for me all these years later,” he says. “However I knew, even back then, it was going to be one of the most dominate platforms on the Internet.”

Juliano used Instagram as his hub to directly interact with those in his audience by showcasing his graphics tools, answering questions, and posting short tips. However when revamping his channel, Juliano realized the longer video form would allow him a better form of communication and education with everyone.

“It would give me the opportunity to show things in much greater detail, allowing me to share my knowledge through conversation and teaching,” he says. “I think and surely hope viewers can hear my honesty and passion for the craft and our field.

“Most of all, I just love being able to help people.” signshop.com

Feature Name oUTDOOR

HITTING W the wall Workhorse showcases its skills with beachside recycling wall wrap.

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hen U.S. Marines, family, and guests gathered at Del Mar Beach and Marina at California’s Camp Pendleton this past Fourth of July, they couldn’t miss the reminder to recycle all those cans and bottles they brought for their day at the beach.

“Pitch in, We all Win!” shouted a fortyfoot wall wrap installed a week earlier by Workhorse Signs + Graphics of nearby San Marcos. The large format project showcased the prowess of the Workhorse team and the versatility of Avery Dennisignshop.com

All Photos: Workhorse Signs + Graphics.

By MIKE Author ANTONIAK

son’s MPI 1405 media.

“This was the first time we worked with that film, so I was a little worried as we approached the installation,” admits Nate DeYoung, president and cofounder of Workhorse Signs + Graphics along with his wife Meghan. “It blew my

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mind how well it bonded and conformed to the surface.”

Challenge and Experience This was not a routine installation by any stretch of the word.

The wrap had to be completed on

site at the beach, where sun, mist, wind, and sand can each impose environmental challenges. And the media had to be affixed to a seven-foot-high wall composed of runs of smooth block interspersed with several courses of an irregular surface.

“This was more complex than your typical wrap,” points out DeYoung, “because the vinyl material had to conform to a smooth, deeply contoured surface with textured block right alongside it.”

For DeYoung, he realized this was the type of project that could enhance the reputation of his one-year-old company.

“Referrals and word-of-mouth have been big things for us since we launched the business,” he says. “We’ve had a lot of good feedback on projects and that’s helped us keep clients as well as be able to attract new ones.”

DeYoung brought twelve years of experience in the sign industry—as well as his loyal accounts—to the start-up. As

signshop.com

Workhorse’s visual strategist, he’s immersed in all aspects of sign production from fabrication through project management while Meghan oversees business operations. Anthony Weaver, the company’s creative director, is also an industry veteran with ten years of experience in graphic design.

“We offer clients a wide skillset and all work together to provide the best service possible,” says DeYoung. “We want them to think of us as strategic partners who can help communicate their message the most effective way possible.”

DeYoung selectively seeks new clients who want more than just a low price and interviews them to evaluate them. “I want to understand their goals and make sure they understand all we can do,” he explains.

When talk turns to price, he’ll offer a ballpark estimate and watch their reaction. “If they are blown away, they may not be right for us,” he says. “I want them to feel comfortable with our com-

pany and values, as well as the services and creativity we can provide.”

Good Timing It is this targeted strategy that inspired DeYoung to reach out to the client for this project.

The Marine Corp Community Services (MCCS) is an organization within the Marine Corps charged with enriching the lives of service members and their families at Camp Pendleton.

DeYoung had heard MCCS relied on outside vendors for the types of servic-

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Sign Builder Illustrated

43

es his company provides.

Earlier this year, he tried cold calling, via an email, with a description of Workhorse, its capabilities, and its interest in working with MCCS. That query was passed around within the organization, and eventually, he was invited to make a formal presentation.

“Timing was critical,” he notes. “It

turns out they weren’t happy with their vendor. They were looking for someone else but didn’t know where to look when I sent that email.”

The Workhorse team spent more than an hour meeting with MCCS officials explaining their company, their own military backgrounds, their capabilities, and the ways they could help MCCS.

Out of that meeting, Workhorse got test projects for small jobs like window graphics, banners, P-O-P displays, and window wraps. In June, his MCCS contact inquired about covering a wall at Del Mar Beach to promote a summerlong recycling campaign.

“They were talking about a large banner and wanted it up by the Fourth of July,” explains DeYoung. “When I looked at that wall, I suggested wrapping it instead.

“I told them a wrap would look like it was painted and that such a large wrap would also help to generate interest and awareness of their campaign.”

A month earlier, he had attended an Avery Business Boot Camp where the versatility of its MPI 1405 film was showcased. He considered this wall wrap as the kind of project for which the media was designed. He submitted bids for both a banner and wrap.

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Production and Installation “Their design team provided me with their message and design as files I edited in [SAi’s] Flexi,” says DeYoung.

He reworked the design as horizontal panels with a one-inch overlap and put registration marks at the cans, sand, and water featured in the image.

“I was worried there would be some stretch in the film because of the sun.

This way, I wouldn’t have to register at the text,” he says.

The wrap was printed as two fortyfoot strips on Workhorse’s HP Latex 365 printer protected with Avery’s 1360Z gloss laminate. The larger panel for the lower half was forty-five inches wide and the upper panel thirty-seven inches with allowance for the overlap.

Prior to the install, DeYoung contacted presenters of the Boot Camp for installation advice. They responded with tips on prepping the wall, tools, and adhering the film to the textured surface.

On June 28, the DeYoungs headed to the beach for what would prove a daylong project.

Concerned sand could get blown or kicked between the media and wall, they started by digging an eighteen-inch trench the full length of the wall, which they kept misted throughout the day.

Installation of the lower panel took about ninety minutes and, by two o’clock that afternoon, both panels were in place. The rest of the afternoon they worked heat guns to conform the film to the irregular surface.

“It was incredibly tedious,” says DeYoung. “On some of the really rough texture, we had to make two or three passes with the heat gun.”

Plans for a 1/2-inch overlap over the top edge of the wall were abandoned.

“I quickly learned that was not a good idea,” says DeYoung. “It could catch the wind, so we had to move the panel down a bit.”

He estimates the heat and sun stretched the panels six inches over their length but compensated for that in registration around the graphics.

By 6:30 that evening, their wrapping work at the wall was done.

“It looked amazing, like it really had been painted on there,” says DeYoung. signshop.com

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Feature SIGN SUBSTRATES Name

By ASHLEY AuthorBRAY

Picking a

Plastic

P

lastics are a popular and useful material for many sign applications. Common plastics for the sign industry include acrylic, polycarbonate, PVC, and HDPE (highdensity polyethylene).

Sign shops turn to plastics because they’re lighter in weight and more resistant to fading from UV rays. “When us-

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ing acrylic, the color stays the same over time. It’s naturally UV stable, so it’s more resistant to sun fading than a lot of other materials,” says Kyle Felder, Business Development, A&C Plastics, Inc., a plastics solution provider that offers materials ranging from acrylic to polycarbonate to PVC to HDPE in a variety of brands.

“The same goes for PVC and HDPE—

Choosing between acrylic and polycarbonate substrates. there are certain additives in those sheets that keep them from fading. Sign-grade polycarbonates typically have a coating that keep them from fading from the sun.”

Plastics are also often cheaper than other materials like metal. “Recent tariffs have increased costs on metal because a lot of sign materials nowadays are imported,” explains Felder. signshop.com

Photo: Palram Americas.

In this article, we’ll focus on the two plastics you’re most likely to encounter on a job: acrylic and polycarbonate.

Compare & Contrast Both acrylic and polycarbonate are polymers, which means their molecular structure is made up of similar units linked together in long chains. They can also be classified as thermoplastics—a plastic material that becomes pliable or moldable above a specific temperature and then solidifies when it cools.

Which plastic a sign shop reaches for depends on a number of factors, including the sign type and what is specified in the project.

“Our challenge is putting the best value in front of the customer that addresses the needs of that given sign,” says Jim Richards, vice president, Industrial Markets, at Plaskolite, a manufacturer of acrylic sheet and now also polycarbonate thanks to its recent acquisition of Covestro’s U.S. polycarbonate sheet manufacturing business and its Makrolon products (rebranded as TUFFAK Polycarbonate Sheet). “For example, acrylic by nature has the highest gloss of any thermoplastic. So high gloss, high UV, stability, and definition in terms of forming letters and/or images is a little better than polycarbonate.”

The detail and definition achievable with acrylic in thermoforming may be better, but that doesn’t mean polycarbonate isn’t used. Most manufacturers and suppliers recommend prebaking the substrate before forming it, however.

“The rejection rate on polycarbonate is much higher when it comes to thermoforming it,” says Felder.

That rejection rate comes from polycarbonate’s absorption of moisture, which can cause it to bubble and craze. “It absorbs moisture much quicker than acrylic does,” says Dennis Spahr, director of Sign Industry Sales, Plaskolite. “Typically [shops] put it in an oven overnight and they pull it out when they need to thermoform it.”

Polycarbonate is also a stronger material than acrylic and is considered virtually unbreakable. “Relative to acrylic, polycarbonate offers greater heat resistance, higher impact strength, and increased resistance to breakage. In fact, most polycarbonate manufacturers offer a ten-year signshop.com

warranty against breakage, including from hail impact,” explains Tony Martin, regional account manager, Palram Americas, a leading global thermoplastic sheet manufacturer that offers polycarbonate sheets and coils for the sign industry from its PALSUN® and PALGARD™ lines.

“Polycarbonate is also more flame-retardant than acrylic. Sheets with flexible, mar-resistant coatings for thermoformed applications are now available to protect against scratching.”

Polycarbonate’s strength makes it the natural choice for signs and channel letters larger than a few feet in size. “When you get up to three-and-a-half to four feet and above, that’s when you start thinking about polycarbonate because you’ve got all the tight corners and nooks and crannies that become like stress points in the sheet, and the ability to break acrylic at that point becomes easier,” says Spahr.

However, when it comes to thicker signs, acrylic is the better choice. “Any time you see large channel letters or push-thru letters with really thick plastic anywhere from a half-inch up to one-anda-half inches, it’s typically always acrylic because sign-grade polycarbonate usually stops at about a quarter-inch,” says Felder.

Acrylic also proves a less expensive option. “Polycarbonate is a premium-priced product compared to acrylic or impactmodified acrylic,” says Richards.

Decorating and Finishing There are a variety of ways to decorate acrylic and polycarbonate, and precolored sheets are also available (acrylic is typically available in more colors).

Vinyl application is the most common form of decoration. Applying vinyl is easier on acrylic substrates, as polycarbonate’s penchant for absorbing moisture can cause problems. “Polycarbonate absorbs moisture faster than acrylic does, so it will have more outgassing behind the vinyl. You’ll get bubbles on the vinyl,” says Spahr.

Painting polycarbonate is an easier process. “You get a higher chemical resistance on polycarbonate, so it takes paint very well,” says Richards.

Martin says that polycarbonate sheets are also ideal for screenprinting and digital printing. “Polycarbonate is suitable for

Looking Beyond the RIP large format print providers and sign and display companies should give careful consideration to choosing the right RIP software.

A number of large format printer manufacturers pair their own software with their hardware.

Before committing, you should consider whether this solution has the capabilities to evolve as your business does.

Outside of functionality, a crucial factor is the level of back-up support offered by the provider. How extensive is your provider’s support service? If indeed there is a support team, where is it based? Will you be able to contact it regardless of time and location? Resolving the issue is only part of this service – how fast and well you receive the support is extremely important.

A good RIP software provider will want to build a relationship to help you unlock greater workflow efficiencies. It will provide you with expert knowledge in configuration, insightful guidance on industry trends, comprehensive application and product advice, and business development consultancy.

Buying a RIP can be a major investment, which is why it’s important to review the payment options available. Perhaps a more flexible payment model— such as a monthly subscription— is better for your business. In this instance, accessing software via monthly subscription can provide you with a cost-effective alternative to enjoy the same features, as well as the flexibility to perhaps add extra licenses to meet increased demand.

—Michelle Johnson, Marketing Manager, SAi, can be reached at michellej@thinksai.com

October 2018

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hesion promoters, or additional coatings.

“As with most acrylic substrates, there is typically a need to add this secondary process for optimal results. Polycarbonate does not require this costly step.”

Plaskolite recognized the tediousness of applying an adhesion promoter before printing to acrylic, and it invented the acrylic sheet OPTIX®-DA, Digital Acrylic. This sheet is made from a specially formulated acrylic polymer that promotes optimal adhesion of UV curing inks without the need for an adhesion promoter prior to ink application.

Plaskolite also recently unveiled its OPTIX® E-DA, the worlds first erasable direct-to-print acrylic sheet with an abrasion- and chemical-resistant coating perfect for markerboard designs and many anti-graffiti applications.

A variety of methods can be used to cut and finish acrylic and polycarbonate.

Routing is the most common, but Martin says sharpened standard power or hand tools with clearances for rigid plastics will also work on polycarbonate. For best results, Martin says to use the highest possible speed that will not melt the polycarbonate sheet during processing, due to the heat buildup.

Illumination Both polycarbonate and acrylic can be used in illuminated signs, with acrylic offering greater light transmission.

Plaskolite recommends its line of OPTIX® LD MAX 2406 light-diffusing acrylic. The products are guaranteed to block hot spots from three inches out, which is important as channel letters and cabinets trend smaller and thinner.

Polycarbonate sheets have come a long way as well to meet the demand for products that can hold up in thinner cabinets.

“This need for greater diffusion drove the development of polycarbonate sheets with improved additives, enabling a much better hiding power in LED applications,” says Martin. “Palram’s PALSUN Sign Grade (SG) polycarbonate sheets provide exceptional light diffusion while eliminating LED hot spots even in applications that require light diffusion from a much closer distance to the light source (i.e., shallow channel letters, slimmer sign cabinets).”

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signshop.com

Photo: Plaskolite.

all printing methods that are applicable to rigid sheets, but direct-to-substrate digital printing offers both time and cost savings with excellent results,” he says. “Digital UV flatbed printers have been growing in popularity. However, one of the challenges with UV digital printing has been finding a substrate to print directly on without the need of specially formulated inks, ad-

Feature Name ADA

By JEFF Author WOOTEN

ADA for All his month, Sign Builder Illustrated speaks with a number of ADA-related manufacturers and suppliers about some of the big questions and misunderstandings that still persist in this field, as well as trends.

“There seems to be a lack of real information on what exactly is needed to be ADA-compliant,” says Chris Bayer, president of wholesale sign supplier Cab Signs, noting even after the Americans with Disabilities Act Accessibility Guidelines (ADAGG) hashed out insufficient information to disengage some confusion with an update back in 2012.

“Some of the questions we frequently hear are, ‘Which rooms or sign types require raised letters and Braille?’ ‘What materials can be used?’ ‘What size must the sign be?’”

Architectural sign systems provider Clarke Systems found that some of the 50

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October 2018

most common ADA violations related to our industry included outdated signs, missing signs, incorrect signs, wrong height, and incorrect mounting.

“The regulations specify positioning for ADA signage. When you’re installing multiple signs in a given area, be consistent in placing them—i.e., in a hallway along which signs are posted at every door—so that they are at the same height for uniformity within the specified space,” advises Charles J. Kelly, Jr., president of Clarke Systems.

One of the most common oversights within the sign industry is assuming that standards related to ADA-complaint signage only refer to people with vision impairments. It’s actually a little more far-reaching.

The ADA encompasses more than the visually impaired (an audience made up of persons with other disabili-

ties), so directional and informational signs actually have their own specifications, since a majority of those people do have usable vision.

“The Law was created under the premise of accessibility—unencumbered access/exit to and from a public facility,” says Kelly, noting this allows for improved pedestrian accessibility (visually impaired or otherwise). “Therefore anyone who moves freely through the space is a beneficiary of the Law.” But the visual aspects remain the topic that generate the most asked questions.

When it comes to designing for ADA directional and informational signs, Kelly states that this is primarily driven by visual standards. “Visual standards dictate that directional signs must meet contrast and visual height requirements relative background colors and viewing distance,” he says. “As for informational signshop.com

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“This ratio is considered the standard recommendation for contrast and is not strictly defined in the law,” she relays.

“The law defines the contrast as: ‘characters and symbols shall contrast with their background—either light characters on a dark background or dark characters on a light background.’”

Taking a look at the chart above, Kelly

Photo: Clarke Systems.

signs, most situations are exempt from any ADA regulations.”

Jessica Heldman-Beck, director of Marketing Communications at Rowmark, relays that, hands down, the most commonly heard question by her company regarding ADA contrast is whether or not a given color combination meets the 70-30 contrast ratio.

explains that the optimal contrast value is at least a hue of 70, and he offers the following scientific calculation to determine the optimal number for your ADA sign: K1 (highest color value) minus K2 (lowest color value) divided by K1 (highest color value). Then multiply this number by 100 to come up with the contrast value.

If the number totals to less than 70, you will need to rethink your color selections to come up with the optimal 70/30 contrast.

According to Rowmark, following in a close second for frequently asked questions is the Light Reflectance Value (LRV) of a specific color. “Light Reflectance Value is a measurement of the percentage of light that is reflected (and conversely how much is absorbed) from color when illuminated by a light source,” relays Heldman-Beck. “LRV runs on a scale from 0 percent to 100 percent. Zero is assumed to be absolute black and 100 percent being perfectly white.”

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Historically ADA-compliant signs have been perceived as rather basic and bland, but according to information relayed by Heldman-Beck, that is no longer the case, especially now that ADA signage is being incorporated into building designs and décor.

“The biggest trend that Rowmark sees in ADA signage is the incorporation of branding into the overall signage plan for environmental spaces. Customers are seeking more architectural aesthetic options to fit their corporate branding and image,” she relays. “Gone are the days of utilitarian black-and white ADA compliant signs. Today’s ADA-compliant signs have style and design and just a touch of flair to create a custom, branded look.”

Now that UV printing is being used more as a component of many ADA signs nowadays, Bayer reaffirms that this means they no longer have to be textonly and non-attractive. “They can be colorful with digital images, different fonts, styles, and formats,” he says.

Kelly finds that most questions aimed in his direction relate to the allowance for a visual design component. “Modifications allow for a non-tactile decorative graphic and its ADA equivalent at a minimum height of 0.5-inch versus the standard ADA height of 0.625-inch,” he says.

Still these must abide within the rules.

“When designing ADA signage some of the most basic standards for consideration are the tactile letter depth of 1/32inch, the letter height needs to be between 5/8-inch to 2 inches, letter styles should be sans serif only, and only use upper case for tactile characters,” relays HeldmanBeck. “The characters and background need to have a matte, egg-shell, non-glare finish with characters and symbols contrasting with the background color. In addition, the Braille specification is to be domed Grade 2 Braille.”

And this variety doesn’t just stop with decoration; it also encompasses materials, which include zinc and photopolymer.

“We are also seeing demand for aluminum, brass, Corian, Wilsonart, Chemetal, and other substrates,” says Bayer.

The good news is that you can find updated regulations on the U.S. Department of Justice’s Web site (justice.gov). signshop.com

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COMPANY

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19

JDS Industries

www.jdssignsupply.com

20

Johnson Plastics

www.jpplus.com

31

21

Keystone Technologies

www.KeystoneTech.com

13

22

Lidco

www.lidcoproducts.com

54

23

Magnum Magnetics Corp.

www.MagnumMagnetics.com

26

24

Master Magnetics

www.magnetsource.com/thinforce

37

25

Multicam Inc.

www.multicam.com

49

26

Mutoh America

www.MUTOH.com

23

27

Nova Polymers

www.novapolymers.com/ROI

28

Orafol

www.orafolamericas.com

29

Orbus

www.orbus.com

43

30

Orbus

www.orbus.com

54

31

Orbus

www.orbus.com

54

32

Ornamental Post Panel & Traffic

www.ornamentalpost.com

54

33

Palram Industries Ltd.

www.palram.com

53

34

Renolit

www.calenderedfilm.com

16

35

Rowmark

www.rowmark.com

51

36

Safety Speed Mfg

www.safetyspeed.com

44

3 7

37

SDS Automation

www.channelbender.com

22

38

S&F Custom Sign Corp.

www.formedfaces.com

42 44

39

ShopBot Tools

www.ShopBotTools.com

40

Sign America Inc.

www.signamericainc.com

52

41

Signs365.com

www.signs365.com

C4

42

Sinalite

www.sinalite.com

43

Small Balls Inc.

www.brailleballs.com

44

Southern Stud Weld

www.studweld.com

53

45

Stamm Manufacturing

www.stamm-mfg.com

42

46

Stimpson

www.stimpson.com

27

47

Syntech of Burlington Inc.

www.syntechsigns.com

38

48

TRC Electronics

www.trcelectronics.com/HVGC-650

19

49

Trotec Lasers

www.troteclaser.com

36

50

USSCF

www.usscfoundation.org

51

Wilkie Mfg LLC

www.wilkiemfg.com​

C3

1 54

41

COMPANIES IN SIGN SHOW 52

Allanson

www.allansonled.com

14

53

AXYZ International

www.cncroutershop.com

16

54

Biesse America

www.biesseamerica.com

17

55

GKD Metal Fabrics

www.gkdmetalfabrics.com

14

56

Grimco, Inc.

www.grimco.com

14

3 EASY

STEPS

signshop.com

1. Go to our website at, signshop.com

2. Click on our InfoDirect box on the website October 2018

3. Request info about advertisers & products

Sign Builder Illustrated

55

Shop Talk

By SAL SHEIKH, canon U.S.A., INc.

Shaping the Future

Five large format digital printing trends.

O

ver the last twenty years, we have seen new ink technologies emerge for printing large format graphics. These ink technology developments include evolution from full solvent to eco-solvent inks due to environmental concerns, UV-curable inks, latex inks, and the latest technology of UVgel inks. With each new development, we see advances in print quality and application versatility.

Here are today’s key trends for large format digital graphics printing.

Labor savings for unattended print operations. While many areas of print service providers’ work (PSP) are becoming more automated and requiring less labor, many printers still require a lot of “hand holding.” Dedicated operators must constantly check if the print quality is acceptable and ensure that issues like print artifacts (caused by printhead nozzle outs) are not visible. If left unchecked, hundreds

of feet of printed media could be wasted— resulting in cost-overruns, rework, and longer time to customer fulfillment.

Newer print systems use sophisticated printhead monitoring and compensation technology to help ensure, in real time, that print quality is maintained throughout a print job. Therefore these printers can be set up and left unattended, allowing the key operator to go about their workday. These types of labor-saving technologies will become more important as the U.S. continues to see a drop in unemployment to unprecedented low levels.

Decreasing turnaround times. A December 2017 InfoTrends study, “Looking for BIG Opportunity in Graphic Communications & Specialty Printing,” indicated that 61 percent of PSP’s customers wanted their large format prints in less than 24 hours. In 2013, this was 41 percent. This means PSPs need not only faster printers but also printers that deliver first-time-

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.

Prices are subject to change.

Pricing, Qualified individual working in the sign industry may request a free subscription. Non-qualified subscriptions Print version, Digital version, Both Print & Digital versions: 1 year US/Canada/Mexico $50.00; foreign $99.00.

Single Copies are $15.00 ea. Subscriptions must be paid for in U.S. funds only.

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56

Sign Builder Illustrated

October 2018

COPYRIGHT © Simmons-Boardman Publishing Corporation 2018. All rights reserved. Contents may not be reproduced without permission. For reprint information, contact: Arthur Sutley, Publisher (212) 620-7247 or asutley@sbpub.com

right print quality, as well as any labor savings and automation they can incorporate.

Shorter print run lengths. Campaigns are more regional in nature, so customization and personalization continue to be key factors for printing projects. As such, PSPs have to be able to accommodate shorter run jobs and need printers that are capable of seamlessly and quickly switching from one roll of media to another.

Print applications. Some of the fastest growing applications include soft signage and wall graphics/panels. Soft signage graphics are especially popular for tradeshow markets due to their relative light weight (leading to lower shipping costs) and ability to roll or fold prints for shipping, compared to rigid printed panels.

Wall graphics panels and murals are another fast-growing application. However, one should be mindful in choosing a print technology that can easily print these panels without any color shifts or geometrical/ pattern misalignments, which are caused by the stretching of media being printed.

Any technology that uses a lot of heat to dry the inks, such as Latex or Eco-Solvent, can cause these issues.

On the other hand, roll printers that use cold cure LED mitigate the issues of color shifts and panel mis-alignment. The last thing you want to hear from your installer at the customer’s site is that the wallcovering panel colors don’t match or the images do not align correctly across panels.

Integrated finishing workflow. Many tasks, such as print finishing, have become automated. As such, digital X-Y cutters for roll media and digital flatbed routing and cutting tables for both rigid and roll media have become an integral part of a modern print shop. Once set up, these digital cutting devices can help significantly reduce both shop labor requirements and waste due to mistakes from manual cutting.

Sal Sheikh is senior director, BISG Océ Products LFS Marketing & Support, Canon U.S.A., Inc.

POSTMASTER: Send address changes to Sign Builder Illustrated, PO Box 3135, Northbrook , IL 60062-3135.

Instructional information provided in this magazine should only be performed by skilled crafts people with the proper equipment. The publisher and authors of information provided herein advise all readers to exercise care when engaging in any of the how-to-activities published in the magazine. Further, the publisher and authors assume no liability for damages or injuries resulting from projects contained herein.

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Photo: Shutterstock/ FUN FUN PHOTO.

Large format

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